i just read your thing about quantum mechanics, what it comes down to is that western science/mind has a concept of a 'real' tangible version of reality, what quantum mechanics has now proved is that nothing and everything is 'real', or if it can be imagined then it becomes 'real', a multitude of multi-verses all the same all different, ....sort of :)

@anhuman: you're welcome. Honored of your great appreciation :)

Improvising with Lekko into Cocoquantus into Cosmos, into a mixer with BIM and BAM on sends and BOUM for compression

Cosmos Lekko Test2

an improvised performance that took place during Oooh festival in Ragusa, 2022
three woman from Iran, Israel and Ukraine, tired of repressions, fighting and war. 
Mahsa Salali - voice, movement 
Dorit Weintal - voice, movement 
Snezhana Reizen - live electronics 
and 
Vittorio Ballato - didjeridoo 



the picture made with AI in photoroom with code-words "there is no freedom, only the process of becoming free, lightning in the body, realistic, 3D"

Oooh Raguza 22 Mahsa Salali, Dorit Weintal, Vittorio Ballato, Snezhana Reizen

I'm happy to finally release my first debut EP.

I wrote it 3 years ago, in spring 2020. I was inspired by my hometown — Pavlovsk, Russia, where I spent my lockdown during the Covid pandemic. I was trying to create something simple, but beautiful, cause my main goal in art is ti bring in the world as much beauty as I can.

So, now is 2023, I left my homeland and my life completely changed, so this release warms me ap with good memories from the other life and puts an end to my desperate times in art, because I became more free and I'm going to create a lot of stuff in the near future.

Choir

A Strange Dream

Recorded by https://soundcloud.com/lucie-pilon, zoom H5
Music box : "D'où nous sommes... Isidor version", played by Akira Inumaru

Exposition nocturne Akira Inumaru et Isabelle Franck chez Nanza, 2 septembre 2023

Original Track :
https://soundcloud.com/applicant/open-sky

Applicant - Open Sky (Senglar Rmx)

Yamaha is in the snow

The deeper I am investigating field recording as both artistic and listening practice, the more I become aware that each recording session is an intrusion into the landscape and that the landscape, whatever historical, biotic, or environmental system defines it – is sentient to my presence.

No matter how considerate my “intrusions” are, an abstract form of communication always takes place, and it largely depends on my ability to maintain this connection, which goes beyond the soundscape and sonic properties of the place. In this sense, my capacity to employ deep intuition and activate a specific neural architecture developed through a compound of skills also defines the recording process and its future aesthetic transformation. Thus, making a field recording fully personalized practice and soundscape composition a discipline of open interpretation, as well as a vast field for misuse and false representation. Regardless of an evaluation system, whether we contemplate an act of listening through scientific observation of one’s cognition event boundaries or through the capacity to comprehend the existential phenomenology of Zulu spiritualism, the possibility that two or more listeners can have the same listening experience is minuscule.

We are all deeply rooted in a diversity of psychological constructs; neural and sensory imprints, memory compounds, cognitive abilities, and many body-mind pathways determining our current psycho-physical state. Therefore, if the field recording practice is based on any form of active listening – it is a discipline based on interpretation.
With that in mind, I am asking: How do we approach the landscape of severe devastation and a dense history of warfare? Knowing that serious ethical and moral consequences are involved in the effort to interpret a particular soundscape.

In the work “ghosts” I am using obsolete instruments – a modular synthesizer built in 1970, a discarded wheelchair wheel salvaged from the Adriatic Sea, and the piano fallen in disuse which belonged to the Austrian conceptualist, filmmaker, improviser, photographer, environmentalist, and writer – Karl Katzinger aka John Tylo (October 1953 – April 2021). Next to these elements of the past and their voices rediscovered, I am incorporating hydrophone and field recordings from several locations appropriating them through the discourse of critical tourism and a culture of memory – more specifically through listening to the inherent memories of environmental devastation due to exploitation of natural resources as well as warfare – in the South Adriatic (Old town Dubrovnik and island of Vrnik), and the Czech-Austrian borderlands nearby of Mauthausen–Gusen concentration camps. 

--

Instruments:
EMS Synthi 100
Wheelchair wheel salvaged from the sea
John Tylo’s old piano

Field recordings:
Dubrovnik – Stradun air conditioning units and collection of rubbish containers
Vrnik Island South Adriatic – crickets in an ancient limestone quarry
Adriatic dolphins *hydrophone recording by Robertina Šebjanič
Harrachstal village on Czech-Austrian borderlands – crickets in the abandoned granite quarry
Hydrophone recordings of the river Schwarze Aist
Train coming into Freistadt train station in Austria

All sounds performed, recorded, composed & edited by Manja Ristić
Some sounds gathered at the SHAPE + musikprotocoll residency, July 2023

Hydrophone used for an underwater recordings made by Jez riley French
jezrileyfrench.co.uk

Mastering by La Plant Studio
laplantstudio.com

Bandcamp

ghosts

I got to spend December 2023 recording in several jungle locations in Costa Rica. The experience was wonderful and inspiring. Most of the trip was spent on Osa Peninsula, in lodges that bordered Parque Nacional Corcovado (Corcovado National Park). With nearly 2.5% of the world's species represented, many of them endemic, it is  recognized as one of the most biodiverse regions on the planet.

On the same morning as the previous  Midnight Chorus recording https://soundcloud.com/soundeziner/cr-fincasueno-midnightchorus, a troop of Golden Mantled Howler Monkeys greeted the Dawn and their neighbors (and the rest of the jungle) the only way they know how. Male mantled howlers have an enlarged hyoid bone, a hollow amplifying bone near their vocal cords that gives the ability to generate great "howling"  calls that can heard for kilometers.  Howling allows the monkeys to exercise territory and remain in contact  without expending energy through movement or bearing the risks of physical confrontation. As someone who likes little more than sitting in a forest listening to nature speak, I approve of this lazing behavior.

While this howling is their most well-known vocal characteristic, I'm rather fond of the popping and grunting that warms up to the howl and pads the time in between. It's relatively quiet, and is most noticeable only when near the vocalizing howler. The best description of it that I can think of is like the "vocal fry" not uncommon in many of today's pop singers. Check it out near the start of the first round of howling around 2:40 (link in the comments)

After a first round of loud howls, the group takes a break. With what is known about Mantled Howler activity, they're likely sleeping, or maybe eating. After 20-is minutes, they pick up again for a brief session before settling back down. It's possible they've been moving during this time as they're quieter during this round. Finally, just before Sunrise at 05:38 in the morning, they pick up again, slowly building and then tapering off after nearly 30 minutes of vocal exercising.

After speaking with other recordists, I know I am far from alone as someone who loves their sound, but I I may be one of the few that enjoys waking up to their calls. Every morning I heard this in the distance or nearby was a morning I walked out to breakfast with a big silly grin on my face.

Another voice that has become a personal favorite is the Yellow-throated Toucan, with their rhythmic, bouncing song that seems to carry on forever. There is at least one singing for most of this recording, but you can get your first good listen behind the Howlers at 53:27 or skip ahead to 1:06:02 to hear two singing at each other.

Hummingbirds are abundant, and you'll hear their buzzing wings fly by and around the microphones numerous times. Also coming and going are raucous and noisy Scarlet Macaws and Red-lored Parrots, a lone Red-eyed Tree Frog, a visiting Little Tinamou, and more. 

I'll point out a few voices along the way in the comments, but I'm out of my depth when it comes to identifying neotropical birds, so I'll largely let the ecosystem speak for itself. Feel free to poke around with links in the comments to scoot around the recording, or just let it play out over your morning coffee like I do.

Feel like seeing some fancy colors? I've been playing at visualizing soundscapes lately. Check out the video for this recording on YouTube: https://youtu.be/duxU2INkyXI?si=xhIrgiHiOSOk922l

AMNS Costa Rica 01

Golden Mantled Howlers at Dawn

https://unexplainedsoundsgroup.bandcamp.com/album/electrons-a-scientific-essay
Sonologyst: synthesizers, processing, mastering. 
Cover: electro-magnetic fields. 
Edited by Unexplained Sounds Group 
All rights reserved 


As the theory of the atom, quantum mechanics is perhaps the most successful theory in the history of science. It enables physicists, chemists, and technicians to calculate and predict the outcome of a vast number of experiments and to create new and advanced technology based on the insight into the behavior of atomic objects. But it is also a theory that challenges our imagination. It seems to violate some fundamental principles of classical physics, principles that eventually have become a part of western common sense since the rise of the modern worldview in the Renaissance. The aim of any metaphysical interpretation of quantum mechanics is to account for these violations. 

In this theory, the electron had maintained some measure of identity as an independent physical system. Even this was lost as the electron continued to mutate into forms ever more remote from Thomson’s corpuscles. In Jordan and Wigner’s (1928) theory, under second quantization of the singleparticle electron wave function, the electron became a mere excitation of a fermionic field. Wigner’s (1939) analysis of group properties of elementary particles relegated the electron to a spin-1/2 irreducible representation of the Poincaré group. In the 1967-68 Glashow-Salam-Weinberg theory of electroweak interactions, the electron is an even stranger beast: it has massless left-handed and right-handed parts that unite to form a massive particle through interactions with a scalar Higgs field. Finally, in the current Standard Model of fundamental interactions, the electron is a member of the first of three generations of similar 
leptonic particles that are related in a non-trivial way to three generations of hadronic quarks. With its public person displaying more aliases than a master confidence trickster, we may well doubt that we have or ever will unmask the identity of the real electron in our theorizing. Do we not learn the lesson of history if we cease to take our theories of the electron as credible reports of physical reality? 
Such concerns have long been a subject of analysis in philosophy of science. They have been given precise form in the “pessimistic meta-induction”: Every theory we can name in the history of science is, in retrospect, erroneous in some respect. 
At the moment the question remains: do electron exist or not? 

Excerpt from "What Should Philosophers of Science Learn 
From the History of the Electron?". Jonathan Bain and John D. Norton. 
Department of History and Philosophy of Science University of Pittsburgh.

Electrons - A scientific essay

Anti - Commutators

Intersecta

SONOLOGYST is the solo project of Raffaele Pezzella. With a primary focus on the interplay between music and contemporary mythologies, Sonologyst's music traverses a spectrum between Fortean documentary-style soundscapes and the sculpting of post-industrial auditory experiences. Since 2014, Pezzella has been serving as the curator of Unexplained Sounds, a 'Global Network of Aural Disorientation.' The network's primary label, Unexplained Sounds Group, was established in 2015. Currently, the network encompasses subsidiaries such as Eighth Tower Records, ZeroK, and Reverse Alignment. In 2021, Eighth Tower label expanded its offerings to include book publications and an online magazine (Eighth Tower). Additionally, Pezzella hosts a streaming radio program titled 'The Recognition Test.' Sonologyst's recordings have been released by notable labels including Cold Spring Records, Unexplained Sounds Group, Eighth Tower Records, Gravity's Rainbow Tapes, and Attenuation Circuit.                                                                                  
Please consider to make a donation to support: PayPal.Me/UnexplainedSounds

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