9 April 2021

The Eurasian Scops Owl (Otus Scops) is the only European owl that undertakes a long migration from south of the Sahara desert up to southern and eastern Europe to breed in the early Spring. 

This recording was made late at night on the Old Golf Course of Mandelieu La Napoule. A number of Scops Owls were calling to one another from the trees around the golf course. 

Sound Devices Mix Pre 6 + 2 x Sennheiser MKH 8040s
11.04.2021

Image courtesy of Frank Vassen (Creative Commons)

Eurasian Scops Owls - Mandelieu La Napoule, France

A retro science fiction live 
Soviet Wave cyberpunk dark ambient 
stochastic experiment with four of
Cherry Audio's Atomika Polivoks synthesisers, 
using "The Broadcast" presets by JD Soundsets.

Radio Dacha 3

Concerto for Violin Solo and Orchestra

Recording performed by ORF Wien Modern, Carolin Widmann and Sylvain Camberling

First performed at Darmstadt Summer Course 14. August 2016, Radial System Berlin and Weimar Festspiel by Carolin Widmann, Sylvain Cambreling, Junge Deutsche Philharmonie and dancers from Sasha Waltz and Guests. 
Choreography by Antonio Rúz.

https://issuu.com/editionpeters/docs/ep_12015r__rebecca_saunders__still_

Still (2011)

Robe rehearsal 181017

First 7 (of 42) minutes.  Klangforum Wien, cond. Bas Wiegers. Full recording released by KAIROS (https://www.kairos-music.com/cds/0015044kai), 27/3/2019

Third Space (2016-2018) - FRAGMENT

cuts of "der kleine freitag" - session (December 19)
every thursday roundabout 8pm
at pfund & dollar / stockmeyerstr 43, hamburg

you`re welcome to join us!

participants for these cuts:

- rita -
- fool -
- kskefk -
- loco motiva -
- caro -

recorded with TASCAM DR-40
released January 12, 2020

TASCAM_08XX

TASCAM_0829

Live recording of Klangforum Wien with Ilan Volkov at Helmut List Halle, Graz, 15 February 2019.

http://chrisswithinbank.net/2018/12/this-line-comes-from-the-past/

this line comes from the past (Klangforum Wien & Ilan Volkov)

Léo Dupleix - synthesis, voice
Félicie Bazelaire - double bass
Stefan Thut - cello
Fredrik Rasten - e-bowed guitar, voice

Recorded live by Stefan Thut in Säulenhalle, Landhaus Solothurn on 28th of June 2020


score:

http://fredrikrasten.com/wp-content/uploads/2019/01/Fuse-modulations.pdf

Fuse modulations - excerpt

GOVERNO DO ESTADO DO RIO DE JANEIRO
SECRETARIA ESTADUAL DE CULTURA E ECONOMIA CRIATIVA
FUNDO ESTADUAL DE CULTURA apresentam:

Circuitos Sônicos
por Artur Seidel (@artur-seidel) e Bernardo Girauta (@girauta)

Nessa pequena websérie, em formato podcast, investigamos um pouco da cena contemporânea do experimentalismo nas artes do som e da música. A partir de diálogos com integrantes de alguns selos do Rio de Janeiro, procuramos documentar essa cena, conhecer algo desse universo e seus circuitos, além de adentrar um pouco da densidade conceitual e estética apresentada pelos selos.
A cada episódio, visitamos um selo, retratado por uma conversa e uma mixtape produzidas por nós.
Nesse primeiro episódio, com muita alegria, recebemos Gabriela Nobre, do selo Música Insólita, que surgiu em 2018 e é formado atualmente pela própria Gabriela e por Filipi Pompeu.

Links para conhecer o trabalho do Música Insólita:
http://musicainsolita.bandcamp.com/
http://musicainsolita.com/
http://www.youtube.com/channel/UC6dKYdzAA8F0dSje9eKYSHw

Lista de faixas da mixtape:
Agla Aëón - Indigo Burn [It's A Decopunk Retrofuturistic Untime Machine, 03/2020]
cisma - lv3 [linha vermelha, 05/2019]
k0k0n - acima de nada (deus sou eu) [#braziliansadness - manifesto I, 05/2020]
Flavia Goa - Kim Jong Un - Trump ____ frames attack [Conto Cibernético, 04/2019]
Orlando Scarpa Neto - Av. Almirante Barroso, esquina com A. Rio Branco [Centro, 06/2020]
Paulo Dantas - 02022020 [02022020, 08/2020]
Caeso - Aum [Aum, 10/2019]
Antonio Brito - I [Sem Título (1), 01/2019]
Taticocteau - Sonoite [Caminhando com minhas próprias pernas, 06/2019]
Vulgar Débil - Autofertilização [Obra II, 01/2020]
Verjault - III - Cortejo [s/t, 04/2020]
Pompeii Burning - Manto Tupinambá Exposto em Copenhague [Ibirapema, 04/2019]

#EditalCulturaPresenteNasRedes #CulturaPresenteNasRedes #CulturaPresente #SececRj #GovRj #QuarentenaCultural

#1 - Música Insólita (com Gabriela Nobre)

Headphones are highly recommended. The most appropriate and natural listening levels would be somewhere between 45% to 55% of your sound equipment's volume levels. The quiet beginning gradually grows louder, and then slightly reduces again to a 'status quo'. The recording, as presented here, runs from approximately 05:30 to 07:25: from just before first light to after sunrise.

The first and second dawns of 2021 were very windy, here. But the third dawn was quite calm. I was able to make this uninterrupted recording at one of my favourite local listening places. It's a place I love to go walking; and, just as much, love to sit, to listen, and to look. A place for peace, inspiration, and healing. And, of course, also to record.

The recording begins very quietly, but very gradually increases in volume. I've omitted the first part of the recording, which is even quieter, although it contains a few interesting obscure episodes; and one very vocal nearby koala. I felt that most listeners would be impatient with nine or ten minutes of mainly 'silence', before the birds begin to sing.

Given the quietness of this beginning, there is some general background 'white noise'. In part, this noise is just natural environmental sound; no space with an atmosphere is ever 'absolutely silent'. But it also probably includes some self-noise of the microphones, given that the preamp gain levels were relatively high. Although 'denoising' does mitigate such noise, I find that I am very rarely ever comfortable with the results of 'denoising', even when gently applied.

In all listening, there is always also, necessarily, the presence of the listener. There is no such thing as an act of 'listening' without a 'listener'. There is no such thing as 'sound' without a 'hearer of sound'. Yes, there is something that we may describe as 'purely physical vibration', which can exist, in some sense, quite independently of any particular being that is capable of 'hearing' such 'purely physical vibration' as 'sound'. But, very strictly speaking, such 'purely physical vibration' is absolutely not 'sound', as such, because 'sound', very strictly speaking, is a special kind of perceptual experience, a perceptual phenomenon, that can only be perceived and experienced by a perceiver, an experiencer, who is perceptually and experientially conscious, in an appropriate form and way.

John Cage once sat in a very sophisticated soundproofed anechoic chamber, attempting 'to hear pure silence'. He realised that there can be no such thing as 'hearing pure silence' because, even in 'pure silence', the listener will hear the sound of his or her own listening organism and listening organs. The presence of the listener cannot but be heard by the listener. The presence of the listener means that 'pure silence' is, in principle, impossible.

For me, this applies also to the presence of the microphones and the sound recorder. Like the organic listener, these also produce their own internal physical electromagnetic vibrations, which they cannot but also record, since recording such vibrations is precisely what they have been designed to do. Some are quieter than others; but, in principle, none can ever be 'absolutely silent'. To my mind, microphones and sound recorders are, to recollect Marshall McLuhan, 'extensions of our nervous systems'; and, like our nervous systems, they contribute 'noise' to every act of 'listening' and 'hearing'. Of course, it's preferable that the difference between inevitable intrinsic 'self-noise' and significant 'signal' is high, rather than low. But the fact of the matter remains, that, by fundamental principle, 'noise' and 'signal' cannot be absolutely separated. Analogically, to recall Wittgenstein, there is no such thing as 'a rod without length'. That's a logical contradiction, and a physical contradiction. The same applies here.

Third Space (2016-2018) - FRAGMENT

Stefan Prins

Related tracks