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This couple on the sand bar seem to be surrounded by the Nissequogue River and the Long Island Sound!
Textures from the Painted Whisper pack by Distressed Jewell. Textures used were Wheatfield and Blue Skies, and, Return of the Summer Day :)
2013 365/095
Winchester Cathedral crypt.
"This mysterious life-size statue of a man contemplating the water held in his cupped hands is the work of the celebrated British sculptor Antony Gormley. You can find Sound II, fashioned from lead out of a plaster cast of the artist’s own body, in the Cathedral crypt, which floods during rainy months".
A Sounder F59PHI and three coaches head east with Amtrak train No. 8, the Empire Builder, at Waterford Ave. in Milwaukee. 11/2/2001
Katerina Undo Creatures Cluster, 2014
Creatures Cluster is an endless combination of living members, composed by miniature robots that live autonomously, receiving their energy from solar cells and generating a variety of soft sounds and tiny movements. The Creatures are developed with two simple analogue oscillator circuits, inspired from the nervous system of organisms. Every module is special and unique and it is impossible to build exact equal. According to the interaction that occurs between them, clusters/systems are developed that organically interact with each other in a reciprocal way. The sculptural and auditory nature of the synthesis – radiation of the chaotic – refers to the functioning of a nervous system, as well as to systems of social cooperation and alliances.
Produced by Overtoon and coproduced by Z33 Thanks to Johannes Taelman (Axoloti Platform), Ralf Schreiber & Christian Faubel
Photo (c) Kristof Vrancken / Z33
Sound By Artists
Ouvrage collectif sous la direction de Dan Lander et de Micah Lexier, Art Metropole/Walter Phillips Gallery, 1990
blackwoodgallery.ca/publications/SBA.html
Download it here :
monoskop.org/images/a/ad/Lander_Lexier_eds_Sound_by_Artis...
[Excerpt]
The desire to compile this anthology was driven by the noticeable lack of information and critical analysis regarding an art of sound. Although there has been an abundance of activity centred around explorations into sonic expression, there is no sound art movement, as such. In relation to artists’ works, sound occupies a multitude functions and its employment is often coupled with other media, both static and time-based. As a result, it is not possible to articulate a distinct grouping of sound artists in the way one is able to identify other art practices. As the reader will discover, the ideas and projects put forth between the covers of this book are diverse and at times at odds with one another. The contributors included span many disciplines: critic, curator, writer, composer, video artist, installation artist, visual artist, performance artist and some more aptly described as sound, audio or radio artist. Sound by Artists is a collection of information pertaining to a disparate art form, presented in the hopes of stimulating dialogue.
The terms experimental music and sound art are considered by some to be synonymous and interchangeable. In fact, it is difficult to identify an art of sound precisely because of its historical attachment to music. Although music is sound, the tendency has been to designate the entire range of sonic phenomenon to the realm of music. With the introduction of noise—the sounds of life—into a compositional framework tending towards the ephemeral and avoiding the referential, artists and composers have created works based on the assumption that all sounds uttered are music. Futurist Luigi Russolo, envisioning an all-inclusive music, states in The Art of Noises: Futurist Manifesto (1913) that:
We want to give pitches to these diverse noises, regulating them harmonically and rhythmically. Giving pitch to noises does not mean depriving them of all irregular movements and vibrations of time and intensity, but rather assigning a degree or pitch to the strongest and most prominent of these vibrations. Noise differs from sound, in factm only to the extent that the vibrations that produce it are confused and irregular. Every noise has a pitch, some even a chord, which predominates among the whole of its irregular vibrations. [1]
Noise is considered by Russolo for its expressive musical qualities only and not for any other significant meaning(s) that it may hold. Here, we have a definition of music that considers all (organized) sound as music, limiting the possibilities for an art of sound autonomous from the structures and presuppositions traditionally attached to musical composition and reception. The imposition of a ‘musical template’ onto the sounds that otherwise, in a day to day context, have meanings other than musical ones, leads us to a dead end conclusion: all sound is music. In defense of a music autonomous from noise, Chris Cutler, drummer and critic has written:
But if, suddenly, all sound is ‘music,’ then by definition, there can be no such thing as sound that is not music. The word music becomes meaningless, or rather it means ‘sound.’ But ‘sound’ already means that. And when the word ‘music’ has been long minted and nurtured to refer to a particular activity in respect of sound—namely its conscious and deliberate organization within a definite aesthetic and tradition—I can see no convincing argument at this late stage for throwing these useful limitations into the dustbin…. [2]
The ‘useful limitations’ that constitute and enrich a musical art practice, restrain and limit an art of sound. The stripping away of meaning from the noise of our world constitutes a refusal—to engage ourselves in dialogue with the multiplicity of meanings conveyed by the sounds we produce, reproduce and hear. If a critical theory of sound (noise) is to develop, the urge to ‘elevate all sound to the state of music,’ will have to be suppressed. Noise—your lover’s voice, a factory floor, the television news—is ripe with meaning and content distinguishable from the meaning and content of musical expression. It is this content that constitutes any possibility for an art of sound.
–excerpted from the Introduction by Dan Lander
1. Luigi Russolo, The Art of Noises (New York: Pendragon Press, 1986).
2. Chris Cutler, ‘Editorial Afterword,’ RēRecords Quartlery, Vol.2, No.3 (London: 1988).
Homemade HT8950 Demonstrator Board
Used the Gootee method after four failures attempting to use inkjet resist.
The siphons of a bivalve reach up out of the substrate to feed on plankton in the water column.
Date: 06/08/2014
Loch Ailort, Sound of Arisaig
Photographer: Graham Saunders
© SNH. All rights reserved. Please email for details - marinephotos@nature.scot
Parry Sound,
Ontario
The 550-passenger Island Queen is the best vessel for cruising Georgian Bay’s 30,000 Islands.
More from Milford Sound. It's ridiculous how nice this region is. This is just one of the dozens of waterfalls. Check out the larger versions of this one.
August 2nd GoodKnocking Entertainment Group and C3 Promotions presented live entertainment and an outstanding open mic.
Sound Transit's tunnel boring machines, which will be used to dig the Link light rail tunnels between the University of Washington Station and the Capitol Hill Station, are currently being assembled in Fife. The machines will be delivered to the site this spring.
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"Soundscapes & Sound Identities"
7th international FKL symposium on soundscape
VII SIMPOSIO INTERNAZIONALE SUL PAESAGGIO SONORO
22 23 24 maggio 2015 @ Castello di Beseno in Trentino
PORTOBESENO 2015 FKL - info
www.portobeseno.it/blog/?page_id=6496
PROGRAM
www.paesaggiosonoro.it/soundscapeandid/prev_programme.php
- IT -
Portobeseno festival 2015 e il Forum Klanglandschaft (FKL), Forum Europeo per il Paesaggio Sonoro, presentano il VII Simposio Internazionale FKL sul Paesaggio Sonoro.
Il simposio sarà ospitato nel castello di Beseno nei giorni 22-24 maggio 2015 e prevede la presenza di decine di ricercatori, musicisti e artisti provenienti da tutto il mondo.
La selezione dei partecipanti è avvenuta tramite un bando internazionale che ha raccolto oltre 180 proposte suddivise in conferenze, installazioni sonore, video, audio performance.
Il tema proposto per il simposio internazionale FKL 2015 riguarda il rapporto tra i suoni che ci circondano e il concetto di identità.
I luoghi, gli abitanti, ma anche i tempi e le diverse pratiche di comunicazione comportano in maniera inevitabile una molteplicità di identità sonore. Con questo tema si vuol proporre una suggestione trasversale a tutte le discipline della scienza e dell’arte che, ognuna secondo il proprio modo di ascoltare, di sollevare i problemi e di dare risposte, si interessano degli aspetti sonori del paesaggio e della relazione con chi in esso abita.
Ospitando “Soundscape & Sound Identies”, il festival Portobeseno offre un'occasione per confrontarsi e stimolare la riflessione intorno al tema dell’identità sonora, per dialogare all'interno della comunità acustica e per offrire una panoramica sugli studi e sulle ricerche sonore internazionali.
- EN -
“Soundscapes & Sound Identities” is the theme of the seventh international symposium on soundscape organized by the FKL (Forum Klanglandschaft)
The symposium is hosted by the festival Portobeseno 2015.
There exists doubtlessly an acoustic identity of places, even in those which, due to the increasing uniformity of the contemporary world, end up being “non-places”; acoustic identity may appear standardized, but is nevertheless present.
The term “acoustic climate” is often used in environmental physics in defining the parameters and quantitative data which characterize an acoustic environment, obviously this term inevitably hints at an idea of identity linked to its measurable aspects.
Bioacoustics and ecology deal with, among other things, the way the acoustic environment, the specific sonic utterances and hearing characteristics of living species represent the identity of a given species, and the way they co-exist and live together.
PORTOBESENO
Il progetto culturale Portobeseno è nato nel 2004 e si occupa di archivi multimediali 2.0, progetti artistici e laboratori creativi aventi per oggetto il territorio, il paesaggio e la memoria individuale e collettiva. I progetti traggono spunto da interviste narrative, ricerche etnografiche, laboratori didattici rivolti alle scuole, da riflessioni sulla memoria orale e sulla conoscenza concreta del territorio, dall’esplorazione dei paesaggi sonori, dalle loro possibili relazioni con il web attraverso lo sviluppo di cartografie virtuali, blog creativi, geoblog, progetti sociali per la Rete. Tali progetti confluiscono nel festival “Portobeseno, viaggio tra fonti storiche e sorgenti web” che produce spettacoli (dal teatro ai concerti di musica elettroacustica) e installazioni multimediali originali e innovative. Il festival Portobeseno propone inoltre riflessioni sui diritti d’autore, la condivisione creativa e sulla percezione del territorio tra reale e virtuale, dalla scoperta di un sentiero nei boschi alla navigazione virtuale offerta da Internet.
Portobeseno è curato da Davide Ondertoller e Sara Maino.
La commissione scientifica di SOUNDSCAPES & SOUND IDENTITIES è composta da: Stefano Zorzanello; Caroline Profanter; Hanke Haun; Lorenz Schwarz; Francesco Michi; Albert Mayr per FKL e Sara Maino per PORTOBESENO.
La commissione artistica è composta da: Gabriele Proy; Francesco Michi; Caroline Profanter; Bernadette Johnson; Mechi Cena; Stefano Zorzanello per FKL e da Sara Maino per PORTOBESENO