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Potentiality in an Aural Future Imagine what would happen if we as a planet were to open our ears for the simple but direct purpose of enabling anyone who wanted to really hear to do so: anytime, anyplace, without qualification. To be an aural culturalist is to behave as if such a system is already in place. The means are there, if you really thirst for meaningful sonic knowledge. You can hear anything when you begin to think of sound wisdom as not something you get but something you take. This is a very simple sounding premise, but it flies in the face of tradtional thinking. There is a veritable aural insightclopedia at your door, if your desire to lEARn is strong enough, you can find a way to quench your thirst without resorting to a launch.com-munism. Surface-scratching digi-tainment technolusting is a cheap substitute for the thrill of intellectual pursuit. Just a few metaphorical feet above popular culture lies a jet stream of ideas shaped by the geniuses of our species expressing the essence of the human condition through the vehicle of the new music media revolution. Pity those who not paticipate in this Great Conversation. It's accessible to all who seek it. But to be a participant is not the same as using seven second soundbytes as canned adverti-goods. In the lives of ear people, ideas matter. To be knowledgeable of ideas of resonance is to increase the size of one's perceptual horizon. It creates a stage big enough to give us a life of substance. Music centered info-publishers in this age face many challenges: the first is to awaken those who were put to sleep in an attempt to inform them. Audioactivists must use passionate persuasion instead of inert force, discerning discourse instead of rote instruction, and a sense of enthusiasm and adventure over reproach. As concept engineers we must connect the audile library with audacity to bring together those who seek knowledge with those who have wisdom and the enthusiasm to inspire. As a auricular community organizer you must make a compelling case for incredible literacy so that being dynamically literate is seen as so desirable that to be illiterate and not to seek help is unthinkable. ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^INNERVIEW Basically what we do is bypass verbal communication and go straight to the soul. All our music is like experiments to see how we can move people with frequencies and sounds and the vibe behind it is to relax people, maybe make them daydream a bit, think about friends family places, smells tastes, a nostalgic type of music. ~Tom Middleton, Global Communications ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^From billions of possible vibrations, the universe chooses with overwhelming preference those few thousand that make harmonic sense. Why is it so?
^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^ CARETAKING Visionary scholar Terence McKenna is unwell with a serious cancer.Please send him your healing thoughts and energy.
Cards and letters (no packages): Updates: http://www.levity.com/eschaton/
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Musicascienza '99: Word versus Sound, 6:1-9, Rome, Italy
Agora '99, 6:7-27, Paris, France
New Music Technology '99, 6:9-13, Osnabrueck, Germany
International Conference on Systematic and Comparative Musicology, 6:17-20, Oslo E: r.i.godoy@imt.uio.no > before long...
Arcoparty...Italian Night, 6:19, Arcosanti, Cordes Junction, AZ
Since 1995, the California E.A.R. Unit, one of Los Angeles' premiere contemporary music ensembles, has served as ensemble-in-residence for the workshop and provided composer mentors for participants. The California E.A.R. Unit is a new music ensemble dedicated to the performance, promotion and creation of some of the most exciting music of our time. In its seventeen year history, the E.A.R. Unit has brought unparalleled versatility, virtuosity and dedication to its performance.
Concerts Multiphonies, through 6:26, Paris, France
> without delay...
Innerzone Orchestra @ Summerstage, 6:26, Central Park - NYC
Facilitator's Playshops with Arthur Hull
Seattle, 6:12-13
Hawaii, 7:5-11, Camp Mokuleia, T: 831.458.1946
Boston, 11:6-7
Creativity Web is an exhaustive library of inspiration for the
Thomas Dolby Robertson, whose groundbreaking work merged music with computer technology and video, is now bringing a similar fusion of audio-tech to the Web with his company Beatnik. A privately held company incorporated in 1996, Beatnik is poised to capitalize on online music's emergence as one of the hottest developments on the Web today – taking Web sound to the next level – interactivity. With a mission is to develop professional audio tools and technologies designed to "sonify" the Web, Beatnik embeds sound files into silent Web pages so they respond instantly to a user's mouse movements by playing music and sound. Beatnik's platform for interactive audio offers musicians, Web designers and consumers three primary ways to build and experience interactivity through its technologies: Musicians can create music content for the Web; Web designers can sonify their Web pages; and consumers can experience sonified Web sites. Get in on the Beatnik revolution today @ http://www.beatnik.com
Audiomarketecture
If you hadn't noticed, Toffler's "third wave" has washed over us all. In its wake however is not the golden age of information, but the "Blur Age." Instead of being liberated by the intellectual freedom of information, we are becoming mired in a deepening morass of fractured images and superficial soundbytes. We live in what Shelley Turkle calls the "liminal moment" - one dying, and one yet to be born.
Ours is a moment smothered by infomassification so omnipresent yet so indiscernible, it's like looking at your eyes without a mirror. So far, the culture from this fluxing bulk has been denounced as non-stop moot hypermercials without enduring value. We can discern it, nonetheless, in a more faultless manner. We can interpret this erratic, eye-controlled, media-trivia soaked spectacle - our video-death simulating, fast-forward consuming, geeked-out gadget-lusting, adrenelin-addicted king-of-the-mountaineering - as having contrived a new way of hearing. Though while the in-your-face ultracapitalistic supertainment economy undermines our lucidity - it has bluntly actualized new usefulness with a whole new aural literacy for a new kind of ear person.
This new aural literacy is more mixed, synthesized, melanged, collaged, cut-and-pasted, synergized, juxtaposed, layered, morphed, pastiched, sped-up, superimposed, twisted and by turns more complex and chaotic that any "literacy" before it. The communication that is emerging from this new aural literacy is less about function and more about immediate meaning. It's less about unbiased decision-making, linearity, and mass audience, and more about worldview, eclectic translations, and customizable experiences. It's about post-visual methods of creating, organizing, classifying and distributing information. A new way of sonically building brand identity: Audiomarketecture.
Audiomarketecture is premised on the anthropomorphic-oriented philosophy that:
Significantly, Audiomarketecture has pushed us as aural designers closer to the end-user. As market scope is altered, awareness of aural cultural trends has compelled us to practice an assertive process of Essential Integral Creation whereby we seize the wisdom of scenario building, psychographics, and user behavior. Aural design is about orchestrating the emotional ergonomics of the listener by playing to their compulsions, fantasies, and search for meaning.
By designing the experience of the listener down to the smallest IOTA (Interior Optimizing for Total Ambience) and not just the product itself, we can elevate a common form of supertainment into a personal rite of passage. Such experientially-aware media takes into account the music's power to extend the borders of make-believe and to superimpose a technicolor terrain on personal experience. It becomes clear that music is vibrating air, and such is designer aural space, with each track a spatial category. Through them the experience of other impulses and stimuli we generally percieve superficially becomes intense. In these moments one no longer has any tactile senses, one is their tactile senses. The overall result is intensified consciousness, interest and joy, active involvement and experience.
Consequently, Audiomarketecture guarantees the music business-as-usual mindset is out because the changing character of ear people, who have turned away from presupposed mores and sanctioned sources to seek media that embodies the parameters of this new gracious aurality. The future ear market will be fueled by the rise of what Harvey 'Gizmo' Rosenberg calls the "audioxstasist", what you get when an audiophile reaches a higher state of spiritual development where they fully accept the rich multi-dimensional nature of their search for the ultimate relationship to music: ecstasy.
For individuals on this level, high value is placed on psychic fulfillment. They have grown to work at recreation, and won't settle for mezzanine when they can have orchestra seats; such, they do not live their lives but dramatize them. Thusly, Audiomarketecture informs them with myths that affirm their centrality and sanctify their existence. This sonic system can determine not only the way they think, but what, and how they will desire.
The new ear user is in search of, and convinced of, their own excellence, their own aural essence, and their own designer aspirations, and will go to great lengths to seek out product-service-environments that support their ultimate worth or quest for it. This new breed of connois-sumer wants to be enveloped in a unity vibe of easy connectedness in the pursuit of challenging escape. They seek to have their spirits lifted in supportive, specially enhanced settings where the chemistry for flow: the psychology of optimal experience, is ripe. They are looking for temporary idealized realities to inhabit - worlds where all the best possibilities synthesize one's basic needs, chief interests, and special comforts into a integrated whole.
In this scenario, ear people will pay more for experience than goods and services. Consequently, the domains of ambiance and the environment become an extremely important, and therefore, lucrative area. This knowledge gives Audiomarketecture a significant role in creating a highly individualized character in an environment and thus an experience. Designers can release sonic conditions into the spatial atmosphere to elicit tones that simulate the style of living conditions that people crave. It can also establish conditions that inspire the sense of richness that makes a grand occasion seem intimate and an intimate occasion seem grand - thus increasing the psychic quality of life. In essence, Audiomarketecture can provide a meaningful foundation to the pleasure of fulfillment of any activity. But this potential is beyond reach without the imagination to dare to be different and the good judgment that always reflects good taste.
And while the 21st century goes haywire, the new auralist artfully imposes a much need order on our globalsonic milieu. Concerned with the question "What is the aural identity and effect of the spacetime continuum", our intentions are openly political since we are responsible for defining our social ecology. Members of the Earhaus are surreptitiously mutating it right now so that we may percieve audiodata differently and birth new knowledge structures in sound-barrier-breaking ways.
While Audiomarketecture appears as apparent fragmentation to the surface crust, we distinguish it as a significant opportunity, an episode of profound integration. Audiomarketecture posits the nativity of a fresh ear-accelerated design process that is based on emphatic strategy and programmed dis-illusion. Nothing can be taken for granted. And though we struggle with this audiofuturology, we will know it by these telling indicators:
> Silence is more precious than gold These trends, each profound in their own right, are converging so that collectively they suggest innumerable opportunities. It is clear that alongside the mass culture, a aural culture has emerged in full sprint. Aural entities such as Auricle are just the tip of the iceberg of the new myth that grows stronger as Audiomarketecture brings us to the consciousness that we are at the end of the old paradigm. We now stand at the edge of capitalizing on the myths, the roles, and the audio-political models that inform our lives. We have reached, in short, one of those fulcrum points when aural designers are uniquely positioned to circumscribe a new set of social motivations based on a vision of how sound, music, and vibration can fulfill the large, unheralded segments of the population who are looking to cultivate their own personal audiomythology and hyperauralist rituals.
Basilisk is the intelligent biannual journal of architecture, philosophy, literature, film, computer graphics, music, fine arts, and perception
COLLECTIBLES -
transcendent auditional effects
Bill Martin, John Archambault, James Endicott (Illustrator) -
Evoking the beauty and the mystery, the sounds and the silences of rain, Martin and Archambaults marvelous ear for the melodies and rhythms of language, combined with Endicott's spare, almost abstract paintings, creates a lyrical book with haunting power. If you've ever marvelled at the changing sounds of the rain, the slow soft sprinkle, the drip-drop tinkle, the sounding pounding roaring rain, and the fresh wet silent after-time of rain, this epistle will sing to you @
http://www.amazon.com/exec/obidos/ASIN/0805006826/aauricleelofaucu
David Steindle-Rast - 'The Music of Silence: Entering the Sacred Space of Monastic Experience' (Audio Renaissance):
On these two cassettes, Brother David Steindl-Rast, who is celebrated for making the rarity of religious experience approachable to all, explains the sacred character of chant, the self-transcendence of faith, and the wonder of an inner peace possible through silence and listening @ http://www.amazon.com/exec/obidos/ASIN/155927364X/aauricleelofaucu
Asmus Tietchens - 'Da Vieh Und Sein Vater' (Realization)
Germany's acclaimed abstract electronic composer began his experiments in 1965 and his first album was released on the EGG label 15 years later. To date, there has been at least 22 LPs and CDs, plus collaborations with artists such as Arcane Device, Vidna Obmana, PBK, and his long-time producer, Okko Bekker.
Now, at long last, here is the first collection of his rarest compilation tracks. For the Tietchens neophyte, one could hardly ask for a more comprehensive and attainable introduction to his work, covering 14 years of highly influential sound exploration. This is the sound of abandoned sureties for what is new, liberated, and honest. Story telling is out: each piece connects to what has gone before as its significance unfolds in the listener's mind - no plot guides us. The point is to enjoy what is at hand, as in Zen.
This master of deep focus audiography so crucial to aural excitation makes low-key groove structures like slow motion, expressionistic "Caligari" style art to create an atmosphere that is striking in its profound poetry, its future-human quality, and the exquisite balance between space and form. This is a daring experience in the sense that it tries not at all to please, and that in it experiments were attempted that have influenced the current post-industrial scene to a great degree since he has been pushing the boundaries of 'dark ambient', 'isolationism', and 'new electronica' well before these styles were even named.
> Ambiage
Mars Lasar - '11:02' (Uni/Earthtone)
As a conceptual sequel to his superb 'The Eleventh Hour' (Real Music), Lasar, along with his vocalist wife Trish, continues the quest for hope and ultimate creativity, lifting the ontological veil of the status quo to evoke intrinsic human aspirations in their most dramatic aural expression. Using advance synthtech-niques to define that delicate sense of reality that keeps one sane in the face of the pressures of the modern society, Lasar's intrinsic form is conditioned by the stylization of action and the time and space discontinuity. The result is a hypnotic escapade for the inner ear; a stream-of-consciousness autopsy on the brain of the listener via tightly interlocking parts, that once set in motion, proceeds with an inevitable logic. The ingenuity which '11:02' brings to the sonic canvas will nail most listeners to their seats: it entertains, it preaches, it creates tension, it even evokes sympathy to a degree. It's also one of those significant releases of the late nineties which makes use of the potentiality of advanced sound rather than allowing it to control them @
> Electronica
Bjorn Torske - 'Nedi Myra' (Ferox)
Dis-illusioned by electronica's manipulation as a servomechanism for UPS, Oldsmobile, and Levis adverts, Torske lifts off with new atmospheric pressure in an outdoor exersize in keyboard synergism. Hear cocktail piano lines meet clean and shiny atomic beats for a deep break-fast with a view. Feel astringent basslines from a barefooted biosphere hinge itself to whistling urbane melodies that dramatically change the surface temperature in your groove room. Sense the dynamic tension of well-placed attitude engine thrusts, allowing maximum mood circumnavigation over sublime, hazy horizons. A perfect soundtrack for new world fabrication and unidentified flying orgasms of euphonic intensity. T: +44(0) 171 613 3250
> Danse
Various - 'Tom Middleton, A Jedi's Night Out' (Mixmag)
Middleton's selector spread shows a level of imaginative concentration that simultaneously ups the ante for the mix tape with a stereolicious cocktail of cosmic funk and Euro-soul jazz over ice. This briskly shaken session repays several listenings for its holistic passion and intensely realized detail. The triumph is its brilliant evocation of a realistic musical future; one that is recognizably and painstakingly drawn from the modern condition with all it's emotional ebb and flow. Highlights include Sensurreal's 'Offering a Peach' and Amba's 'Aural Seductive'.
> Global
Cirque Du Soleil - 'Quidam'
Cirque du Soleil reinvented and revolutionized the circus arts. What began in 1984 as a small group of travelling performers carting their modest circus paraphernalia from town to town is now acclaimed by an audience of over 18 million worldwide, with numerous prizes and distinctions to its credit. It has been pleasing the public with a novel show concept that is as original as it is non-traditional: an astonishing, theatrical blend of circus arts and street performance, wrapped up in spectacular costumes and fairyland sets and staged to spellbinding music and magical lighting.
Composed, arranged and conducted by Benoît Jutras with lyrics by Jim Corcoran (6, 12), Quidam is a true story, one known to all of us: the tale of human solitude in a world of anonymous faces, on the brink of the third millennium. Juggling the coldness of the faceless masses with the fragile soul of the human individual, Jutras is able to attain a perfect musical balance in styles from ambient to symphonic rock to beaty cyberfunk to gypsy-zydeco. These works, at times stripped down to their simplest instrumental expression and at others built up into full sonorous splendor, reconcile the paradoxes of contemporary society. The impact of the vocals is particularly grand, since Jutras has selected voices that perfectly complement each other: that of a little girl (his daughter, Audrey Brisson-Jutras), the adult voice of Mathieu Lavoie and, finally, the emotional grandeur of a choir. For magical music that touches the soul, this is possibly Benoit Jutras finest moment @
Various - 'Music from the Film "Louise', take 2' (WEA)
Parisian hip-hop jazz-funk packed in a dense double-dose that bekons you to a photoplay aching to be sampled in tech-noir ways. Zoom in as harmonic hornmorphs and incendairy fuzz mutations explode with action adventure to conjure up countless images of wild life after nightfall. Turn on as kicking grooves march over an intoxicated urban outlook hinting at jungle warfare and encounter bop apparitions undergoing furtive glances that mimick a thousand swollen sunrises. This chic, distressed salad is tossed with scrappy rappings and perky bankshot messages that froth along like background scatterings in the smokey rail stations of the mind. Get your trip ticket @ http://www.louistake2.com
Steve Tibbets, Knut Hamre - 'A' (Hannibal/Rykodisc)
The adroit guitaro mobilizes ambiented chamber sounds centralized around Norwegian Knut Hamre's hardanger fiddle, (an atonal violin ala the sitar) while trusty percussionist Marc Anderson, and jazzy bassman Anthony Cox add charmed satellites of Nordic soundwaves to Tibbett's unstrained improvi-spheres that recall all the rugged quirks and subtle qualities of his finest ECM label undertakings. File under free-form fiddlespace emanating under doors of perception leading to fresh gambits in a fluttering migration of wild, wise voices @
High-wired with earphones cutting two tracks, we angled the fractal mics and ganged the pots on our backs. TDK crossed the heads onto the take-up reel and soaked up the synaesthesian sound-shapes of late night, fluorescent rave atmosphere, spearmint lasers looming towards us. (Zoom in and freeze a jerky, wobbling frame. Bass bins rumble. Bodies undulate. Slow breathing. Close-up: mandala orbiting. A rising, startling pitch, a series of short non-periodic bursts. A dull thud followed by high flux - a flitter, a buzz, a tweak. A few hushed voices and then a million microcosmic balls of opulent acoustical design.) A parade of vanishing sound objects - important historical artifacts. Sounds threatened by extinction - dolphin song, the ringing of antique cash registers, hand-operated aqua pura pumps and the tranquil explosion of forgotten cameras. (Cut to wide angle of chill-room. Smell of sandalwood. Magic carpets floating. Home movie of Spaceship Earth. Two men playing tarot in a soniferous garden. The archetypes chanting slowly "Be silent, be still, look within" - and we get it all on tape.
Tuneful Tea: Why does the pitch of a liquid being stirred, change?
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Earsay combines a cool CD label with a hot web zine, a performance series, and a Net music store. The CD label showcases composers whose work displays a rich, carefully crafted sound and a gutsy, intense sensibility @
http://www.earsay.com
^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^ The husband-and-wife filmmaking team of Michael Tucker and Petra Epperlein has created the first art film on DVD with 'The Last Cowboy', the first full-length feature from Nomad, their Berlin-based production house. 'The Last Cowboy' allows the viewer to access to jump back and forth between nonlinear story lines with the click of a button. The result is a multi-layered approach to narrative storytelling, and a technique that allows the viewer to explore the multifaceted nature of human recollection.
Shot from the viewpoint of an unnamed, mythical protagonist, 'The Last Cowboy' uses a first-person perspective to gain entrance into the world of a post-Communist, unified Germany to parallel the recent social upheavals and play them against the backdrop of a reconfigured world @ http://thelastcowboy.com
DanceSite is where seven of Europe's top-rated dance labels - Dance Factory, Additive, Positiva, Flex, Antler Subway, DLA, and Intercord, have joined forces for a singular online adventure @ http://www.dancesite.com
1. Scott Kungha Drengsen - 'Basscapes' (Olde West):
4. Various: 'Source Material' (Sourcelab/Astralwerks):
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Close Encounters of the Ambient Kind 5-22-99 @ 9:28pm
It was one of those balmy winter nights after another long day at the office. I parked the van and grabbed my mail, walked the length of the magic garden as the hypnotic crash of breaking waves lulled me home. Stepping inside I began to shear the tops of the crisp paper packages full of obscure musical suprises from the worlds most peculiar record labels. As rrippp sounds casually tore into the air I noticed how unusually loud a cricket was scraping it's wings somewhere outside my half-closed front door. Like so many other nights before, I pulled out a fresh new jewel box from it's envelope, tossed the parcels on the easy chair and walked to the back of my studio, turned on the wall heater, made a quick spin to my left, this time to drop in the new Newt CD 'Phaseshifting' into my 5 disc player (Quantum Loop: http://www.quantumloop.com ).
The digiplatter fell politely into an open chamber, I pushed play and turned to the left, walked three feet, knelt down and began rewinding the days phone messages on my answering machine which lay on the floor. As the tape sped up with a quiet hum, the subtle music of '-273C' began, and as it did I began to hear the soft ticking of my alarm clock sitting on the shelf directly in front me at ear level. It was in the moments that contained the next two or three ticks that I became aware of something unusual. I heard both the clock arm tick, my tape player click and the sound of Newt move so perfectly in time that I subconsciously sensed that I was about to have a Close Encounter of the Ambient Kind. For no sooner did the second hand move again that from my right side I heard the sound of my wall heater begin to progressively sound it's usual warming-up exersize, yet this time, there was something different.
The sporadic noise creaked rhythmically in a way I had never heard or ever noticed before. And that odd sound in my right ear became even more fascinatingly weird as it crackeled in time with the CD playing directly behind me, the cricket chirp to my front right and the clock tock head on. It was then that I felt an aroused realization that I was witnessing that rare symphony, and perhaps playing in it's trembling orchestrations myself, for my breathing slowly became audible as if my brain was gradually turning up the volume of everything in and around me. Not a pleasurable moment passed when to my left popped in a liquid percussive beat. I turned in amazement at yet another sound entering the mix and saw droplets of water from my kitchen sink spout dripping splosh-plop into a overflowing cup left from my morning's coffee.
I couldn't help but let out a whisper of a laugh for I was smack dab in the middle of a chain reaction, a sensurrounding stereofield of everyday simplicity which moved in grooves of domestic vibrancy. "The perfume of hearing, surging and sighing like pure emotion," I thought as I wished for high sensitive recording equipment to capture this audible idea. I slowly straighten up from my still perch, caught up in the presence of this super-natural soundscape. Even a neighbor walked the stairs past my window, adding another soft step to my heightened state of the ear. I listen with my whole body like a human sampler enveloped in a many leveled veil of song, and flowed perfectly with the rhythm of sonic consciousness centered amidst a circus of separate acts that blended into one prolonged single movement. I was here, now, if only for a moment, and to some extent changed forever.
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Acoustics First Corporation offers a full range of acoustical materials including sound absorbers, barriers, diffusers, and specialty products. These are used in studios for recording, broadcast and multi-media production; entertainment including Karaoke, home theater and critical listening rooms; architectural applications in auditoriums, churches, concert halls, gymnasiums, and theaters; educational and communications functions such as distance learning classrooms and teleconferencing; and numerous industrial noise control situations @ http://www.acousticsfirst.com/
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"Looping is intensifying these days to the point that the whole culture seems to be caught up in a gigantic remake loop: accelerating towards time curved backwards. That's why it's the remake millennium. As the Year 2000 gets closer, the recycle cycle is more intense. Remake cinema, remake songs, remake music eras, remake Martini lunches and cocktail chatter, remake cigars, remake fashion, remake faces, remake politics, remake suburbia. The more things are front-loaded by future pressure, the more society reaches into the grab-bag of the past, and spews out lame remakes and flat-line memes and mutant recombinant images. Under the hyper-stress of a future of seismic shifts and radical structural changes and new technologies and new ways of digital understanding, culture retreats to the remake bunker."
~Arthur and Marilouise Kroker
Positive Feedback is a bi-monthly large-format high end audio report replete with articles, reviews, letters, commentary, even audio cartoons. Published by The Oregon Triode Society, one of the most active audio societies, PF features several top audio names who donate articles and a SE triode/horns emphasis. $25 yr. includes membership in society. 4106 N.E. Glisan, Portland, OR 97232.
44k's webzine, Etronik celebrates creativity in
Artistan: Arcanta "As bizzare as it sounds today, Nietzsche thought eternal reoccurrence was the most scientific idea (in a metaphoric sense) ever concieved. (But surely it is no more bizzare than the notion that only a select few humans will be ressurected from the dead because of a shared idea, then biologically reassemble and live forevor in a Disneyland-like eternity)." Nietzsche asks: "How, if some day or night a demon were to sneak after you into your loneliest loneliness and say to you, This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything immesurably small or great in your life must return to you - all in the same succession and sequence - even this spider and this moonlight between the trees, and even this moment and I myself. The eternal hourglass of existence is turned over and over, and you with it, a dust grain of dust. Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus? Or did you once experience a tremendous moment when you would have answered him, You are a god, and never have I heard anything more godly." No better example exists to show what Arcanta strives for; creating a musical life worthy of emulation, a life with enough meaning so that one would want to live that life over and over again for all of eternity. Hayes sums up: "Throughout our lives we tread near the abyss...Nietzsche claimed that man is a rope across the abyss. His metaphoric scaffold of the Eternal Return - wanting to be the person you are - is a bold attempt to fill this dark space with the light of your own purpose. The Eternal Return portrays one's life as the ultimate project. The brighter the spark in the void, the more likely you would want to experience it over again, and the greater likelihood that your light would add quality to the lives of others...Both Emerson and Nietzsche asserted profusely that, when one is willing to pay the price for existence, this life in and of itself is enough. The profound question each of us should ask ourselves is: If we can't make a short life meaningful, would would be the point of an eternal existence?" Arcanta: http://www.amazon.com/exec/obidos/ASIN/B000000BE5/aauricleelofaucu Excerpts from Charles D. Hayes 'Beyond the American Dream: FACTOID A March Associated press report from Fort Lupton, Colorado detailed punishment for violators of the town's boom-box ordinance: they must report to court weekly to listen to selections of Roger Whittaker, bagpipes, and Navajo flute music.
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~Lily Tomlin
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Sprawl is a reclining UK club featuring the best of today's cutting edge beats and avant jazzy electronica, with guest DJs and live acts taking the beats by the handlebars, every Thursday in the heart of London's Soho at the Global Café. Upcoming nites include:
> 6:17, Obscure drill and bass from Paradigm Shift
Live broadcast: http://gold.globalcafe.co.uk Virtual Sprawlspace: http://www.dfuse.com/sprawl/ ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^CIRCUIT BENDER By Reed Ghazala
"Many persons, including myself, find solace in the sensibilities and new voices of circuit-bending. Many persons, including myself, have tired of the formula music and instruments continually showered upon us by the media and media-following designers. Circuit-bending shatters all these previous standards as it forces new meaning into music."
Music reviews: http://207.137.50.71/reviews/ TOOLS CreamWare has introduced SCOPE (Scalable Object Processing Environment), a PCI board incorporating up to 12 Analog Devices SHARC chips, enabling superb realtime audio sampling, synthesis, effects, mixing, and capture. Several multi-timbral, polyphonic synths can operate in tandem with a wide spectrum of effects and synthesis methods. Nearly all settings can be stored, automated, and controlled remotely, and projects can be traded freely among separated SCOPE systems @ http://www.creamware.com
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Interval Research is a laboratory performing research and carrying out advanced development in:
> Signal Computation: The compression, analysis, synthesis, and modification of audio, video, and image data for uses in entertainment and media production.
> Human Studies: Perceptual and cognitive studies related to media use, including sex-based differences.
> Cognitive Psychology, Perception, & Psychophysics:
> New Media Experiments: Aesthetics of new digital media, in installations, spaces, and objects, as well as screen-based expression.
> Tangible Interfaces: Interaction design involving smart objects, sensing, musical performance, and listening, early learning, and personal reminiscence.
> Digital Home Entertainment Systems: Architecture and design of future home systems for communication, internetworking, media recording and analysis, and entertainment.
In this tradition, one of Interval's projects, 'SoundScapes', was aimed at enabling non-musicians to interact/play music in both a rich visual and sonic form using a standard desktop computer system. As part of this exploration, they designed a series of computer
'instruments' to be played alone or together over multiple networked sites by both musicians and non-musicians. CONNECTIONS
The Los Angeles Cacophony Society is an open network of
creative malcontents, guerrilla artists, slackers, hooligans, kitsch-hounds, and anyone else interested in subverting primetime reality. The Society hosts 3-5 excursions to the fringe monthly. To stay informed, and receive e-mail announcements, send an empty message to: EARWAVES Echoes is a daily two-hour series (five days/week) of evocative, ground-breaking music seamlessly bridging new instrumental, world fusion, new acoustic, impressionistic jazz and inventive vocal styles. Produced by John Diliberto and Kimberly Haas, Echoes presents a modern soundscape of music that draws from a multitude of cultures, traditions and genres updated with innovative technological advances. Daily produced features highlight an artist, new development or event in contemporary music. Monthly Living Room Concerts include a diverse range of intimate performances in artists' homes @ http://www.echoes.org/ ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^OVERTONE Listening begins with being silent, with tranquility. Poets have written about the 'music of silence', about the organ of tranquility. If you want to experience sound, you first have to have learned to experience silence.
~Joachim-Ernst Berendt from 'The World is Sound - Nada Brahma: Music and the Landscape of Consciousness' ( ( ( a ) ) ) A U R I C L E : esoteric rituals for the musical gourmet Auricle is your unconditional test-site for third ear utopianism at the heart of the hearing arts. A contra-radiation flashing in the naked shadows of the datamachine, Auricle honors the vitals of audition as an eternal sign of a sound body-mind via the self-reliant source-code of Auricle Communications, Chicago, Illinois. Meme Keeper: Mark Christopher Riva; who having reasoned with himself, freely tunes his acoustic organ to the possibility of a radically new analysis of power in the age of sonic politics. ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^CONTRIBUTORS
Jah Love, Charles D. Hayes, Tom Middleton, Arthur and Marilouise Kroker, Mixmaster Flow, DJ Kensho, QR Ghazala, Cassandra Moonstone, Harvey 'Gizmo' Rosenberg, Zig Zag, Dr. Technolove, Joachim Ernst-Berendt, Morocco Joe, Professor Freebass, Nick Danger
^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^ DJ's, astronomers, journalists, choreographers, musicians, designers, philosophers, artists, therapists, composers, producers, quantum psycisists, record store clerks, archeologists, engineers, astrologers, record publicists, radio music directors, multi-media developers, psychologists...no matter what you call yourself, if you're deeply passionate about what you hear, then e-mail your comments, missives, top ten's, etc. to us and lend your ear to the listening world.
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Auricle's goal is to expand the aesthetics of musical experience and redefine both the perimeter and limits of musical knowledge. We propose that our readers, unlike the millions of other music lovers who seek new entertainment, are seeking a more intense and profound relationship to music: musical transcendence. Let us be clear that the desire is for more than pleasure. It is for transformation. It is for more than enjoyment, it is for happiness. Auricle exists for this one purpose: to push you over the edge of just listening to music and into the realm where you become it.
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