ear your way red rover red rover, let sound/noise come over

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

"'Red Rover' was very popular into the 1970s".

let sound come over?

let=allow

sound= Earth's and its terrestrial vibrations

come= to the level as has global's cultures and musics

over= belonging by nature, paralleling human created sounding sources

why 1 background industrial and other human-caused noise 2 on the planet occurred simultaneoulsy with 17th century music why 2 instruments evoke nature's concepts acousticly via cylinders, discs, wire, tape, plastic discs and low noise cassette analog a/or digitally=s human playings, constructions 2,3,4, orchestrations, graphicals, et cetera including at least scale, spatial and proportional soundings, e.g., Beatle's thunderstorm, Debusey's La Mer, Grofé's Grand Canyon Suite, Wagner's Der Ring des Nibelungen; analog transitioned to digital: Columbia-Princeton Electronic Music Centre 1956 RCA Electronic Music Synthesizer; Partch's Spoils of War, Stockhausen's In the Sky I Am Walking..., Xenakis's Metamusic, Greyson's Sound Sculpture, DSP 2, maxMSP, granularizer, BBC soundtrack archives why 3 web2 realtime oncall gives and takes= global-sized soundings why 4 cont e.g., ?s gglobal oxygenl a/or my Bibliographyai

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

acoustics

Walter Maioi's "the sonorous caves" quotes from scholar Marius Schneider and Pietro Righini... Schneider-"The cave as symbol of the acoustic primordial abyss: the source from which the world emanates is always an acoustic source, the primordial abyss, the wide open mouth, the singing cave..." Righini, acoustic scholar- ?...in the Dyonisus Ear sound is enlarged in surprising proportions: a simple clap becomes a thunder roar and a voice seems like hundred voice choir, the acoustic magnificence of which is accentuated by very long sound extentions (called reverberations)..."

recording studio

non-acoustic portable recording construction

global oxygen a/or LBs Bibliography

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Attali, Jacques. Noise: The Political Economy of Music (Theory and History of Literature, Vol 16). Minneapolis, MN: University of Minnesota Press, 1985.
Bowers, C.A. The Culture of Denial: Why the Environmental Movement Needs a Strategy for Reforming Universities and Public Schools. New York: SUNY Press, 1997.
Bright, Chris. "Anticipating Environment 'Surprise'" in State of the World 2000: A Worldwatch Institute Report on Progress Toward a Sustainable Society. NY: W.W. Norton, 2000.
Cole, K.C. Sympathetic Vibrations: Reflections on physics as a way of life. NY: Bantam, 1985.
Derber, Charles. Corporation Nation: How corporations are taking over our lives and what we can do about it. New York: St. Martins Press, 1998.
Flinn, Caryl. Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music. NJ: Princeton University Press, 1992.
Garofalo, Reebee, ed. Rockin the Boat: Mass Music and Mass Movements. Boston, MA: South End Press, 1992.

Gedicks, Al. The New Resource Wars: Native and Environmental Struggles Against Multinational Corporations. Boston: South End Press, 1993.
Kurtz, Michael. trans. Richard Toop. Stockhausen: A Biography. London: Faber and Faber, 1992.
Langham, Derald G. Genesa: An attempt to develop a conceptual model to synthesize, synchronize, and vitalize man's interpretation of universal phenomena. US International University: Ph.D., 1969.
Talbot, Michael. The Holographic Universe. New York: HarperCollins Publishers, 1991.
Sound, Art & Environment

Towards a Social-Ecological Soundscape

By Gregg Wagstaff,

Thesis, M.Phil

University of East Anglia, Norwich, England.

E-Mail: earminded@ecosse.net
Abstract. Sound, Art & the Environment is a quiet polemic. It follows a personal enquiry: how best to be (or act), both as an 'engaged artist' and as an 'ecologically aware' individual?

global oxygen