Sound-studies

youtube

Hey, I wanted to share with you this YouTube channel that I just found (in case you didn’t know it yet). The owner has made videos with the ambient sounds of each house’s common room. This is the Slytherin one (which I find very relaxing and it helps me to concentrate when I’m studying).
You can find too the Hogwarts library, the Burrow and other Harry Potter’s scenarios - and it really makes you feel like if you were there.

Hope you find it useful :)

Watch on dronemuzak.tumblr.com

“I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.”

hi! when i study, i have to listen to music. because of this, i spend a lot of time finding stuff to listen to. here’s a masterposts of study sounds for anyone looking for new music :) 

soundtracks

8tracks

spotify playlists

ambient 

classical/instrumental

nature + ambient

playlists by studyblrs!!

music masterposts 

my posts

Climate change means bad news for your seasonal allergies

Climate change-related news is rarely uplifting, but this just sounds miserable. A new study has concluded that, because of a changing climate, “the number of people suffering hay fever from ragweed pollen could double in just 35 years.” And that’s not all, the allergy season will be extended too…by a lot.

Follow @the-future-now

youtube

Shunryu Suzuki Roshi, author of the classic Zen Mind, Beginner’s Mind, on the difference between sound and noise. 

How to speak listen to whales

While we probably can’t ever figure out how speak whale, we can learn to follow their speech and song as a way to track and study these majestic marine mammals. 

At the Scripps Whale Acoustic Lab, scientists are studying the sound produced by whales to effectively monitor their population and learn more about them.

Whales use a wide variety of vocal sounds to find food, avoid danger, and communicate among themselves and other animals. Scientists have even found whales of the same species with regional dialects. 

Check out the diverse vocalizations of different whales species. 

GIF: @disneypixaranddisneyanimation

JACKSEPTICEYE FUNFACTFILE

all facts you see here have been seen or said in his videos. they all come from many different videos, so please don’t ask me for the source, because i won’t remember.  Also, some of these may be incorrect, dont kill me. i might update this post once in a while when i learn new things, but ah.

JACKSEPTICEYE FACTS:

  • Is only just below 5′10, making him shorter by Mark (5′9 and a half maybe?)
  • Despite being Irish, he hates getting drunk, but will drink cans or cups of beer sometimes during videos, usually the long one hour ones.
  • A while back, around the time when Jack was with his korean girlfriend, he wanted to move to Korea and be an English teacher for children.
  • He can still speak Korean.
  • Jack has a scar above his left eye where the football hit him (aka the septic eye), you can see it in his eyebrow.
  • Has a degree in hotel management, but studied sound design as well.
  • Around the age of 16-17, he went through the punk phase, meaning he got his ears pierced, listened to punk music, wore black, went to mosh pits, and even had his own band for a while.
  • Jack actually meant to get gauges a size smaller than 8mm, but the people at the piercing place told him no one was in that specialised in those piercing sizes and asked him if he wanted to a size higher (8mm) so he said “fuck it” and got them. The reason he still has the holes is because if you go 8mm and over, the holes won’t reseal.
  • Since Jack had to learn hotel management, he had to learn how to clean hotel rooms, in the correct order. (theres an order of what you have to clean first, apparently.)
  • Lost his virginity at the age of 16.
  • Has VERY dirty humor, but when getting on to the topic of sex in video games he gets very embarrassed.
  • Hasn’t smoked weed.
  • Jack was actually meant to get on Mark’s roof to do that “TOP OF THE MORNING TO YA LADDIES” in that one RYC of Mark’s, but Mark forgot about it so it never happened.
  • Played Bugsy Malone when he was younger. (just imagine bby jack trying to imitate a new yorker accent…)
  • Likes Simon Stalenhag’s artwork. (i agree, it’s really, really aesthetically pleasing.)
  • Doesn’t draw, but he owns a small drawing tablet from his Drawing Your Tweets series.
  • Despite having a fear of heights, as a child, Jack would climb up trees for HOURS, as in, he would climb up trees and then climb back down and repeat the whole process.
  • Does not like the idea of blood being taken out of his body, it creeps him out.
  • Might be allergic to cats. He says this because every time he touches a cat he starts sneezing a lot.
  • Is the youngest of five.
  • Seems to really like robots, he has said he really likes The Iron Giant or Wall-E, and gets really happy when he plays video games based on robots.
  • Really likes voice acting.
  • Had rlly chubby cheeks as a baby
  • If you look closely you can see that Jack’s mustache has a red tinge unlike his beard. 
  • Use to work out A LOT but stopped not long before he started youtube, little leprachaun had GAINS
  • Wishes he could be good at acting.
  • When Jack dressed up all nice n fancy for the SXSW gaming awards, he mentioned he actually has another suit he would have used, but went with the blue one instead. The other one was grey.
  • Buys a lot of childrens toys because he generally likes them and wants to own them. Usually most of the time he’ll see a toy in a window and be like “I want that.”
  • In 2014, Jack actually had a roommate named Killian, Killian was in a few videos, including this , this , and this. Killian eventually moved out.
  • Jack was given an opportunity to be apart of Youtube Rewind of 2015, but turned it down since he had things to do and didn’t have time to fly out to America.
  • Would like his own dog to have in the apartment.
  • Jack actually doesn’t have much of an Irish accent, it’s actually very, very subtle compared to other Irish accents. Like Ross, for example.
  • Jack is actually able to get his voice incredibly deep considering his natural voice, a lot of professional voice actors aren’t able to achieve that.
  • Wishes he can start working out again so he starts getting healthy again.
  • Jack is actually, believe it or not, not a whale biologist. I’m only putting this here because i fuckING THOUGHT HE WAS FOR A WHOLE YEAR.
  • Takes his coffee black with two sugars.
  • Jack’s actual reason why he doesn’t sleep other than thats it’s only for the weak, is that he really doesn’t see the point, he thinks that the time for sleeping could be used for better things. I also remember him mentioning once that since he’s in the same timezone as felix, some times he would skype felix and just talk to him. Idk whether he still does that. 
  • Has a silver tooth, whether it’s a filling or he was born w/ it, it’s there.
  • Had very dark pink hair around the same time when he started his punk phase, theres no photos of it unfortunately.
  • Jack doesn’t have his drivers license, he regrets not getting it when he had the chance because the rules in Ireland have become a lot more harder.
  • Since Jack doesn’t wear gauges anymore, instead he puts shit like clothes hangers, keychains, hand sanitizer clips, and even MORE stuff in the holes. 
  • Doesn’t have proper functional sweat glands. I always wondered why he didn’t seem so sweaty in vive videos or on panels.

“Recorded over the course of the 1950s and the early 1960s, ‘Nancy Grows Up’ gives us a beautiful and stimulating portrait of growth. It is an audio montage; Tony Schwartz, its creator, continuously taped his niece from her first month of life to the age of thirteen and, later, spliced together pieces chronologically. Schwartz likened what he did to time-lapse photography: it condenses the story of thirteen years, as Schwartz said, in less than two and a half minutes.”

anonymous asked:

Do you think the study of literature, history, religion and art are just as admirable and intellectual as maths and science? I come from a family of people who excel at science and maths but I since a young age have been a higher achiever in the study of literature, history, religious studies and art than in maths and science yet I am always the one picked on for not being 'intellectual' enough.

Absolutely. Maths & science is seen as rational but more importantly testable which I think is why it is considered ‘intellectual’. Ability in mathematics and science is undeniable, it’s not a matter of opinion, as is being a great artist, writer, politician, philosopher, or other field. While I can see the necessity of standardised testing, I don’t think it is a true measure of one’s intelligence so like, I don’t really place much weight on what society thinks of me. If we move away from the definition of intellectualism (because it doesn’t really matter if it’s intellectual or not) and just look at the question in a more general sense….there is no doubt a mathematician processes information differently to say, a theologian by nature & there are obvious pros and cons of both. I may never be able to write a formal proof of x mathematic theorem so good and logical it’d make my college mathematics teacher shed a tear of joy or look at a leaf and see thousands of years of evolutionary biology but when I read a book or admire a painting I am filled with wonder and cannot help but be overwhelmed by how deeply human everything is (imagine reading a line of a poem and seeing a montage of hundreds of years of social and political history in your mind, I cannot explain how overwhelming and special it is) you know…..both approaches are beautiful in it’s own way. Everything is difficult, everything is easy.

The Sounds of James Baldwin (Winter 2014) - Syllabus

The Sounds of James Baldwin
Tuesday/Thursday, 3:40-5:00pm

Professor Ashon Crawley
ashon.crawley@ucr.edu
Office Hours: Tuesdays 2:00-3:30pm or by appointment

The purpose of this course is to think about the relationship of sound – both organized in forms like music and speech as well as voice, noise and silence – is utilized in Black literature and cultural production as a means to enliven and quicken. Ours is an “ocularcentric” world, a world that utilizes the sense of sight as a primary marker for producing knowledge. However, it seems that Black literature utilizes other sensual experiences in order to disrupt the primacy of the sense of sight in order to create other modes for social existence. The sense of sight was privileged in both modern philosophy and theology, and this sense was utilized as primary marker for identifying race. Thus attention to other senses will allow us to disrupt normative modes of racialization that end up marginalizing people based on appearance.

Race is normally thought as a looking at practice: what we see – how we visualize – is part and parcel of how we “think” about race.  If looking is a social practice in which we all engage, in our course we will displace modes of seeing with modes of listening to think about the relationship between blackness and sound.  We will explore what it means to listen – to music and to ambient sound – as a social practice, engaging how music and sound also construct notions of various identities.  We sit around our dorm rooms and in cars, listening to music.  We hear it in the elevator and at the mall.  We share music files with others.  We remix.  We review.  When we listen and share the things we hear with others, we create social connections. 

Our course will give particular attention to music and sounds that are created or used by Black communities in popular culture and how sounds are imagined and experienced by audiences as well as those who produce it.  We will also explore sound itself, instrumentation, and noise. We will investigate uses of ambient sound and silence. We will listen and respond to voices.  Utilizing a variety of writing styles will allow us to consider what it means to write as a listener and what it means to listen as a writer.  We will engage questions specifically about race, gender, class and sexuality and how music and sound analyses are important for understanding as well as deconstructing these social categories.  By the end of the course, you will have a vocabulary of musical/sonic terms to assist in analyzing any piece of music or sound you hear.  As well, you will be able to think about the complex relationship between social practices such as listening and social constructions such as race.

James Baldwin, of course, will provide most of our case studies. From his novels, plays and journalistic opinion pieces to his speeches and singing voice, we will listen to black literature and cultural performance. What does listening augment in literature and cultural production.

Schedule

January 7: Course Introduction – “The Price of the Ticket” (pt. 1)

January 9: “The Price of the Ticket” (pt. 2); Read Ch. 4 (p.32), Ch. 8 (p.95), Ch. 10 (p.142) in Blues People

January 14: Go Tell it On the Mountain

January 16: Go Tell it On the Mountain

January 21: Go Tell it On the Mountain

January 23: Go Tell it On the Mountain

January 28: Wiki Group Presentations

January 30: The Amen Corner (first half)

February 4: The Amen Corner (second half)

February 6: Blues for Mister Charlie (first half)

February 11: Blues for Mister Charlie (second half)

February 13: Audiobiography presentation

February 18: Audiobiography presentation

February 20: Bedouin Hornbook (excerpts)

February 25: Just Above My Head

February 27: Just Above My Head

March 4: Final Project Presentation

March 6: Final Project Presentation

March 11: Course Summary

March 13: Research/Writing day

Final Projects Due: March 19, 5:00pm

Expectations

Readings:  The required books for this course are available at the bookstore:

The Amen Corner (Baldwin)
Blues for Mister Charlie (Baldwin)
Blues People: Negro Music in White America (LeRoi Jones [Amiri Baraka])
Go Tell it On the Mountain (Baldwin)
Just Above My Head (Baldwin)

All other required readings will be made available via iLearn (http://ilearn.ucr.edu).  Please let me know if you do not have access to the site yet.  If you print the readings, save a tree and use double-sided printing! 

You should always bring class readings with you, as we will discuss them.

iLearn: All writing assignments will be submitted via iLearn.

Writing: There are a number of excellent resources at UCR to assist with the researching, referencing, revising and editing processes.  Do explore the library website (http://library.ucr.edu) for both research and writing assistance.  Also, check out the Academic Resource Center website (http://arc.ucr.edu), particularly for writing resources.

Grading:  Your final grade for this course will be composed as follows:

Blog Entries:                                       5%

In-Class Responses/Reflections        5%

Audiobiography Response:               10%

Group Wiki Entries:                            10%

Audiobiography:                                10%

Final Project Presentation:                10%

Final Project:                                      40%          

All assignments must be handed in on time.  Late responses, comments and reflections will automatically receive a 0.  For all other assignments, work handed in 15 minutes past the deadline (electronically or by late arrival to class) will be considered one day late; assignment grades will be lowered by half of a letter grade (e.g., from an A- to a B+) for each day late.  Additionally, your work should be complete – careless or incomplete work will not be accepted; you will be notified in these instances and be requested to resubmit.  Your grade for resubmitted assignments will be lowered by half of a letter grade.

Participation: is a crucial element of this class.  Thus, you must attend class and arrive on time. Arriving more than 20 minutes late qualifies as an absence.  Further, participation also includes interacting with your classmates and fulfilling your duties to submit your drafts on time and share your comments.  Participation will affect your final grade as follows:

Attendance:                           1 point deducted per missed class

Lateness:                                ½ point deducted for each late arrival

Late drafts/comments:         1 point for each day late

As ‘stuff happens’ that might be out of your control, all of you will begin with a pool of 3 points.  I encourage you not to ‘plan’ to use your points!  Your points should account for situations such as family emergencies, illness, etc.  At the end of the semester I will compute your deductions and your final grade will only be lowered by any points beyond 3.  For example, if you end up with a total of 5 points, 2 points will be subtracted from your final percentage (e.g., a 95 would be lowered to a 93). In addition, I reserve the right to lower final grades by half a grade for low participation in class and revision activities, or for not meeting the guidelines outlined.

Sound, Nature, and Artifice

The front-page review of this Sunday's New York Times book section is dedicated to Bernie Krause's The Great Animal OrchestraAs Krause himself pointed out in a recent message to the listserv of the World Listening Project, this is the first book on the soundscape or acoustic ecology to roost in this esteemed literary perch. I haven’t read Krause’s book yet, but I was intrigued by the review, written by the wonderful pianist-blogger Jeremy Denk

He asserts that in the wild, animals vocalize with a musicianly ear to the full score of the ecosystem — a mix of competition and cooperation. Since animals depend on being heard for various reasons (mating, predation, warning, play), they are forced to seek distinct niches: “Each resident species acquires its own preferred sonic bandwidth — to blend or contrast — much in the way that violins, woodwinds, trumpets and percussion instruments stake out acoustic territory in an orchestral arrangement.”

An extraordinary claim arises from this “niche hypothesis”: the healthier the habitat, the more “musical” the creatures, the richer and more diverse their scores. Sound complexity is a measure of health.

Based on Denk’s review, Krause’s sometimes “hectoring” tone seems to put him in the mold of fellow musician and acoustic ecologist R. Murray Schafer, the godfather of a genre of nonfiction that demands we listen to what a sonic mess we’ve made of the world. Krause’s close attention to wildlife, however, is also reminiscent of Purdue biologist Bryan Pijanowski's recent work in soundscape ecology, which focuses not on single species, but on the interplay of animal sounds. (In fact, you can hear Krause and Pijanowski together in 2011 NPR interview.) 

Just yesterday I spent the day interviewing two men who spent their professional lives fabricating the sounds of nature for use in Marsona sound machines, used for 40 years by the stressed and sleepless. We discussed the details of simulating crashing waves with an analog circuit, then randomly adding carefully edited digital samples of seagull cries. Krause stresses the fact that humans have lost touch with the natural soundscape through our own architecture and noise. Sound machines such as the Marsona mask both noise and our isolation from nature with samples and simulations of natural sounds.

However, I think it would be far too simplistic to suggest that sound machines only further deafen us to our own noise and estrangement from the shared soundscape. Krause would never have become so finely attuned to natural sounds had he not started recording them for a musical project. The relationships between “nature,” “reproduction,” and “fabrication” are deeply intertwined. It is no accident that acoustic ecologists tend to be musicians and sound artists. These are people who learn to listen deeply while engaged in the sonic arts–such listening is not natural, but a matter of human artifice. Playing with sound, using it as material, whether for art or scientific measurement, is a central aspect of how we define and experience the natural. In other words, the techne that reduced soundscape diversity to something approaching an acoustic monoculture is also our only hope for restoring that diversity. 

futurity.org
Luna moths use twisty tails to flummox bats
A visual disguise can't shield luna moths from predators like bats that use echolocation. Here's how a flick of their long tails may keep them safe.

The long hindwing tails sported by many moths have long been suspected as a strategy to confound predators. The moths are active mainly at night, so they don’t need a visual disguise. They need to avoid nocturnal hunters that navigate by sound.

For a new study, researchers took a detailed look at the acoustics of the common luna moth, to see how long tails affect predators that use echolocation to pursue prey and discovered that even a fairly small tail can confuse bats on the hunt.

“The interesting thing about these tails is they are not just extensions—there is a twist toward the end,” says first author Wu-Jung Lee, a researcher at the University of Washington Applied Physics Laboratory who did the study as a postdoctoral fellow at Johns Hopkins University. “We think that twist could be a key for how the tails function acoustically.”

The study shows that without any tail, the echo center is a bullseye right on the moth. But the twisted tail creates an echo from all directions that tends to shift the echo cloud past the tip of the moth’s body. With the tail’s reflection, the echo center from experimental chirps fell past the tip of the moth’s abdomen about 53 percent of the time.

“If the bat always aims for the highest-amplitude echoes, there’s a very small percentage of the time that the tail echoes would be dominant,” Lee says. “But maybe by displacing the echo center, that can do the trick.”

Striking patterns on some butterfly wings are well-studied visual decoys that have evolved to confuse birds and other daytime hunters. The new paper, published in the Journal of the Acoustical Society of America, is part of emerging research that explores acoustic camouflage in moths and other nocturnal creatures.

A 2015 study led by Boise State University found that the big brown bats are about 47 percent more successful at hunting luna moths that have lost their tail, showing that the moth’s extended tail somehow helps it survive. Those authors believe that the tails serve a role in acoustic deflection, and show that moths have evolved extended tails independently on different continents, suggesting it offers a key advantage.

Continue Reading.