Here's a link that was sent to be that's relevant to my project.
I didn't think about what sound fruit or vegetables would make.
Wednesday, October 28, 2009
The Lyre Bird Species List
Menura novae hollandiae (superb Lyre Bird)
Menura alberti (Albert's Lyrebird)
I was surprised to find that there are more than one species of Lyrebird. "Lyrebird" infact refers to two seperate specites classified under the same genus. Oh well. it doesn't matter that much. Now, I would have to find the different classifications used with each.
EVOLUTIONARY PERSPECTIVE:
(taken from Wikipedia)
Mimicry
A lyrebird's call is a rich mixture of its own song and any number of other sounds it has heard. The lyrebird's syrinx is the most complexly-muscled of the Passerines (songbirds), giving the lyrebird extraordinary ability, unmatched in vocal repertoire and mimicry. Lyrebirds render with great fidelity the individual songs of other birds and the chatter of flocks of birds, and also mimic other animals, human noises, machinery of all kinds, explosions, and musical instruments. The lyrebird is capable of imitating almost any sound — from a mill whistle to a cross-cut saw, and, not uncommonly, sounds as diverse as chainsaws [2], car engines and car alarms, fire alarms, rifle-shots, camera shutters, dogs barking, crying babies, and even the human voice. Lyrebirds are shy birds and a constant stream of bird calls coming from one place is often the only way of identifying them and their presence. The female lyrebird is also an excellent mimic, but she is not heard as often as the male lyrebird [3] [4] [5].
One researcher, Sydney Curtis, has recorded flute-like lyrebird calls in the vicinity of the New England National Park. Similarly, in 1969, a park ranger, Neville Fenton, recorded a lyrebird song, which resembled flute sounds, in the New England National Park, near Dorrigo in northern coastal New South Wales. After much detective work by Fenton, it was discovered that in the 1930s, a flute player living on a farm adjoining the park used to play tunes near his pet lyrebird. The lyrebird adopted the tunes into his repertoire, and retained them after release into the park. Neville Fenton forwarded a tape of his recording to Norman Robinson. Because a lyrebird is able to carry two tunes at the same time, Robinson filtered out one of the tunes and put it on the phonograph for the purposes of analysis. The song represents a modified version of two popular tunes in the 1930s: "The Keel Row" and "Mosquito's Dance". Musicologist David Rothenberg has endorsed this information.
--------------------------------------------
Lyrebirds are quite famous in Australia. The male Superb Lyrebird is featured on the reverse side of the Australian coin of 10 cents.
Lyrebirds are classified as songbirds - they mimic songs from other species as well as make their own. Due to their pheasent-like appearance, they are classified under Menura.
I am being random here.
Menura alberti (Albert's Lyrebird)
I was surprised to find that there are more than one species of Lyrebird. "Lyrebird" infact refers to two seperate specites classified under the same genus. Oh well. it doesn't matter that much. Now, I would have to find the different classifications used with each.
EVOLUTIONARY PERSPECTIVE:
(taken from Wikipedia)
Mimicry
A lyrebird's call is a rich mixture of its own song and any number of other sounds it has heard. The lyrebird's syrinx is the most complexly-muscled of the Passerines (songbirds), giving the lyrebird extraordinary ability, unmatched in vocal repertoire and mimicry. Lyrebirds render with great fidelity the individual songs of other birds and the chatter of flocks of birds, and also mimic other animals, human noises, machinery of all kinds, explosions, and musical instruments. The lyrebird is capable of imitating almost any sound — from a mill whistle to a cross-cut saw, and, not uncommonly, sounds as diverse as chainsaws [2], car engines and car alarms, fire alarms, rifle-shots, camera shutters, dogs barking, crying babies, and even the human voice. Lyrebirds are shy birds and a constant stream of bird calls coming from one place is often the only way of identifying them and their presence. The female lyrebird is also an excellent mimic, but she is not heard as often as the male lyrebird [3] [4] [5].
One researcher, Sydney Curtis, has recorded flute-like lyrebird calls in the vicinity of the New England National Park. Similarly, in 1969, a park ranger, Neville Fenton, recorded a lyrebird song, which resembled flute sounds, in the New England National Park, near Dorrigo in northern coastal New South Wales. After much detective work by Fenton, it was discovered that in the 1930s, a flute player living on a farm adjoining the park used to play tunes near his pet lyrebird. The lyrebird adopted the tunes into his repertoire, and retained them after release into the park. Neville Fenton forwarded a tape of his recording to Norman Robinson. Because a lyrebird is able to carry two tunes at the same time, Robinson filtered out one of the tunes and put it on the phonograph for the purposes of analysis. The song represents a modified version of two popular tunes in the 1930s: "The Keel Row" and "Mosquito's Dance". Musicologist David Rothenberg has endorsed this information.
--------------------------------------------
Lyrebirds are quite famous in Australia. The male Superb Lyrebird is featured on the reverse side of the Australian coin of 10 cents.
Lyrebirds are classified as songbirds - they mimic songs from other species as well as make their own. Due to their pheasent-like appearance, they are classified under Menura.
I am being random here.
Tuesday, October 27, 2009
Live in Clermont Ferrand France
This is some video from last week in France...I am so tired and losing my mind :)
Vibrational Fusion of a text poam by Pattiann Rogers & Thylias Moss
From the Arts & Bodies Poetry reading, you can listen to the cosmic-fuse poam (product of act[s] of making) as presented during the event in the Rackham Amphitheater:
As vibrations continue, the fusion system is leading to a video poam presently titled Conjoined Constellations whose sound is a studio rendition of the cosmic-fuse poam iteration that was part of the Arts on Earth event. A still from the video poam in progress:
(the Conjoined Constellations of Place and Proximity video poam will be part of the Arts & Bodies Arts Lab on Friday, 6 November at 9:30 am in the Video Studio in the Duderstadt Center)
Listen to the entire Arts & Bodies poetry reading:
As you listen to the entire event, please listen out for another event within the event, one where some of the extraordinary vibrational possibilities of poetry are realized; there is a difference in how language sounds when the poets introduce the poems about to be read and how language sounds within the environment of the poems themselves. As the language of the poem is spoken, space itself is activated by poetic forces, energy, vibration, and the words move apart, become multi-dimensional; more space is allowed for each word to itself become an intellectual and aesthetic habitat; the warping power of the poetic word become apparent; space behaves differently around these words. Sometimes there is an attempt to construct visible evidence of this warping, this displacement, this augmentation of non-poetic event space in the spatial placement and arrangement of the content of the poem, but there is no requirement that visual representation of a poem system betray the vibrational potential of the poem, a weak force perhaps in that much of the energy of the vibrational potential of a text poam goes into the mind and affects primarily perception and understanding, vibrations from interactions with perception and understanding then able to reach and influence human activated, including decision-making and policy-formation, something that perhaps could undergo more frequent encounter with the poetic warping of space that exposes more dimensions to consider in configurations of realities and the impact of a range of configurations on what inhabits those realities.
It is worth noting that the vibrational impulse was so intense as I considered Rogers Place and Proximity that the cosmic fuse poam emerged without the seeking of permission from Pattiann Rogers for the inclusion of some of her text. Because vibrations (idea energy) fused the texts of our pieces into a conjoined, mixed up structure that does not maintain distinction of author integrity within the mix, the text version available here is the fusion, is dependent on being fused; when asked to read a poem for the event by myself and by another author, a scenario system for a fuse poam was enacted. My text poam is an embrace of Roger's Place and Proximity (a form that differs from Roger's typeset intentions for the architecture of text as seen in Eating Bread and Honey It is the child of Pattiann Rogers' text poam and my text poam: Conjoined Constellations. Pattiann Rogers and I are the parents of the cosmic-fuse poam that is the offspring of this marriage I arranged for the occasion of Arts and Bodies. It is our baby that Pattiann, a participant in a conception, is/was (assuming awareness occurs or is occurring now) unaware of as the conception happened, from her (re)configurable point of view, remotely, without the necessity of her consent. And even if now she denies permission, the baby has been born, has a life that is neither Place and Proximity nor Conjoined Constellations alone or separately; it is offspring that inherited from both parents and has its own system of configuration, its own system of being and interaction; it is its own host of vibrations. Here's the text content of Place and Proximity as it appears at Nox Oculis:
I'm surrounded by stars. They cover me completely like an invisible silk veil full of sequins. They touch me, one by one, everywhere-hands, shoulders, lips, ankle hollows, thigh reclusions.
Particular in their presence, like rain, they come also in streams, in storms. Careening, they define more precisely than wind. They enter, cheekbone, breastbone, spine, skull, moving out and in and out, through like threads, like weightless grains of beads in their orbits and rotations, their ritual passages.
They are the luminescence of blood and circuit the body. They are showers of fire filling the dark, myriad spaces of porous bone. What can be nearer to flesh than light ?
And I swallow stars. I eat stars. I breathe stars. I survive on stars. They sound precisely, humming in my nose, in my throat, on my tongue. Stars, stars.
They are above me suspended, drifting, caught in the loom of the elm, similarly enmeshed in my hair. They are below me straight down in the deep. I am immersed in stars. I swim through stars, their swells and currents. I walk on stars. They are less, they are more, even than water even than earth.
They come with immediacy. They are as bound to me as history. No knife, no death can part us.
, though the structure of the text there may in part be an outcome of the idea system interacting with limitation of text display in the book format, which is to say that the vibration patterns of the idea system could map differently in other scenarios, especially scenarios that acknowledge scale as it expands and contracts in the idea system of the poam; like constellations themselves, words appear to be on the same plane although stars, stars may have the proximity of illusion only, the proximity of the limits of human depth perception, that sky a single plane of human perception, a powerful yet inescapable gathering of the stars, tethering them with an inability to separate them into vastly far apart celestial objects that have no alliance to form in their own perspective patterns we see as star neighborhoods, as constellations onto which humans are able to project and illuminate aspects of human understanding; but I would not want to give up the beauty I can impose on star groupings and clusters, the configurable nature of star clusters to form shapes of some of what is familiar and close, a visual intimacy with stars and their radiant invitation to play connect the dots I am reminded of what Gwyneth Paltrow says at the end of Proof, of the navigation of the math being like connect the dots, but at times she couldn't find the next dot or wasn't even sure that there was a next dot, but the tether itself proves trustworthy Here's the trailer):
The paper page, of necessity, of its usual (pop-up books a notable exception) 2D playback of content displayed in its flat (or flattened) environment compresses multidimensional content into a form the flat page can accommodate; most mirrors do not display our faces in 3D. Reading the text poam, experiencing the text poam in a variety of ways can assist in uncompressing the poam. Compression of the text poam so as to inhabit an environment of fewer dimensions flattens those dimensions, rather like nets of polyhedra:
a flattened or compressed form of a dodecahedron:
(from mathnstuff.com) and a dodecahedron and its net:
(from boxvox.net)
At Origami Polyhedra, a step-by-step guide to making compressed and uncompressed forms of polyhedra can be experienced.
As vibrations continue, the fusion system is leading to a video poam presently titled Conjoined Constellations whose sound is a studio rendition of the cosmic-fuse poam iteration that was part of the Arts on Earth event. A still from the video poam in progress:
(the Conjoined Constellations of Place and Proximity video poam will be part of the Arts & Bodies Arts Lab on Friday, 6 November at 9:30 am in the Video Studio in the Duderstadt Center)
Listen to the entire Arts & Bodies poetry reading:
As you listen to the entire event, please listen out for another event within the event, one where some of the extraordinary vibrational possibilities of poetry are realized; there is a difference in how language sounds when the poets introduce the poems about to be read and how language sounds within the environment of the poems themselves. As the language of the poem is spoken, space itself is activated by poetic forces, energy, vibration, and the words move apart, become multi-dimensional; more space is allowed for each word to itself become an intellectual and aesthetic habitat; the warping power of the poetic word become apparent; space behaves differently around these words. Sometimes there is an attempt to construct visible evidence of this warping, this displacement, this augmentation of non-poetic event space in the spatial placement and arrangement of the content of the poem, but there is no requirement that visual representation of a poem system betray the vibrational potential of the poem, a weak force perhaps in that much of the energy of the vibrational potential of a text poam goes into the mind and affects primarily perception and understanding, vibrations from interactions with perception and understanding then able to reach and influence human activated, including decision-making and policy-formation, something that perhaps could undergo more frequent encounter with the poetic warping of space that exposes more dimensions to consider in configurations of realities and the impact of a range of configurations on what inhabits those realities.
It is worth noting that the vibrational impulse was so intense as I considered Rogers Place and Proximity that the cosmic fuse poam emerged without the seeking of permission from Pattiann Rogers for the inclusion of some of her text. Because vibrations (idea energy) fused the texts of our pieces into a conjoined, mixed up structure that does not maintain distinction of author integrity within the mix, the text version available here is the fusion, is dependent on being fused; when asked to read a poem for the event by myself and by another author, a scenario system for a fuse poam was enacted. My text poam is an embrace of Roger's Place and Proximity (a form that differs from Roger's typeset intentions for the architecture of text as seen in Eating Bread and Honey It is the child of Pattiann Rogers' text poam and my text poam: Conjoined Constellations. Pattiann Rogers and I are the parents of the cosmic-fuse poam that is the offspring of this marriage I arranged for the occasion of Arts and Bodies. It is our baby that Pattiann, a participant in a conception, is/was (assuming awareness occurs or is occurring now) unaware of as the conception happened, from her (re)configurable point of view, remotely, without the necessity of her consent. And even if now she denies permission, the baby has been born, has a life that is neither Place and Proximity nor Conjoined Constellations alone or separately; it is offspring that inherited from both parents and has its own system of configuration, its own system of being and interaction; it is its own host of vibrations. Here's the text content of Place and Proximity as it appears at Nox Oculis:
I'm surrounded by stars. They cover me completely like an invisible silk veil full of sequins. They touch me, one by one, everywhere-hands, shoulders, lips, ankle hollows, thigh reclusions.
Particular in their presence, like rain, they come also in streams, in storms. Careening, they define more precisely than wind. They enter, cheekbone, breastbone, spine, skull, moving out and in and out, through like threads, like weightless grains of beads in their orbits and rotations, their ritual passages.
They are the luminescence of blood and circuit the body. They are showers of fire filling the dark, myriad spaces of porous bone. What can be nearer to flesh than light ?
And I swallow stars. I eat stars. I breathe stars. I survive on stars. They sound precisely, humming in my nose, in my throat, on my tongue. Stars, stars.
They are above me suspended, drifting, caught in the loom of the elm, similarly enmeshed in my hair. They are below me straight down in the deep. I am immersed in stars. I swim through stars, their swells and currents. I walk on stars. They are less, they are more, even than water even than earth.
They come with immediacy. They are as bound to me as history. No knife, no death can part us.
, though the structure of the text there may in part be an outcome of the idea system interacting with limitation of text display in the book format, which is to say that the vibration patterns of the idea system could map differently in other scenarios, especially scenarios that acknowledge scale as it expands and contracts in the idea system of the poam; like constellations themselves, words appear to be on the same plane although stars, stars may have the proximity of illusion only, the proximity of the limits of human depth perception, that sky a single plane of human perception, a powerful yet inescapable gathering of the stars, tethering them with an inability to separate them into vastly far apart celestial objects that have no alliance to form in their own perspective patterns we see as star neighborhoods, as constellations onto which humans are able to project and illuminate aspects of human understanding; but I would not want to give up the beauty I can impose on star groupings and clusters, the configurable nature of star clusters to form shapes of some of what is familiar and close, a visual intimacy with stars and their radiant invitation to play connect the dots I am reminded of what Gwyneth Paltrow says at the end of Proof, of the navigation of the math being like connect the dots, but at times she couldn't find the next dot or wasn't even sure that there was a next dot, but the tether itself proves trustworthy Here's the trailer):The paper page, of necessity, of its usual (pop-up books a notable exception) 2D playback of content displayed in its flat (or flattened) environment compresses multidimensional content into a form the flat page can accommodate; most mirrors do not display our faces in 3D. Reading the text poam, experiencing the text poam in a variety of ways can assist in uncompressing the poam. Compression of the text poam so as to inhabit an environment of fewer dimensions flattens those dimensions, rather like nets of polyhedra:
a flattened or compressed form of a dodecahedron:
(from mathnstuff.com) and a dodecahedron and its net:
(from boxvox.net)
At Origami Polyhedra, a step-by-step guide to making compressed and uncompressed forms of polyhedra can be experienced.
Monday, October 26, 2009
Thursday, October 22, 2009
Lyre bird
What I'll do is place recording machines inside the throats of the lyre bird sculptures so that they are able to give informative sounds representing vibration. Animals are wonderful creatures. Like us, the live, breathe, eat, sleep... yet they pose a wonderful challenge to even our finest minds in that they are different from us. They are birds unique and capable of greater good.
Wednesday, October 21, 2009
I'm having issues...
I cannot figure out why I can only adjust pitch on certain regions in GarageBand. I can tell it has something to do with the color of the region but I don't know what the different colors mean... I can adjust pitch on purple regions but not on orange ones. I'm getting very frustrated.
I've been brainstorming and I'm going to find plants that are plants but that are either very manipulated by man or indoors and see how that changes their speech.
THYLIAS I MADE THIS
This is this only one time. one measure. I have to carry the rhythm longer by repeating these guys.
Friday, October 16, 2009
88.3 WCBN live sounds
Wednesday Night I performed on Ann Arbor's WCBN local radio show. This was kind of a good practice of new reworkings of old songs that I am playing on this european tour. I just got settled here at the first venue and just had some dinner, sorry I didn't post wednesday night. I am sending you all nice vibrations from belgium, and here is links to download the individual tracks or you can stream it here...
http://www.clickcaster.com/wcbnlms
download links...
seminal paws -
http://www.megaupload.com/?d=6HZ7DDTK
Kin -
http://www.megaupload.com/?d=P5GT11E4
All Grown -
http://www.megaupload.com/?d=0VVFYJNC
Warm Refines -
http://www.megaupload.com/?d=2E250WY9
Behold -
http://www.megaupload.com/?d=CONJ58AW
http://www.clickcaster.com/wcbnlms
download links...
seminal paws -
http://www.megaupload.com/?d=6HZ7DDTK
Kin -
http://www.megaupload.com/?d=P5GT11E4
All Grown -
http://www.megaupload.com/?d=0VVFYJNC
Warm Refines -
http://www.megaupload.com/?d=2E250WY9
Behold -
http://www.megaupload.com/?d=CONJ58AW
Wednesday, October 14, 2009
Stone
I experimented with the sound of stone. I want a really deep humming that is felt more than heard. I need to work on it more.
Me and rishi workin on my vibration patterns in the studio tonight.
When I am finished I will print many of them and connect them in a long line so the patterns become a greater pattern. A rhythm of images!
underneath I will write out the melody phonetically with the "unspeakable language."
Because the viewer must travel along the prints to read it, there will be a time based element. It is music with everything but the sound.
DJ Adio at Beachwood Place with Phillip Bimstein's "Door" music reveal some of the Vibrational Ways of Doors in Augmenting [Limited Forked] Configurable Spaces
From an interface system and intersection system of interactions comes this involuntary and voluntary collaboration of vibrations:
DJ Adio in Beachwood Place in a front window system of a mall shop, in a corner where two glass walls met, interacting with themselves, with light, and hosting a party of reflections.
DJ Adio in Beachwood Place remixing experience, remixing and reconfiguring interactions, generating, intercepting, re-transmitting, reconfiguring vibrations --wave patterns-- --movement-- of sound and light; there are moments in which reflections of shoppers walking by the store converge in DJ Adio, his jacket becoming a singularity of a moment he is making, he is mixing, as if for forkergirl to configure with help from Phillip Kent Bimstein's music of the door. DJ Adio mixing and remixing the moment, collaborating with all contributing to the moment that he extended and that is now being extended again, to the delight of Limited Fork Theory, the moment, the collaboration expanding, growing, forking, bifurcating in multiple directions, on multiple scales, configuring temporary framework systems for temporary meanings, temporary architectures of possible realities embedded in the configurable (if only in imagination) natures of what exists, what has existed, what can exist;
DJ Adio is a door system exposing some of the ways of doors; the event happens on/in the door itself, is a door not to the event, but to what the event reaches as the vibrations of its activity fan and ripple out --as if seeking connection
AND connecting with forkergirl who adds spoken vocals (Ghost Delay Response Relay) to a soundtrack whose foundation is Phillip Kent Bimstein's The Door (an exceptional track from an exceptional album: Garland Hirschi's Cows) and snippets of a forked collage of Joseph Bertolozzi's Mid-Hudson Bridge Music and tracks composed/played by forkergirl on the Limited Fork iPhone.
Do note: though no space for this DJ Adio system of expansion had been previously allocated, space for the moment opened, stretched, warped into availability when needed; an intensity of interaction bent what was already there, establishing a door system of access.
Thursday, October 8, 2009
Visuals
I took some pictures for the visual element of my sounds.
I'm taking long exposure photos to show movement.
I'm thinking about how I could potentially project the images on a window so they're more transparent without the images completely passing through the window. So far my ideas for what sounds to make have come before taking pictures but hopefully some of the images I took will give me an idea for sound.
Wednesday, October 7, 2009
videos and editing
really happy with the progress I'm making on reinserting the sound effects back into a music video, very interesting, like I'm constructing a world that becomes more and more real with every inlay of sound. I'm also recording almost all sounds myself, which is also very interesting for me. I also like the whole idea of having a structure upon which to apply work, and I don't feel like I'm painting by numbers because 1)this is not an often done thing, and so the product itself will be conceptually (if not actually) interesting 2) the work is engrossing and extremely open ended 3) it's interesting to see how the combination of the sound and video manipulate the two, and my understanding of how the space within the video is perceived.
anyways also check out my video site: www.wavesofbliss.tk
anyways also check out my video site: www.wavesofbliss.tk
Tuesday, October 6, 2009
HYPNOSIS AT THE BIRD FACTORY (an adventure in vibration studies) plus a link to forkergirl's report
To read the vibration studies text report that accompanies and/or supplements and/or configures the hypnosis that occurred at the bird factory on the occasion of finding a feather deep within a halibut, an occasion whose vibrations stabilized as a culmination of a search to find intelligent life in other iterations of realities (the search, the adventure, the video, the report being iterations themselves), click here
Monday, October 5, 2009
Posting Found sounds
Sound experiments
Last year, Words and images Project.
Experiments with organic and manufactured information processing systems.
Sounds in order of appearance: Figuring out an algebra problem under your breath, distress call of an ant, morse code, crickets communicating, computer reading a compact disc, wasp's nest.
I folded these sounds (multiplied them using an audio manipulation program) attempting to find a place where they solidified into some that communicated nothing: true white noise. I ultimately failed because there was no point where I could definitively say that no information was being transferred.
FreeVideoCoding.com
Last year, Words and images Project.
Experiments with organic and manufactured information processing systems.
Sounds in order of appearance: Figuring out an algebra problem under your breath, distress call of an ant, morse code, crickets communicating, computer reading a compact disc, wasp's nest.
I folded these sounds (multiplied them using an audio manipulation program) attempting to find a place where they solidified into some that communicated nothing: true white noise. I ultimately failed because there was no point where I could definitively say that no information was being transferred.
FreeVideoCoding.com
Friday, October 2, 2009
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