Day In, Day Out

Global Breakfast Radio is a free internet radio station that constantly streams live radio broadcasts from wherever the sun is rising right now. Created by Daniel Jones and Seb Emina in 2014, it spans 107 countries over every time zone across the globe, broadcasting live 24/7 at https://www.globalbreakfastradio.com

This ‘digest’ of the project condenses a day’s worth of clips into ten minutes, forming Global Breakfast Radio’s first ever recorded edition. It was unveiled on radio station Resonance Extra on 25 September 2021 as part of Without Reduction, a broadcast event to launch the twelfth issue of the journal The Happy Hypocrite:

https://bookworks.org.uk/publishing/shop/the-happy-hypocrite-without-reduction-issue-12/
https://extra.resonance.fm/series/without-reduction

Representing a single rotation of the Earth as seen from a static ‘dawn"s eye’ perspective, the recording offers an anarchic snapshot of humanity as eavesdropped during a single summer’s day. That day was 17 July 2021. 

The creation of ‘Sixty Daybreaks’ coincides with a major expansion of Global Breakfast Radio, Daniel and Seb having spent several months deepening the pool of radio stations that the project draws upon.

Sixty Daybreaks (Global Breakfast Radio: 17 July 2021)

Spoken edition of the chatbot conversation created by Yiran Sheng.
Original transcript: http://www.yiransheng.com/2010/03/bot
The participants are Jabberwacky (male): http://www.jabberwacky.com/
 ...and Splotchy (female): http://www.algebra.com/cgi-bin/chat.mpl


Chatbot conversation

Jürgen Müller, <i>Sauerstoff Blasen (Oxygen Bubbles)</i>
Miley Cyrus, <i>Wrecking Ball</i>

For Tom Moore.

Image: National Geographic

Oxygen Bubbles (Wrecking Ball edit)

Black Sea, 2009.

Composed from fragments of  "Erkek Kadin Oyun Havasi", a Turkish folk song for the kemençe.

Black Sea

Sound recording of a data walk made with the Phantom Terrains platform, sonifying the hidden landscapes of wireless networks.

The sound of each network is heard originating from the router's geographical location, producing clicks whose frequency rises with the signal strength — akin to a layered series of Geiger counters. Routers with particularly strong signals "sing" their network name (SSID), with pitch corresponding to the broadcast channel, and a lower sound denoting the network's security mode.

http://phantomterrains.com/

Phantom Terrains data walk: BBC Broadcasting House

A collage of foley footsteps created from programmes broadcast and recorded within the BBC media archive.

More about this piece:
http://www.erase.net/weblog/2015-02/footsteps

[FOOTSTEPS]

The startup sounds from Windows 95 to Windows Vista, played back at 4000% of their original duration.

Published to mark the occasion of the 20th birthday of Windows 95. Happy birthday, Windows 95.

Windows XP Startup Sound (slowed 4000%)

Windows Vista Startup Sound (slowed 4000%)

Windows NT Startup Sound (slowed 4000%)

Windows 2000 Startup Sound (slowed 4000%)

Windows 98 Startup Sound (slowed 4000%)

The startup sounds from Windows 95 to Windows Vista, played back at 4000% of their original duration.

Published to mark the occasion of the 20th birthday of Windows 95. Happy birthday, Windows 95.

__ UPDATE: More about the work:
www.erase.net/weblog/2015-08/win…sounds-slowed-4000

Read more about the composers responsible for these iconic sounds:
createdigitalmusic.com/2015/08/windo…mbient-music/

Windows 95 Startup Sound (slowed 4000%)

An algorithmic drone composition.
Generated with Isobar:
https://github.com/ideoforms/isobar

Bjorklund Drones

First trial of Python interface to PCR1000 serial-controlled radio receiver, scanning from 90Mhz to 110Mhz wideband FM.

Timestamp of scan: 2012-09-08 1255

Automated FM scan, 90-110Mhz

Combining isolated guitar parts from 7 Van Halen tracks:

I’m The One
Ain’t Talkin’ ‘Bout Love
Jamie’s Cryin’
Atomic Punk
Somebody Get Me A Doctor
Loss of Control
Romeo Delight

Seven Van Halen guitar solos played simultaneously

Excerpt from The Listening Machine, a generative orchestral composition which used the online conversations of 500 people to create a piece of ever-changing music.

Continually observing the anonymous participants' Twitter activity, the piece analysed their speech and translated its meaning, sentiment and natural rhythms into musical patterns, played back using a huge archive of sound material recorded with the Britten Sinfonia chamber ensemble.

For more information about The Listening Machine, see http://www.thelisteningmachine.org/

The Listening Machine (excerpt, 8 August 2012 08:45)

(4/4) This is the fourth of four excerpts from a 24-hour recording of The Listening Machine, a generative orchestral composition which uses the online conversations of 500 people to create a piece of ever-changing music.

Continually observing the anonymous participants' Twitter activity, the piece analysed their speech and translated its meaning, sentiment and natural rhythms into musical patterns, played back using a huge archive of sound material recorded with the Britten Sinfonia chamber ensemble.

For more information about The Listening Machine, see www.thelisteningmachine.org/

The Listening Machine excerpts: Nighttime

(3/4) This is the third of four excerpts from a 24-hour recording of The Listening Machine, a generative orchestral composition which uses the online conversations of 500 people to create a piece of ever-changing music.

Continually observing the anonymous participants' Twitter activity, the piece analysed their speech and translated its meaning, sentiment and natural rhythms into musical patterns, played back using a huge archive of sound material recorded with the Britten Sinfonia chamber ensemble.

For more information about The Listening Machine, see www.thelisteningmachine.org/

The Listening Machine excerpts: Evening

(1/4) This is the first of four excerpts from a 24-hour recording of The Listening Machine, a generative orchestral composition which uses the online conversations of 500 people to create a piece of ever-changing music.

Continually observing the anonymous participants' Twitter activity, the piece analysed their speech and translated its meaning, sentiment and natural rhythms into musical patterns, played back using a huge archive of sound material recorded with the Britten Sinfonia chamber ensemble.

For more information about The Listening Machine, see www.thelisteningmachine.org/

The Listening Machine excerpts: Morning

(2/4) This is the second of four excerpts from a 24-hour recording of The Listening Machine, a generative orchestral composition which uses the online conversations of 500 people to create a piece of ever-changing music.

Continually observing the anonymous participants' Twitter activity, the piece analysed their speech and translated its meaning, sentiment and natural rhythms into musical patterns, played back using a huge archive of sound material recorded with the Britten Sinfonia chamber ensemble.

For more information about The Listening Machine, see www.thelisteningmachine.org/

The Listening Machine excerpts: Daytime

Daniel John Jones is a sound artist based in London, UK.

RECENT WORK

Vespers (with James Bulley, 2015), a drawing machine that draws a musical score each day based on the activity of UK web users  | http://vespers.jones-bulley.com/

Living Symphonies (with James Bulley, 2014), a musical composition that grows in the same way as a forest ecosystem | http://livingsymphonies.com

Phantom Terrains (with Frank Swain, 2014), a platform for ubiquitous sonification of wireless network landscapes | http://www.phantomterrains.com

Global Breakfast Radio (with Seb Emina, 2014), an autonomous radio station that broadcasts live radio from wherever the sun is rising | http://globalbreakfastradio.com/

The Listening Machine (with Peter Gregson, 2012), a 6-month-long online composition which translates social network dynamics into a piece of orchestral music | http://www.thelisteningmachine.org/

Variable 4 (with James Bulley, 2011), an outdoor sound installation which transforms live weather conditions into musical patterns | http://www.variable4.org.uk


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