Y is an excellent duo from Barcelona, with local punk background, that through analogue synthesizers, bring us back that rare and unique darkwave-spanish sound from the 80’s, with the only difference that they just release they first LP.
Links:
- yyyy.bandcamp.com
- discogs.com/artist/Y
Life Is Pain is a solo project from NYC, that comes from the profound darkness as a death pixel in your day by day.
“They tell us that Suicide is the greatest piece of Cowardice… That Suicide is wrong; when it is quite obvious that there is nothing in this world to which every man has a more unassailable title than to his own life and person.” ― Arthur Schopenhauer
LIFE IS PAIN links:
Destral - La fi
Destral is a noise-punk project from Barcelona. They create a parallel between sonic experimentation, punk and industrial, going down with guitar into the darkness.
Isao Hashimoto: “This piece of work is a bird’s eye view of the history by scaling down a month length of time into one second. No letter is used for equal messaging to all viewers without language barrier. The blinking light, sound and the numbers on the world map show when, where and how many experiments each country have conducted. I created this work for the means of an interface to the people who are yet to know of the extremely grave, but present problem of the world.”
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Profile of the artist: Isao HASHIMOTO
Born in Kumamoto prefecture, Japan in 1959.
Worked for 17 years in financial industry as a foreign exchange dealer. Studied at Department of Arts, Policy and Management of Musashino Art University, Tokyo.
Currently working for Lalique Museum, Hakone, Japan as a curator.
Created artwork series expressing, in the artist’s view, “the fear and the folly of nuclear weapons”: “1945-1998” © 2003 “Overkilled” “The Names of Experiments”
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Contact the artist:
Should you have any query regarding this artwork, please contact e-mail address below:
hashi123@amy.hi-ho.ne.jp
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* The number excludes the announced nuclear tests by North Korea.
“O Superman (For Massenet)” is a 1981 song by experimental performance artist and musician Laurie Anderson. Part of the larger work United States, “O Superman,” a half-sung, half-spoken, almost minimalist piece unexpectedly rose to #2 on the UK Singles Charts in 1981[2]. Prior to the success of this song, Anderson was little known outside the art world.”
May 8th 2013 - Steve Roach (((LIVE))) in the SomaFM studio right now.
Tune in at http://somafm.com/dronezone.
The radiofrequency spectrum is at the heart of telecommunications, used by police, emergency personnel and public transport services, as well as the armed forces. Every day, this spectrum ensures the proper functioning of mobile phones and wireless devices. Seen as an essential resource by some and as a health hazard by others, the electromagnetic fields generated by radiofrequency spectrum activity have multiplied exponentially since humans first learned to harness electricity. In his Electrosmog series, Jean-Pierre Aubé searches out ambient radio frequency activity in the urban landscape of Montréal, which for Aubé forms a singular territory, characterized by its density in the city and by the political and economic issues that accompany it.
Equipped with a radio, an antenna, and home-made software, the artist sweeps the titular spectrum of radio frequencies. Every tenth of a second, the device takes a snapshot of its readings – a measure of electromagnetic activity on a specific frequency. This information is then paired with images of Montréal, digitally altered by these same measurements, to create a “documentary in sound” of the city’s spaces.
Montréal, well-known to the artist after years of radiofrequency experiments here, is the eighth city in which Aubé has measured and visually presented this urban Electrosmog.
Electrosmog, Montréal, 01.1 MHz - 144 MHz, 2012
Text from the CCA and Elektra - video abstract original length : 11 minutes - built with Processing
Temperature variations of the cosmic background radiation as measured by Planck. Red indicates high temperature and blue low temperature.
I’m a Professor Emeritus of Physics at the University of Washington in Seattle. About 10 years ago, when the WMAP data on the cosmic microwave background (CMB) became available, I did a Mathematica calculation to produce “the sound of the Big Bang”, I wrote an Alternate View column published in Analog Science Fiction/Fact Magazine about it (see AV-122 in the May-2003 issue ofAnalog), and I put it online, where it received a great deal of attention. I have decided to do the same thing with the new data from the ESA’s Planck Mission analysis of the CMB, which analyzes the temperature variations of the cosmic microwave background into angular frequency components or multipoles. The new frequency spectrum goes to much higher frequencies than did the WMAP analysis, and therefore offers a more “high-fidelity” rendition of the Sound of the Big Bang. The Planck multipole spectrum looks like this:
It was not as easy to use the data this time because, while the WMAP group provided an easy-to-find table of multipole strengths from their analysis, the Planck group has set up an arcane system of data archives and “.fit” files that, after several hours of effort, I was not able to penetrate to obtain the data I wanted. Therefore, I had to capture the needed multipole strengths from the above graph itself, mousing each data point, reading coordinates, and converting these to multipole values and strengths. Because of the jitter at low frequencies, I decided to use the fit values (green line) for L<50 rather than the actual data points.
The Sound of the Big Bang simulation includes three important effects: (1) The multiply peaked frequency spectrum measured by Planck is made into a single sound wave (monaural, not stereo) by the process described above; (2) According to the Planck analysis, the emission profile of the cosmic background radiation peaked at 379,000 years and dropped to 60% intensity at 110,000 years before and after the peak emission time. The simulation represents the first 760,000 years of evolution of the universe, as the emitted CBR rises and falls in intensity following the Planck profile; (3) The universe was expanding and becoming more of a “bass instrument” while the cosmic background radiation was being emitted. To put it another way, the expanding universe “stretches” the sound wavelengths and thereby lowers their frequencies. To account for this effect, the program shifts the waves downward in frequency to follow the expansion in the first 760 thousand years of the universe. How fast the universe initially expanded depends on what cosmological model is used. I decided to follow the predictions of the flat-space Robertson-Walker metric with zero cosmological constant. That model predicts that the radius of the universe grows as time to the 2/3 power (R ~ t2/3). Therefore, instead of the component sine waves varying as (frequency ´ time), they vary as (frequency ´ time1/3) to implement the cosmological Doppler shift. The sound frequencies used in the simulation must be scaled upward by a huge factor (about 10 to the 26 power) to match the response of the human ear, because the actual Big Bang frequencies, which had wavelengths on the order of a fraction of the size of the universe, were far too low to be heard by humans (even had any been around).
I made .wav files from the simulation with playing-time duration of 20, 50, 100, 200, and 500 seconds. These may be downloaded here, along with the Mathematica notebook that produced the .wav files and the data file of the Planck multipole spectrum:
I recommend the 100 second version, but you can choose for yourself. These audio files can be downloaded and used for any purpose, provided the text “(c) John G. Cramer - 2013” is used in text related to the file. References to my website, my Analog Columns, and my two hard science fiction novels Twistor and Einstein’s Bridge are also encouraged and would be appreciated.
John G. Cramer
March 29, 2013
Featuring pianists Max Canaday, Michael Century, Catherine Chou, André Watson, recorded Nov. 18 2009, Experimental Media and Performing Arts Centre, Troy, N.Y.
Julius Eastman, an African-American composer, singer and pianist who died in 1990 at age 50, wrote Gay Guerrilla in 1979. For Eastman, the “guerrilla” of the title serves as a mark of political and personal courage – the willingness to sacrifice one’s life for a point of view: “I use Gay Guerrilla in the hopes that I may be one if called upon to be one”. About two thirds of the way through the piece, Eastman quotes the Lutheran hymn Ein feste Burg ist unser Gott (A mighty fortress is our God), re-interpreting that affirmation of faith as a sonic manifesto, then concludes with the majestic rising modal scale that helps make this work an anthem to liberation unique in contemporary classical music.
(This video clip will be constantly updated during tour. Tour dates: ryojiikeda.com)
superposition is a project about the way we understand the reality of nature on an atomic scale and is inspired by the mathematical notions of quantum mechanics. Performers will appear in his piece for the first time, performing as operator/conductor/observer/examiners. All the components on stage will be in a state of superposition; sound, visuals, physical phenomena, mathematical concepts, human behaviour and randomness - these will be constantly orchestrated and de-orchestrated simultaneously in a single performance piece.
Concept, direction and music: Ryoji Ikeda
in collaboration with
Performers: Stéphane Garin, Amélie Grould
Programming, graphics and computer system: Tomonaga Tokuyama, Norimichi Hirakawa, Yoshito Onishi
Optical devices: Norimichi Hirakawa
Stage manager: Simon MacColl
Technical manager: Tomonaga Tokuyama
Production assistant: Daisuke Sekine
NOV 14-16, 2012Festival d’Automne, Centre Pompidou, Paris, FR *World PremiereDEC 7-8, 2012Festival Némo, 104 (Cent Quatre), Paris, FRMAR 8-9, 2013STRP Biennial, Eindhoven, NLMAR 15, 2013La Faïencerie, Creil (near Paris), FRMAR 27-28, 2013The Barbican, London, UKAPR 10, 2013Concertgebouw Brugge, BEJUN 22, 2013Festival de Marseille, FR
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