As the space shuttle programme draws to a close, Piers Sellers and Scott Altman describe what it was like to fly on the shuttle — and we recreate the sounds
Tagged with “sound” (18)
We celebrated our one month anniversary a few days ago, so it seemed fitting to run with the very first episode that we produced back when we were kicking around ideas for getting the podcast off the ground. It’s a page out of Kevin’s research on the history of hacker culture, which turns to a meditation on the role of telephony and sound in our world. Enjoy!
The phreak who goes by Mark Bernay is a wonderful and gracious guy for talking with me and for lending me some of his audio to use in this episode. If you want to check out more of his recordings, head over to Phone Trips.
- “Real Love” by Delorean (0:00)
- “Imitosis” by Andrew Bird (2:32 & 8:14)
- “Dead Media” by Hefner (4:53)
- “Pick Up the Phone” by Dragonette (9:44)
Once long past, listening gave clues for survival. Now we listen unconsciously, blocking noise and tuning in to what we want to hear. Yet the unwanted sounds we filter out tell us a lot about our environment and our lives. Broadcaster Teresa Goff listens for the messages in our walls of sound.
As civilization has become more mechanized, more urbanized and more digitized, the amount of noise has increased in tandem. This noise, according to Garrett Keizer, author of The Unwanted Sound of Everything We Want: A Book about Noise , "is a window for understanding some of the paradoxes and contradictions of being human." If you take the sum total of all sounds within any area, what you have is an intimate reflection of the social, technological, and natural conditions of that place.
Hildegard Westerkamp, a founding member of the World Forum for Acoustic Ecology, says that "Environmental sound is like a spoken word with each sound or soundscape having its own meanings and expressions." So when you listen to the noise, what does it have to tell you? "Noise is a pit of interpretation," says noise musician Brian Chippendale. Broadcaster Teresa Goff goes into the pit with her documentary, The Signal of Noise.
Reverb is a natural phenomenon, but for more than 60 years, sound engineers have found artificial ways to recreate it in music.
For reasons that remain mostly mysterious, the note we call "B flat" does the oddest things. It aggravates alligators, it lurks in the stairwell of an office building, and it emanates from a supermassive black hole 250 million light years from Earth.
That’s great, it starts with an earthquake…and ends with an internet goodbye. So this week, Jim and Greg look back at the legacy of R.E.M. Plus, they review Wilco’s new release.
On this episode of “Mustang Physics,” Matt Bellis (Stanford University) discusses his spontaneous collaboration with both physicists and non-physicists that has turned particle collision data into music with the goal of giving new communities an experience with physics data. “Mustang Physics” is your gateway into the world of physics and the lives and thoughts of physicists.
Matt Bellis is a post-doctoral researcher at Stanford University. He works on the BaBar Experiment at the SLAC National Accelerator Laboratory. He presented the SMU Physics Department Seminar on March 7, 2011, where he discussed his work on the search for fundamental symmetry violations that might explain our asymmetric cosmos. He spoke with me about his effort to use particle physics data to produce music. This effort would allow whole new communities to experience and use particle physics data.
It takes only a few seconds of sound — a spaceship launching, the familiar clash of lightsabers — to know that you are positively not in Kansas anymore. These are the sounds of Star Wars — from a long time ago, in a galaxy far, far away, three-dimensional in a way that envelops you and that has changed the way movie soundtracks get assembled.
Now the most celebrated of these sounds have been collected for a new book-and-audio collection, The Sounds of Star Wars, written by J.W. Rinzler and including a foreword by the architect of that audioscape himself: renowned sound designer Ben Burtt.
Commentator Andy Raskin returned to Tokyo, where he once lived, and discovered musical improvements to the notification sounds played at each stop on the Japan Railways line. We hear some examples.
Gerald Casale and Mark Mothersbaugh are founding members of the art-rock band Devo. They had remarkable chart success in the early 1980s, including the hit Whip It. Their philosophy of devolution, compelling videos and bold aesthetic presentation were as big a part of the band as their danceable rock music. Their latest record, Something For Everybody, is their first since 1990.
Gerry and Mark talk with us about how they arrived at their theory that mankind was on an inexorable downward slide, and how playing rock and roll music in crazy outfits fit into that philosophical framework. They also chat about the philosophy behind their new project. On "Something For Everybody," every song has been focus grouped, and every element of presentation has been selected for maximum saleability. Also, they talk about that Swiffer commercial where "Whip It" was changed to "Swiff It."
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