Niew Ensemble’s Made In Brazil
aura of listenings throughout noise
Join Our Community Submit Your Listening
organized by {filosonias | fruido} [ϛЖкϿΛѦԊ | email] (facebook | twitter) [issuu | scribd)
Join Our Community Submit Your Listening
organized by {filosonias | fruido} [ϛЖкϿΛѦԊ | email] (facebook | twitter) [issuu | scribd)
… I record a series of notes made in this way, each one on a disc. By arranging the discs on record players, I can, using the controls, play these notes as I wish, one after the other or simultaneously. … With a cinematographic flash-forward, Hollywood-style, I see myself surrounded by twelve dozen turntables, each with one note. It would be, as mathematicians would say, the most general musical instrument possible. Is this another blind alley, or am I in possession of a solution whose importance I can only guess at?
Little Bang Theory, by Pierre Schaeffer | Harper’s Magazine (via sndmchns)
(via sethgoldstein)
8What’s up with listening?
How To Be A Better Listener
Communication is the backbone of a good relationship, and one of the main qualities of a good communicator is being a good listener. Follow these tips to ensure that you become a great listener in all…
Communication is the backbone of a good relationship, and one of the main qualities of a good communicator is being a good listener. Follow these tips to ensure that you become a great listener in all of your relationships:
· Take yourself out of the equation. This is not the time to talk, especially about yourself. You’re there to listen to what they have to say and hear them talk about themselves. So resist the temptation to relate everything back to yourself or talk about how you went through the exact same thing. It’s not about you.
· Put away distraction. Listen with your whole body. This means paying attention to your body language. Turn and face them, turn off your phone, stop looking at the TV, etc. These things all add up to show that you’re really listening.
· Eye contact. Making good eye contact when you’re in a conversation with someone shows that you’re really listening to them. When you look into their eyes it shows that you’re paying attention and taking their feelings seriously.
· Let them know that you’re listening. Set the tone for the conversation by saying something like, “I’m all ears”, or, “I’m listening, you can talk to me about anything”.
· Stop thinking about solutions. Sometimes people just want to talk and have someone listen. They don’t want you to give them a list of solutions or action items when they’re done. And if you’re busy focusing on what advice to give them, you’re not really listening. Just let them talk without worrying about solving the problem or having to give them any advice.
· Ask questions. This shows that you’re not simply listening but that you’re involved in what they’re saying. Asking questions shows that you’re interested and curious and want to really understand what they’re talking about.
· Respect their feelings even if you disagree. If they’re saying something that you have a different opinion on, save arguing your point for another time, or at least until they’re finished. Being a good listener means that you don’t interrupt to argue your side of things. Listen to what they’re saying and respect the fact that they’re entitled to their feelings.
· Ask them how they feel. Take your listening skills to the next level by asking them how a certain situation makes them feel. Instead of just hearing the facts, you’ll open up a more intimate conversation when you ask how something made them feel.
Xenochrony
interstellarchurchpsychictemple:
Xenochrony is a studio-based musical technique developed at an unknown date, but possibly as early as the early 1960s, by Frank Zappa, who used it on several albums. Xenochrony is executed by extracting a guitar solo or other musical part from its original context and placing it into a completely different song, in order to create an unexpected but pleasing effect. He said that this was the only way to achieve some rhythms.
(via dharmadhatu)
![antimuseum:
Symphony of the Surplus/Value: Labour, Valorization & Sabotage in the Metropolitan
Arseny Avraamov[…] He did not want to create the spectacle of liberation as a piece that would be moving but would leave most people as passive observers, but rather as one that mobilized everyone in the city using the instruments and abilities at their disposal.
[…]Based on a stock exchange model, the Art Exchange creates a platform for the collective ownership of works, with shares available from €10 to €100. For a 5 per cent commission, the Art Exchange secures the right to issue shares for a set period of time.
[…] ‘Everyone is an artist,’ proclaimed Joseph Beuys. As an inheritor of the avant-garde desire to abolish the separation between art and daily life, Beuys argued for the realization of a multitude of forms of creativity through out many areas of social life, or forms of social sculpture as he called it (2004). What can we make of this goal in age of semiocapitalism where the dream of ‘everyone is an artist’ has been realized in perverse form as ‘everyone is a worker’ all the time? That is to say, where the relationality ‘sculpted’ through the circuits of an always-present network culture are rendered into opportunities for capitalist valorization, all YouWork and MyProfit?
[…] [Aesthetic] Antagonism is converted into new forms of artistic productivity, in some ways quite similar to the argument made by post-workerists that antagonism to work and exploitation end up shaping new modes of production and accumulation.
[…] As Jacques Attali argued in his important book Noise (1985), modes of artistic production precede and can actually forecast broader changes in economic interactions. Pascal Gielen (2009)has expanded this argument with his recent work on the artistic multitude, arguing that the art world served as social laboratory for the development of the post-Fordist work ethic.
[…] The value of the labours of circulation is that which produces the social evaluation of worth or significance of whatever it is in question. For the work of the old master that is now valued in prices beyond all reasonable imagination, it is not simply that the piece itself has magically accrued value. Rather, there is a whole industry of discussing and evaluating the importance of artists and their work, displaying and exhibiting them, commenting and discussing, cataloguing and curating, building histories, all the work that creates what Howard Becker very rightly describes as ‘art worlds’ (2008). […] This is precisely the point that Isabelle Graw (2010) makes when she describes critics as marketers, which is to say, as boosters of art value, and thus participants in a form of labour that amasses symbolic value that can be translated into economic value on the market.
[…] And more importantly, artists end up standing in as a proxy in the gentrificationprocess, with the ‘bohemian’ lifestyles afforded by these spaces serving as model of imitations for the middle class. Artists find themselves acting as inadvertent proxies for real estate booms and investment. They also further develop modes of combining work and life that, by the impossibility to clearly separate them, end up serving as way to intensify and deepen forms of labour and attachment to work when they are generalized beyond the arts economy specifically.
AN ARTISTIC MULTITUDE IN THEMETROPOLITAN FACTORY?](http://24.media.tumblr.com/b0c1fa0e2626681bfaa05c1c7848930f/tumblr_mmqspoXpQW1s2xs0oo1_500.jpg)
Symphony of the Surplus/Value: Labour, Valorization & Sabotage in the Metropolitan
Arseny Avraamov[…] He did not want to create the spectacle of liberation as a piece that would be moving but would leave most people as passive observers, but rather as one that mobilized everyone in the city using the instruments and abilities at their disposal.
[…]Based on a stock exchange model, the Art Exchange creates a platform for the collective ownership of works, with shares available from €10 to €100. For a 5 per cent commission, the Art Exchange secures the right to issue shares for a set period of time.
[…] ‘Everyone is an artist,’ proclaimed Joseph Beuys. As an inheritor of the avant-garde desire to abolish the separation between art and daily life, Beuys argued for the realization of a multitude of forms of creativity through out many areas of social life, or forms of social sculpture as he called it (2004). What can we make of this goal in age of semiocapitalism where the dream of ‘everyone is an artist’ has been realized in perverse form as ‘everyone is a worker’ all the time? That is to say, where the relationality ‘sculpted’ through the circuits of an always-present network culture are rendered into opportunities for capitalist valorization, all YouWork and MyProfit?
[…] [Aesthetic] Antagonism is converted into new forms of artistic productivity, in some ways quite similar to the argument made by post-workerists that antagonism to work and exploitation end up shaping new modes of production and accumulation.
[…] As Jacques Attali argued in his important book Noise (1985), modes of artistic production precede and can actually forecast broader changes in economic interactions. Pascal Gielen (2009)has expanded this argument with his recent work on the artistic multitude, arguing that the art world served as social laboratory for the development of the post-Fordist work ethic.
[…] The value of the labours of circulation is that which produces the social evaluation of worth or significance of whatever it is in question. For the work of the old master that is now valued in prices beyond all reasonable imagination, it is not simply that the piece itself has magically accrued value. Rather, there is a whole industry of discussing and evaluating the importance of artists and their work, displaying and exhibiting them, commenting and discussing, cataloguing and curating, building histories, all the work that creates what Howard Becker very rightly describes as ‘art worlds’ (2008). […]
This is precisely the point that Isabelle Graw (2010) makes when she describes critics as marketers, which is to say, as boosters of art value, and thus participants in a form of labour that amasses symbolic value that can be translated into economic value on the market.[…] And more importantly, artists end up standing in as a proxy in the gentrification
process, with the ‘bohemian’ lifestyles afforded by these spaces serving as model of imitations for the middle class. Artists find themselves acting as inadvertent proxies for real estate booms and investment. They also further develop modes of combining work and life that, by the impossibility to clearly separate them, end up serving as way to intensify and deepen forms of labour and attachment to work when they are generalized beyond the arts economy specifically.AN ARTISTIC MULTITUDE IN THEMETROPOLITAN FACTORY?
(via paranoetics)
My loathings are simple: stupidity, oppression, crime, cruelty, soft music.
Vladimir Nabokov (via industrialpunk)
(via mediapathic)
99% Invisible: Episode 79- Symphony of Sirens, Revisited
Sirens, for the ancient Greeks, were mythical creatures who sang out to passing sailors from rocks in the sea. Their music was so beautiful, it was said, that the sailors were powerless against it—they would turn their ships towards these sea nymphs and crash in the impassable reefs…
Arvo Pärt has a banana in his ear.
From And Then Came the Evening and the Morning (1989)
Directed by Dorian Supin
……
Resonance is the condition whereby a tiny input autonomously cascades into a much larger output. It occurs when a small vibration interacts with the internal structure of a material and greatly increases in intensity, threatening to destroy the object if pushed beyond a certain limit. Chaos is the point at which order breaks down, when elements in an organized system start acting randomly and autonomously, creating a situation where it is impossible to predict exactly what will happen next or in what order. Both involve limits and thresholds that have been crossed, organization that breaks down, actions that go out of control, systems that collapse—creating something new and unexpected in the process.
Bill Viola, “David Tudor: The Delicate Art of Falling,” 2004 (via cristianvogel)
(via notational)
Alva Noto’s UniAcronym
Newborn infants detect the beat in music
Beat induction (i.e., detecting a regular pulse in an auditory signal; referred to as tactus in music theory) is considered a fundamental human trait that, arguably, played a decisive role in the origin of music, because sensing beat allows synchronization between individuals, such as in dancing and producing music together. In this study, we asked the question whether newborn infants detect the beat of a sequence composed by stringing together several exemplars of a typical rock drum accompaniment pattern composed of snare, bass and hihat sounds (see the animated cartoon). Four non-syncopated variants of this pattern were composed, one having a sound on all eight equally spaced positions and three further by omitting sounds at different, metrically non salient positions. These four strictly metric variants made up altogether 90% of the patterns in the sequence. A strongly syncopated variant was delivered in 10% of the time. This pattern omitted the first sound (the downbeat), causing adults to perceive it as if the rhythm broke, stumbled, or got strongly syncopated for a moment. The electrical brain responses (see the “Recoding Electrical Brain Responses to Sounds” and the “Experimental Procedures for Recoding Electrical Brain Responses from Sleeping Newborns” sections here) illustrated on the animated cartoon show that the babies processed the infrequent omissions of the downbeat differently from omissions that did not break the regular rhythm. Thus it appears that detecting the beat of a rhythmic sound sequence is part of the auditory processing capabilities which are already functional at birth. Our results show that the newborn auditory system is sensitive to periodicities and develops expectations about when a new cycle should start (i.e., when the downbeat should occur). Sensing the beat is not only a necessary for music perception; it is also needed for adapting communication to partners or situations with different speech rhythms by, e.g., finding the right time for when to answer or when to interject. This and other similar high level auditory processing capabilities found in neonates (see e.g., the other sections) show how well prepared we are for music and speech at birth. 
Songs in the Key of Z - The Curious Universe of Outsider Music
