Saturday, June 24, 2006
Things To Write In New Baby Cards
can not control or structure the acoustic universe. Quite the opposite. This is the reason why companies are considered non-progressive aural, is not look ahead.
If I want to order the world to become a "visionary." Then, I close my ears and built fences, property lines, roads straight walls.
All main topics of science and mathematics developed in the Western world are silent (the space-time continuum of relativity, the atomic structure of matter, wave-corpuscular theory of light) and instruments developed for their study, the telescope and microscope, equation, chart, and, above all, the number, are also silent.
The statistic is a world of silent presumption amounts.
philosophy phenomenal world is a presumed silent.
The world economy is a material that is assumed silent.
Even religion is a God who has become silent.
Western music is also designed from silence. For two thousand years has been maturing within walls. MS
Masterlock Combination Program
All Creation
All traumatic events remain sound as its medium of expression: war, violence, love, madness. Only the disease is silent and does not allow the analysis. MS
All traumatic events remain sound as its medium of expression: war, violence, love, madness. Only the disease is silent and does not allow the analysis. MS
Bottomless Beach Vids
Creation is blind. The creation is sound.
Each creation is original. Every sound is new.
No sound can be repeated exactly. Not even the same name. Each time it is pronounced differently. And a sound heard again is not the same as a sound heard twice, as well as a sound heard before is not the same as a sound heard later. All sound
commits suicide and does not return. The musicians know it. No phrase can be repeated in the same way twice.
R. Murray Schafer
Monster Energy Mori Oldal
sentenced to life
"I do not think I'm writing when I make a fried egg, just for the fact that there is produced a sound." MN
Darren
"I do not think I'm writing when I make a fried egg, just for the fact that there is produced a sound." MN
Friday, June 23, 2006
Dog Sickpain Behind Ears
TEN QUESTIONS TO A LISTENER
Copeland
"Reality itself has begun to be considered a type of writing that must be decoded, even when the photographed images were compared to the top with writing."
Susan Sonntag, About Photography
The purpose of this exercise is to facilitate the discovery of new meanings in sounds that are normally taken for granted.
1. Find a place, indoors or outdoors, public or private, with an interesting set of sounds. Sit there and listen only for 30 minutes or more.
2. When you start listening to try to focus and pay attention to all the sounds that occur around them, no matter how are familiar or mundane.
3. Try to collect in memory and recall as many of these sounds. After several minutes, focus your attention on just one sound. Try to select a sound that you think you will hear frequently.
4. For the rest of the listening session will be aimed primarily its focus to this particular sound.
5. Once you have selected your sound may begin to answer the following question sequence. Spend a minimum of 90 seconds for each question. You can write the answers in a list. Spend more time on those questions that relate more appropriately with their sound.
TEN QUESTIONS 1. From memory, what would you say to describe your sound? What is the most distinctive feature?
2. During what time of day or week is normally hear the sound in this place?
3. From the moment you reached the place, how often he heard the sound? "Would you measure the frequency in minutes, seconds or milliseconds? Does your regularly follows a recognizable pattern?
4. How are complements (or rejected) their sound with other sounds in your environment?
5. What are the objects in their environment that identifies their sound directly or indirectly? Does your environment objects and surfaces that help to illuminate their sound or hide?
6. What are the social, geographical or physical conduct of its environment that its sound could represent symbolically?
7. Do you often find your sound in other environments? How are these environments similar to the one you are now?
8. Is your sound associated with some memories of his past?
9. How does your sound changed from the time you arrived?
10. In general, what is the contribution of this sound to your experience in this environment? Do you have any influence on the mood or character of things around you? Musical Review
In the context of music acousmatic composers often fail to consider the social background or imaginary sounds they use. The dominant tradition of musical abstraction, in fact, encourages the destruction of all social referentiality. Through exercises like this are expected to acousmatic composers to develop a broader awareness of the sounds available to a field recorder. The microphones, after all, should not remain immune to capture the social context surrounding the desired sound source.
Copeland
"Reality itself has begun to be considered a type of writing that must be decoded, even when the photographed images were compared to the top with writing."
Susan Sonntag, About Photography
The purpose of this exercise is to facilitate the discovery of new meanings in sounds that are normally taken for granted.
1. Find a place, indoors or outdoors, public or private, with an interesting set of sounds. Sit there and listen only for 30 minutes or more.
2. When you start listening to try to focus and pay attention to all the sounds that occur around them, no matter how are familiar or mundane.
3. Try to collect in memory and recall as many of these sounds. After several minutes, focus your attention on just one sound. Try to select a sound that you think you will hear frequently.
4. For the rest of the listening session will be aimed primarily its focus to this particular sound.
5. Once you have selected your sound may begin to answer the following question sequence. Spend a minimum of 90 seconds for each question. You can write the answers in a list. Spend more time on those questions that relate more appropriately with their sound.
TEN QUESTIONS 1. From memory, what would you say to describe your sound? What is the most distinctive feature?
2. During what time of day or week is normally hear the sound in this place?
3. From the moment you reached the place, how often he heard the sound? "Would you measure the frequency in minutes, seconds or milliseconds? Does your regularly follows a recognizable pattern?
4. How are complements (or rejected) their sound with other sounds in your environment?
5. What are the objects in their environment that identifies their sound directly or indirectly? Does your environment objects and surfaces that help to illuminate their sound or hide?
6. What are the social, geographical or physical conduct of its environment that its sound could represent symbolically?
7. Do you often find your sound in other environments? How are these environments similar to the one you are now?
8. Is your sound associated with some memories of his past?
9. How does your sound changed from the time you arrived?
10. In general, what is the contribution of this sound to your experience in this environment? Do you have any influence on the mood or character of things around you? Musical Review
In the context of music acousmatic composers often fail to consider the social background or imaginary sounds they use. The dominant tradition of musical abstraction, in fact, encourages the destruction of all social referentiality. Through exercises like this are expected to acousmatic composers to develop a broader awareness of the sounds available to a field recorder. The microphones, after all, should not remain immune to capture the social context surrounding the desired sound source.
Friday, February 10, 2006
Toshiba Tecra Mobility Radeon 9000 Drivers
Patafísica
"The pataphysical is the science of imaginary solutions which symbolically gives the guideline properties of the objects described in its virtuality. "
"The pataphysical is the science of imaginary solutions which symbolically gives the guideline properties of the objects described in its virtuality. "
Tuesday, January 10, 2006
Monday, January 9, 2006
Kates Playground Poses Strawberry
Plá
solo dirty pig
I throwing my cry and see me so unhappy
nobody wants to kiss me because I reek of dung
y hasta se me caen los mocos
y me los como y es penoso
no poderlos compartir
nunca nadie se ha atrevido
a darme un poco de cariño
soy repugnante
un cerdo
peor que un puerco
¿por qué será
que si me miro en el espejo
me entra ese mal sabor de boca
y tengo ganas de escupir?
¿será de rabia que escupo
por mi asqueroso destino?
yo voy peor que un marginado
pero si reniego del sistema
o maldigo esta sociedad
si me cago en este mundo
me cago en el calzoncillo
no me contengo
no puedo evitarlo
me cago en todo
luchando contra mi sino
I would not even the slightest smile
'm glad because if I choke burp
in my joy and always a fart escapes me when I get happy
not stand it I can not stand it
why is it?
my being is a rubbish dump
misery
a big pile of crap to me scrambling
guts of both disgust and vomiting
I
sad when I look at what I am
my life is a
nightmare
sometimes dream that I am pure and sensual fragrance scented
and smells so good that dream sweet ambrosia
spring breeze
who could sleep forever but then I wake
:
and turned to crap over and went back to mess
bed
and again I encounter in my stinking reality
my last fetid rotting
my future
with my foul stench of bitter truth
I suffer from a horrible evil
a so-called mental diarrhea
solo dirty pig
I throwing my cry and see me so unhappy
nobody wants to kiss me because I reek of dung
y hasta se me caen los mocos
y me los como y es penoso
no poderlos compartir
nunca nadie se ha atrevido
a darme un poco de cariño
soy repugnante
un cerdo
peor que un puerco
¿por qué será
que si me miro en el espejo
me entra ese mal sabor de boca
y tengo ganas de escupir?
¿será de rabia que escupo
por mi asqueroso destino?
yo voy peor que un marginado
pero si reniego del sistema
o maldigo esta sociedad
si me cago en este mundo
me cago en el calzoncillo
no me contengo
no puedo evitarlo
me cago en todo
luchando contra mi sino
I would not even the slightest smile
'm glad because if I choke burp
in my joy and always a fart escapes me when I get happy
not stand it I can not stand it
why is it?
my being is a rubbish dump
misery
a big pile of crap to me scrambling
guts of both disgust and vomiting
I
sad when I look at what I am
my life is a
nightmare
sometimes dream that I am pure and sensual fragrance scented
and smells so good that dream sweet ambrosia
spring breeze
who could sleep forever but then I wake
:
and turned to crap over and went back to mess
bed
and again I encounter in my stinking reality
my last fetid rotting
my future
with my foul stench of bitter truth
I suffer from a horrible evil
a so-called mental diarrhea
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