eixa na mpw kairo sto soundcloud, kai twra kathisa kai akouga diafora. bravo Mitso!

Μαγευτικό, ταξιδιάρικο και επικίνδυνο. kudos.

Francesco Giomi: Alla carta

Field recording from Morteratsch Glacier (Swiss Alps) in June 2016. Recorded with JrF hydrophones in various entry points (ponds, crevasses, melted into the ice) and layered together with gentle filtering. Additional recordings by Seonju Kim.

Inside Morteratsch Glacier

Maybe ok

Winter yard atmosphere recording, recorded with Sennheiser Ambeo VR mic and Sonosax SX-R4+. Decoded to binaural stereo.
Captured at 24-bit/96 kHz.

Winter Yard Atmosphere - Ambeo sample

'They wanted to bury us, but they did not know that we were seeds'

In September 2014, 43 students from Ayotzinapa Teacher Training College disappeared after clashes with police. The policemen are believed to have handed the students over to drug cartels who are then believed to have executed them and burned the corpses in a junkyard in the outskirts of Cocula, Guerrero.

Achtli means seed in náhuatl (an ancient Mexican language). I wrote this piece as a protest demanding action for the missing students. The work was created feeding a MAX/MSP patch with the names of the 43 students in order to transform the characters into musical parameters as timbre, pitch, duration, intensity and gesture.

This piece is a cry for justice and it is part of the global action for Ayotzinapa.

Achtli

Old Finnish tale says, that the call of Black Woodpecker means a death nearby. Maybe, and maybe in this case? (11.54)  Many hunters are leaving the rests of killed deers in the forest, and Raven, the telltale, will reveal these. One day, with a warm southerly wind, I found rests of slaughter in the woodland, thanks   to Raven. Hide the mics there for two hours, and this is from the end part there.

Updating www.baltic.fi

(MKH8020ab60cm, SD702, +3dB, no eq, 24/48flac)

Jan Eerala Finland

Taiga talk - 5/11/2018 - Finnish Forest

Four excerpts in one file of: 
Opus Morturarium, Opus Autopsia, Opus Crematio & Opus Putesco. 

Opus Mors is four listening spaces for one of the existential and natural aspects of being alive, which is death. The project portrays four sound environments that the human body commonly will be surrounded by or exposed to in the immediate post mortem: a morgue, an autopsy, a cremation and the decomposition - events that no one will ever get to sense on their own bodies because of the very fact of death.
The work is an immersive, intimate and powerfully detailed sonic meditation into these four significant death spaces.

OPUS MORS 
A sound work on four significant death-spaces

Four listening spaces for one of the existential and natural aspects of being alive, which is death. The project portrays four sound environments that the human body commonly will be surrounded by or exposed to after dying: a morgue, an autopsy, a cremation and the decomposition - events that no one will ever get to sense on their own bodies because of the very fact of death. OPUS MORS is an immersive, intimate and powerfully detailed sonic meditation into these four significant death spaces. 
Opus Morturarium
Two ambient recordings made inside two morgues listens within the deep tones from the facilities that keep the corpses cold

Opus Autopsia
Detailed near-field sound recordings of a full autopsy starting with opening the corpse, following the removal and slicing and cutting open all the organs and brain, to finally returning all the organs, closing and washing the corpse. This work reveals each unique sonic timbre of the human organs. 

Opus Crematio
Coffin being rolled into the oven, the oven's different burning stages, the removal and relocation of the ashes into the ash cooler and then to the bone crusher. Finally, the ashes being poured into the urn. Vibration sensors placed on the surfaces of the oven reveal the inside sound environment of the oven. 

Opus Putesco
Sound recordings made at a forensic study facility where donated corpses are placed in an enclosed nature area to decompose
while being studied. This work was made from near-field sound recordings of decomposing corpses recorded with
measurement microphones placed 1 cm above - as well as with vibration sensors inside the corpses. 

Exclusive deluxe release of 4 LP set in 180g black vinyl. Packaged in archival handmade box, bound in linen and embossed, including five unique prints on Tyvek paper. Signed and numbered limited edition of 250.

Graphic Production by Eks-Skolens Grafisk Design & Tryk
Mastered and cut by Mike Grinser at Manmade Mastering
Pressed at Pallas.

Recorded, designed, composed and mixed by Jacob Kirkegaard © 2019

Jacob Kirkegaard - OPUS MORS (TOPOS 04)

Telchines were four mysterious magician-smiths and sea daimones native to the islands of Keos and Rhodes. They invented the art of metal-working and were said to have crafted the sickle Kronos used to castrate his father Ouranos and later a magical trident for Poseidon which the god used to lever mountains into the sea and form the islands. Their malignant use of magic later angered Zeus, who cast them beneath the sea or into the very depths of Tartaros. These strange Sea Daimoneswere sometimes described with the heads of dogs and fish-flippers for hands.

Telchines (2012)

Re-imagining the Jurassic is a miniature created in response to the ArtXClimate call for the creation of miniatures of sound art related to climate change effects and the global environmental crisis.

It has grown out of a soundscape which I created for the 'Scarborough's Lost Dinosaurs' exhibit at the Rotunda Museum (originally created by William Smith, the father of modern Geology). 

The soundscape has been constructed out of separate elements in order to recreate the sounds of the same spot in Scarborough which the Rotunda inhabits, but 165 million years ago, during the Jurassic period. This is based on geological data.

The soundscape contains no birds, as they hadn't yet evolved. It does, however, contain the sounds of mosquitos and dragonflies, as those species haven't changed since Jurassic times. 

It also contains the sound of Archaboilus musicus. A kind of cricket which lived during the Jurassic period, but has since become extinct. This piece uses the call of the Jurassic cricket, re-synthesised by researchers at Bristol university, based on fossil evidence. http://www.bbc.co.uk/nature/16878292.

The presence of herbivorous dinosaurs has been inferred by the sounds of breaking leaves and twigs from their grazing movements. A distant stream can also be heard.

Re-imagining the Jurassic was one of a number of shortlisted Sound Art Miniatures selected by an international jury for the art! ⋈ climate contest related to climate change effects and the global environmental crisis. This was run in collaboration between the ‘Red Cross/Red Crescent Climate Centre’ and CEIArtE (Centro de Experimentación e Investigación en Artes Electrónicas), Universidad Nacional de Tres de Febero.

Re-imagining the Jurassic

Soft sand being blown over a hard crust of sand on a dune in the Namib desert. Read about my expedition to Namibia at https://mindful-audio.com/blog/namibia-sound-recording-2020

Skeleton Coast - Sand Dune In Moderate Wind

I'm contributing some sounds to an upcoming crowdsourced Water & Ice sound effects library. For my contribution, I pulled recordings from a coincidentally-timed recording trip. I recently spent a few very (very) cold nights camped next to a few frozen lakes listening to (and recording) their heaving and sighing and cracking and sloshing. This is a preview of what I heard and will be in the library.

This is a short compilation of some really cool sounds emanating from the lakes. I must emphasize that there is *no* processing here (other than simple editing). Th method here was just set the mics up and let the ice sing (and then edit the takes together). This compilation represents 25 takes that will be included in the crowdsourced library.

There is plenty more where this came from. Fell free to message me if you're interested in hearing more.

Water And Ice Preview

I am an electroacoustic\electronic and soundscape music composer, sound designer, live-electronics performer, researcher, and educator. I hold a Bachelor's degree (distinction) in music composition from the Ionian University, a Master's degree (distinction) in Electroacoustic composition from the University of Manchester and a fully-funded PhD degree from the University of Sheffield. 

My compositions have been performed in a total of 86 international music festivals such as In Sonic 2017: Immersive Future [ZKM Center for Art and Media], Cube Fest 2019-Sound in Focus III [Moss Art Centre, Blacksburg], ICMC 2014 [Athens], New York Electroacoustic Festival 2021. Many of my compositions won prizes in prestigious competitions such as Metamorphoses 2012 -2014 -2018, Iannis Xenakis 2018 and SIME 2019. Ten of my works have been published on important collective records (indicatively: Metamorphoses 2012-14-18-20, Anthology of Contemporary Music from Greece and CIME 2020). I have also collaborated with artists and researchers across various mediums, including contemporary dance, performing arts, video art and installations, documentary, and VR projects, to design sound and compose music and soundscapes for their works.

As a live-electronics performer, I have played in the ensembles like ASABE, Tyto Alba, [DI]AFANEIS HEROES, and have also performed solo acts in concerts including Machines of Mantic Stain, Confusion / Irrational Collectiveness. As a visiting lecturer, I have taught the course Electronic/Electroacoustic music and Sound Arts at the Department of Multimedia and Graphic Arts of the Cyprus University of Technology and the course Sound and New Media at the Department of Fine Arts. Additionally, I have served as a teaching assistant for the Music Technology course at the University of Sheffield and the Electroacoustic Music Composition and Live-Electronics courses at Ionian University.

I have been invited to give seminars and workshops on topics such as electroacoustic music composition, ambisonic recording and multichannel compositional techniques, soundscape theory and composition, acoustic ecology, soundwalking, deep-listening and my own compositional method called dramatised-performative narrative (Franz Liszt-SeaM 2014, Weimar; 11th Sonic Arts - Summer Academy and Festival, Akousmata, 2017 and 2018, Corfu; Cyprus University of Technology, 2022, Limassol).

As a researcher, I explore compositional methods and practices and presented my findings in my PhD thesis, "Dramatised-performative narrative in electroacoustic composition" and the conference paper, entitled as "Expanding the classification of narrative phenomena in electroacoustic music: from intra and inter musical narrative to performative and dramatised-performative narrative". I have also worked for two years as a research associate at the Cyprus University of Technology, contributing to various projects as a composer, sound designer and editor.

Telchines (2012)

Dimitris Savva

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