Listen for yourself by clicking here.
Listen for yourself by clicking here.
When it’s being manipulated by the members of the Boston Typewriter Orchestra. If you try hard enough, you can make music with anything. Give it a look:
Or you could check out this orchestral piece written for typewriter:
Thanks to The Noise Curmudgeon for the heads up.
And here’s Ms. Ochoa’s version of the Imperial March:
And see the stunning photos by Lucas Foglia in his piece for The California Sunday Magazine: A Crack in the Surface.
It’s a breathtaking look inside a massive Alaskan icefield, as Foglia is lowered into the crevasse to take photos and to record the sound of ice melting around him.
Cymatics by Nigel Stanford.
are getting louder. Alastair Boone, City Lab, writes about Stuart Fowkes, the founder of a new project called Protest and Politics, “a sound map that documents the sounds of protest, as they grow louder in cities around the world.” Boone reports that “from Brexit to Trump’s election, the past year has known more protests than many before it,” but he adds that Fowkes’ project includes sound from as early as the Gulf War in 1991.
Protest and Politics is part of a larger program founded by Fowkes, Cities and Memory, which is essentially a world sound map. What makes his new project different is that it is “the first to document the sounds of history.” “What’s great about this project is that it’s little slices of history,” Fowkes explains.
Listening to his recordings of protests in the United States, one can hear the same chants across the country. The “same sort of unity is present abroad,” where “casserole protesting, for example, using pots and pans to make noise in lieu of voice,” which originated in Latin America, is also heard in recordings from Europe and Canada.
Taken together, Fowkes hears “something of a unified voice that’s becoming stronger, becoming louder.” He concludes that “[m]ore and more, people feel like they’re part of something.” And that is what Fowkes hopes people take away from listening to his project. Says Fowkes, “I think there’s a general feeling that we need to rise up and make our voices heard.”
Watch this excerpt from the new film “Being Hear,” about sound recordist and ecologist Gordon Hempton. The film, “[a]t once a profile, a guided meditation and a call to action,” follows Hempton as he records sounds on Washington State’s Olympia Peninsula, a national park that contains the continental U.S.’s only rainforest. Says Hempton,” Nature is music. I’m not asking you to get all theoretical here — I saying, just listen.”
To hear more of Gordon Hempton’s captured sounds of nature, check out his YouTube channel.
Calling Thunder: The Unsung History of Manhattan. Click the link to see and hear a series of videos that recreate the sound of Manhattan when it was known as Manhatta.
Link via Antonella Radicchi.
Daniel McDermon found out when he went to see a work by the artist Doug Wheeler entitled “PSAD Synthetic Desert III.” What is this installation? It’s “a dead-silent room at the top of the Guggenheim Museum.” How did Wheeler creat a “dead-silent room?” According to McDermon, the inside of the room contains “enough noise-canceling material to make it probably the quietest place you’ll ever go, unless you’re an astronaut or a sound engineer.”
We think this sounds delightful, but McDermon states that too much hush can be unsettling. He writes that Wheeler told his colleague that “[i]n a supersilent anechoic chamber, the most that most people can endure is about 40 minutes before they start going batty.” But no worries about losing your composure in Wheeler’s installation, as McDermon writes that “Synthetic Desert” is not “going batty” quiet. Wheeler estimates that his piece may reach as low as 10 decibels, whereas an anechoic chamber can reach “noise levels below the threshold of human hearing.”
McDermon vivdly describes his visit to Synthetic Desert, and it is fascinating. Do click the link above to read his review.
When the unused water tower in question has “an amazing resonant sound and can be played as an experimental instrument.”
WARNING: Some of the sounds are high pitched. Listen on a lower volume setting at first.
Link via @Loundscp.