Latest Entries

Would We Listen to Nature if Our Lives Depended on It?

by Derrick Jensen, from Common Dreams

People who read my work often say, “Okay, so it’s clear you don’t like this culture, but what do you want to replace it?” The answer is that I don’t want any one culture to replace this culture. I want ten thousand cultures to replace this culture, each one arising organically from its own place. That’s how humans inhabited the planet (or, more precisely, their landbases, since each group inhabited a place, and not the whole world, which is precisely the point), before this culture set about reducing all cultures to one.

I live on Tolowa (Indian) land. Prior to the arrival of the dominant culture, the Tolowa lived here for 12,500 years, if you believe the myths of science. If you believe the myths of the Tolowa, they lived here since the beginning of time. This story may sound familiar, but its significance has, thus far, been lost on the dominant culture, so it bears repeating: when the first settlers arrived here maybe 180 years ago, the place was a paradise. Salmon ran in runs so thick you couldn’t see the bottoms of rivers, so thick people were afraid to put their boats in for fear they would capsize, so thick they would keep people awake at night with the slapping of their tails against the water, so thick you could hear the runs for miles before you could see them. Whales were commonplace in the nearby ocean. Forests were thick with frogs, newts, salamanders, birds, elk, bears. And of course huge ancient redwood trees.

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Gordon Hempton

Also check out this page and listen to the podcast with Gordon Hempton.

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Field Notes #2

The German fieldrecording label Gruenrekorder just released their second issue of Field Notes. You can download it here.

Articles by:

  1. Gabi Schaffner: The Madness of the Documentarist
  2. Walter Tilgner interviewt von Marcus Kürten: The Nature-Sound Artist
  3. Stefan Militzer: Tones, Sounds & Noises – Part 2: Policy of Sound
  4. Yannick Dauby: Frogtales
  5. Lin Chi-Wei: 2 Stories about Silence, 2 Stories about Noise
  6. Andreas Bick: Listening is Making Sense

GIANT EAR))) Call for works

Via: Phonography yahoo group

This December edition of Giant Ear))) is looking for submissions of recordings of radiators. Think of the noisy, clangy radiators that go on in NYC apartments when it gets cold and stay on until it no longer is. Those are the sounds we want, that is the vibe we are seeking. The recording may be edited and effected or not. Please, nothing over 20 min.

If you have something you think fits the vibe but may not in fact be a radiator recording, please send it still. We may use it. Make sure to include a brief description of what it is we are listening to.

Send your inquiries or descriptions and mp3′s to: *bleakleym@gmail.com*.

The art of do-nothing branding

Years ago I read Masanobu Fukuoka’s One-Straw Revolution and it moved me.  To say that it is a book on agriculture and farming is akin to suggesting that Sun Tzu’s Art of War was simply a military treatise.  In other words, Fukuoka’s philosophy around farming has the ability to inform a broad range of topics and strategies.  Ultimately, it is about quieting our cleverness in a way that allows us to see how we really can do more with less.  

For those not familiar with the book, One-Straw Revolution is an engaging story of a unique Japanese farmer named Fukuoka.  A man many credit with inspiring the permaculture movement.  Folks marvel at his approach to farming because he creates sustainable and bountiful crops year after year, while only working on his land a fraction of the time compared to other local farmers.  While other farmers are busy harrowing, tilling, seeding and plowing, Fukuoka seems still and Zen like.  His energy is focused on handling the seeds in his home and then observing the land.  His methodology has been described as do-nothing farming which is ironic, because by doing nothing he has actually mastered the art of doing more.

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First real Fieldcore recording

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Today I undertook my first attempt to do a real Fieldcore recording. For me the biggest difference with my ordinary working method is that I couldn’t use my diesel powered van.  So I took off on my bike. The first thing that became clear riding my bike is that this is a way more effective way to mentally prepare myself to do a recording. The smooth transition in audible landscape makes you way more aware of your surroundings. Normally I am in my car listening to the radio. I drive to a point I looked up on my computer. Most of the time these locations do not live up to my expectations from a audible point of view. Also to sudden transtion makes that my ears are not opened up the same way I noticed today during my ride on the bike.

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Rycote windscreen part II

Lyre suspension

Lyre suspension

Last week I paid a visit to my supplier to talk about my experiences with the Rycote windscreen kit. Over the phone they explained to me that we could try some options. So now the Rycote is fitted with the new Lyre suspension. Because of the fact that is a mono suspension system they developed some foam clamps (see picture) to combine my Mid/Side system. They told Rycote of this foam solution. So now Rycote is testing this for futher approvement of their system.
In my tests I also noticed that the whole setup with tripod is fairly sensitive when touching the tripod. In a field recording situation it is quit common to use high preamp settings. In this light we talked about makeing some fleece sleeves for the tripod. So it would become less sensitive to wind noise. An other option would be the Ambient floater. This device would decouple the windscreen from the tripod. And at last the most expensive one the Cinela ZEPHYX Windshield.

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Chris Watson

Douglas Quin Fathom

F a t h o m, an album of underwater field recordings from the polar regions of Earth, by Douglas Quin, to be released on vinyl in February 2010. TAIGA records presents this LP, mastered by James Plotkin, cut direct to metal from 24-bit wav files and pressed on 200-gram virgin vinyl for ultimate detail and clarity. Arctic on one side, Antarctic on the other, over 40 minutes of unbelievable natural sounds from areas of our planet that few of us will visit. Packaged in custom letterpress materials printed by Studio on Fire featuring drawings by Mitchell Dose and an essay by René van Peer.

European distribution by: Metamkine

Dr. Bernie Krause: The Great Animal Orchestra



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