hoffnung Posted April 18, 2015 Share Posted April 18, 2015 (edited) hhehhe znam ti druga, tj. sluso sam pre ovaj album: nq - like styrofoam bleeding [2009 distance] kako je svet mali :D :P independent labels: distance, audiobulb.. sve lepo :) Edited April 18, 2015 by hoffnung Quote Link to comment
B_B Posted April 19, 2015 Author Share Posted April 19, 2015 hhehhe znam ti druga, tj. sluso sam pre ovaj album: nq - like styrofoam bleeding [2009 distance] kako je svet mali :D :P independent labels: distance, audiobulb.. sve lepo :) stvarno?! e pa super, bas mi, nekako, drago :D Porucicu mu da je slusan/pominjan i na ovim dijelovima svijeta/interneta :) Quote Link to comment
hoffnung Posted April 19, 2015 Share Posted April 19, 2015 eto :) nego, mnogo mi drago za ovaj topic. planirao sam odavno da ga otvorim, ali nisam znao kako da pocnem, da ne pricam o tome sto bi bio posecen onako, bas. taman toliko da ga pinuju :D no, u svakom slucaju cu ucestvovati ovako ili onako. jos samo radisa da prebaci neke zaostale delove koje smo ostavili na onom topicu. Quote Link to comment
prima Posted April 22, 2015 Share Posted April 22, 2015 (edited) dakle khlebnikov pionir ruske avangarde 20veka svojom poezijom inspirise futuriste medju koje kasnije i sam pripada i sa kojima saradjuje njegovi rani radovi me nisu toliko dojmili koliko univerzalni jezik 'zaum' na kome je radio sa kruchenykhom (zvuci) i utopijska vizija sveta srecno povezanog preko massmedia koju elaborira pred kraj zivota kompozicija okacena u prethodnom postu je interpretacija/rekonstrukcija khlebnikovog eseja 'the radio of the future' iz 1921 snimljena 2006 (album) sa monoskopa : Velimir Khlebnikov [Велими́р Хле́бнико], pseudonym of Viktor Vladimirovich Khlebnikov [Виктор Владимирович Хлебников] (b. Toula 1885 - d. Governorate of Novgoord 1922), was a writer, sketcher and poet, also interested in mathematics, history, mythology and ornithology (he wrote an article about the cuckoo). A key artist in Russian cubo-futurism, he was constantly searching by way of verbal experimentation, writing toward the utopia of a "stellar" universal language. "The Radio of the Future" is an essay written at the end of his life anticipating the possibilities of the new radiophonic medium (radio first started broadcasting in Russia in 1922). He conceives radio as a "central tree consciousness" or "a great wizard and sorcerer" which, with its waves, would "unite all mankind". He saw the radio station as "a spider's web of lines" or "the flight of birds in springtime" which reveal the "news from the life of the spirit". In the hands of artists, this new medium would transport and project ideas instantly to the "unknown shores" of all humanity. Khlebnikov imagined that they could make "Radio-Books", "Radio Reading-Walls", "Radio-auditoriums" ("a concert stretching from Vladivostok to the Baltic"), "Radio and Art Exhibits", "Radio Screens" and "Radio Clubs"... where you could see and hear everything from the tiniest sound of nature to major events in the "exciting life" of cities. He understood that with this there would be a communication between the artist's "soul" and the people: "the artist has cast a spell over his land; he has given his country the singing of the sea and the whistling of the wind. The poorest house in the smallest town is filled with divine whistlings and all the sweet delights of sound." This capacity of Radio led him to see it as "The Great Sorcerer", capable of transmitting even "the sense of taste"; people would drink water feeling that they were drinking wine; or smell: a Radio station "would give" the nation, for example, "the odour of snow" in the middle of spring. It would also be a "Doctor without medicine" curing from a distance by means of "hypnotic suggestion". And Radio could also transmit sounds to facilitate the work of the harvest and construction by emitting certain musical notes, "la" and "ti", which would help "increase muscular capacity" in the workers. Another of the Radio's great qualities would be the organization of popular education through radiophonic classes and lectures. But Khlebnikov also warned that all this potential could be interrupted if a Radio station were damaged. That would generate "a mental blackout over the entire country". Thus it was necessary to protect the Radio Station with the word "Danger". In this text, Khlebnikov anticipates the potential of Mass Media and its capacity for the globalization of ideas and opinion - although this "universal soul" was seen by him as positive, he already suspected some of its dangers. This text was possibly written in around 1921 in Pitigorsk, when Khlebnikov was working temporarily as a watchman in a telegraph agency, spending the long nights writing.[1] [edit] Jump up↑ Miguel Molina Alarcón, Baku: Symphony of Sirens: Sound Experiments in The Russian Avant-Garde. Original Documents and Reconstructions of 72 Key Works of Music, Poetry and Agitprop from the Russian Avantgardes (1908-1942), London: ReR Megacorp, 2008, pp 21-22. Edited April 22, 2015 by prima Quote Link to comment
hoffnung Posted April 22, 2015 Share Posted April 22, 2015 (edited) vrlo zanimljivo, ali najvise zbog toga sto se sve odvija u 1920-im. ova traka, iz tvog prvog posta, deluje kao da su isecci iz mnogobrojnih traka, ali ono sto mi je takodje interesantno, barem ovako na prvo slusanje, jeste da je isti princip i danas aktuelan, odn, da se praktikuje. Edited April 22, 2015 by hoffnung Quote Link to comment
prima Posted April 22, 2015 Share Posted April 22, 2015 drevna tehnika kolaza? negde sam procitala i da sadrzi jedne od prvih ikada sacuvanih snimaka ptica. Quote Link to comment
hoffnung Posted April 22, 2015 Share Posted April 22, 2015 jel mislis na drevnu tehniku kolaza kao sto bih ja rekao sada: field recordings i ostali instrumenti kada se uklope/sklope? ako je to, onda da. prvi albumtomoyoshi date: a supermarket in the woodshttps://soundcloud.com/user964125504/tomoyoshi-date-1st-album drugi album na omotu je njegova beba Quote Link to comment
hoffnung Posted May 1, 2015 Share Posted May 1, 2015 nesto slicno, barem kada je mehanika + analogno u pitanju. otkrio sam ga skoro i pravi je dragulj! Using analog apparats such as reel to reel taperecorders and analog synthesizers Wouter van Veldhoven makes pop-influenced experimental ambient and some conceptual soundscapes. Old means, new music. Quote Link to comment
roksi Posted May 2, 2015 Share Posted May 2, 2015 nesto slicno, barem kada je mehanika + analogno u pitanju. otkrio sam ga skoro i pravi je dragulj! zanimljivo! :) kratki prilog (mada mi njegovi radovi cesto deluju prilicno teatralni i borderline gimmicky): al ovo je vec z'real thing: http://youtu.be/yfZzz58VUaw Quote Link to comment
roksi Posted May 2, 2015 Share Posted May 2, 2015 + ovo:) http://youtu.be/ypacXdOuzJw Quote Link to comment
hoffnung Posted May 2, 2015 Share Posted May 2, 2015 @roksi, u pravu si za ovog prvog sto sije zvuk. u principu, meni teatralnost nista ne znaci, stavise, moze da mi bude vrlo odbojna. ne sumnjam da je zanimljivo otkrivati zvukove, ali isto tako, tesko je ili nemoguce vise ukomponovati ih u nesto novo, zanimljivo. nesto sto do sada nismo culi, pritom da zvuci drugacije. sto se tice woutera van veldhovena, za njega bi se isto moglo reci da je 'teatralan' buduci da su mu koncerti krcati sa 'tape' masinama. ogromne, vintage analogne kutije, rasporedjene po celoj "sali". kapiram da je sve deo kompozicije, buduci da svaka masina ima svoju ulogu, odn. 'loop' i kada se sve te silne masine upale, krece zezanje. :D sve to danas moze da se uprosti u jedan laptop i 'looper'. takodje, kapiram da je sve deo jednog, drugacijeg dozivljaja, kada se sve te analogne stvari spoje na jednom mestu i proizvedu zvuk koji je autor osmislio. mozda zbog atmosfere, mirisa, i ostalih stvari kada su predmeti prisutni. ne zamera, samo konstatujem kako cesto to moze da povuce u teatralnost i onda je samo to. sto se tice, ovog drugog. da, kao sto kazes, [prvi put cujem] z'real thing. to je to, tu smo svi! :D neverovatno je kako se nista specijano nije, a ja kazem, mozda i ne moze promeniti kada je ideja drugacije kompozicije u pitanju. sve je isto, samo je nova tehnologija na stolu. ovaj primer mi je najbolji, barem za ovu traku 'the second dream...' mozda ne toliko slicna traka, ali to je to - soundcapes/drones. mislim, mark harris mi je odmah pao na pamet kada sam cuo 'the second dream...' mark harris: what is lost will never be saved https://soundcloud.com/mark-harris/what-is-lost_will-never-be Quote Link to comment
roksi Posted May 2, 2015 Share Posted May 2, 2015 @roksi, u pravu si za ovog prvog sto sije zvuk. u principu, meni teatralnost nista ne znaci, stavise, moze da mi bude vrlo odbojna. ne sumnjam da je zanimljivo otkrivati zvukove, ali isto tako, tesko je ili nemoguce vise ukomponovati ih u nesto novo, zanimljivo. nesto sto do sada nismo culi, pritom da zvuci drugacije. sto se tice woutera van veldhovena, za njega bi se isto moglo reci da je 'teatralan' buduci da su mu koncerti krcati sa 'tape' masinama. ogromne, vintage analogne kutije, rasporedjene po celoj "sali". kapiram da je sve deo kompozicije, buduci da svaka masina ima svoju ulogu, odn. 'loop' i kada se sve te silne masine upale, krece zezanje. :D sve to danas moze da se uprosti u jedan laptop i 'looper'. takodje, kapiram da je sve deo jednog, drugacijeg dozivljaja, kada se sve te analogne stvari spoje na jednom mestu i proizvedu zvuk koji je autor osmislio. mozda zbog atmosfere, mirisa, i ostalih stvari kada su predmeti prisutni. ne zamera, samo konstatujem kako cesto to moze da povuce u teatralnost i onda je samo to. sto se tice, ovog drugog. da, kao sto kazes, [prvi put cujem] z'real thing. to je to, tu smo svi! :D neverovatno je kako se nista specijano nije, a ja kazem, mozda i ne moze promeniti kada je ideja drugacije kompozicije u pitanju. sve je isto, samo je nova tehnologija na stolu. ovaj primer mi je najbolji, barem za ovu traku 'the second dream...' mozda ne toliko slicna traka, ali to je to - soundcapes/drones. mislim, mark harris mi je odmah pao na pamet kada sam cuo 'the second dream...' mark harris: what is lost will never be saved https://soundcloud.com/mark-harris/what-is-lost_will-never-be nije mi poznat m.harris, thx za link:) la monte young je tata minimalizma (buduci da neki/razni/pa i mnogi tvrde da se minimalizam izrodio bas iz muzike/zvuka). vrlo zanimljiv lik, u svakom slucaju:) njegov zvuk, danas, mozda ne zvuci neobicno ali ne zaboravimo kontekst vremena/trenutka u kom je stvarao. da je pomerio granice: pomerio ih je. Quote Link to comment
hoffnung Posted May 2, 2015 Share Posted May 2, 2015 (edited) nije mi poznat m.harris, thx za link:) la monte young je tata minimalizma (buduci da neki/razni/pa i mnogi tvrde da se minimalizam izrodio bas iz muzike/zvuka). vrlo zanimljiv lik, u svakom slucaju:) njegov zvuk, danas, mozda ne zvuci neobicno ali ne zaboravimo kontekst vremena/trenutka u kom je stvarao. da je pomerio granice: pomerio ih je. naravno, ovo obavezno za kontekst vremena. to sam i napisao, ali mozda nije bilo jasno, u smislu.. kako danas, bez obzira na stvari koje su se razvile u medjuvremenu, nista novo nije snimljeno, a da zvuci drugacije. samo je tehnika instrumenata/snimanja drugacija - novija. bez obzira odakle da doneses zvuk, ne mozes ga ukomponovati na neki poseban, nov nacin, a da ne zvuci slicno ili isto kao i u slucaju la monte younga. sigurno je danas lakse, i to ne sumnjam. npr danas mozes bez problema da razvuces zvuk od tri minuta na tri sata, pritom da ne izgubis na kvalitetu razvlacenja. u principu ovako to izgleda, tj. koje su mogucnosti razvlacenja: This is a program for stretching the audio. It is suitable only for extreme sound stretching of the audio (like 50x) and for applying special effects by "spectral smoothing" the sounds. It can transform any sound/music to a texture. The program is Open-Source and it's released under the version 2 of the General Public License. You can download the source code for Linux or the Windows binaries. Please note that this is suitable only for extreme time stretching (e.g. if have a melody of 3 minutes and you want to listen it in 3 hours). If you want "less extreme" time stretching, you can use a program which contains the SoundTouch library. It produces high quality extreme sound stretching. While most sound stretching software sounds bad when trying to stretch the sounds a lot, this one is optimized for extreme sound stretching. So, the stretch amount is unlimited You can play the stretched sound in real-time (including the possibility to "freeze" the sound) or you can render the whole sound or a part of it to audio files It has many post-processing effects, like: filters, pitch/frequency shifters Support for WAV, OGG VORBIS files and MP3 files It is a Free Software Edited May 2, 2015 by hoffnung Quote Link to comment
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