Unless it's an extended seriously in-depth article, like those
sometimes found in Rolling Stone, or the New Yorker, or the New York
Times Magazine section, or other publications that typically develop
themes that are much more thoughtful and detailed, more often than
not, pop spins on a range of disconnected subjects for those of us w/
short attention spans will be the result.
Bernie
On Jan 9, 2012, at 12:51 AM, Peter Shute wrote:
> My apologies for not thinking to list reporter error as a possibility.
>
>
> --------------------------
> Sent using BlackBerry
>
> ________________________________
> From:
> To:
> Sent: Mon Jan 09 14:16:14 2012
> Subject: Re: [Nature Recordists] great article about quiet places by
> Virgina Morell
>
>
>
> What I meant was (and said, altho it wasn't quoted either correctly or
> in context) was that detail was heard through headphones (because they
> tend to focus attention on what's coming through them) that were close
> to what our ancestors more likely heard and understood when the
> biophonies or geophonies were the only natural sounds heard in their
> environments. I. e. I was referring to the inherent temporal and
> frequency structure of the biophony and the connection between that
> and the origins of some of human cultural endeavour; natural
> soundscapes inspired our our music and language as well as providing
> an acoustic map that guided hunters on evening and nighttime journeys,
> for instance. Because journalists have limited space to present their
> cases, and have to endure a measure of editing from even higher ups
> who understand little or nothing about the subjects submitted, even
> the best publications cut and paste and cover what they believe are
> the salient points. Furthermore, these are unfortunately treated more
> as "fluff" or "fill" pieces. As a result and often, much is lost in
> translation which I why I rarely read those things if I'm looking for
> serious information.
>
> That said, it's a subject developed and researched much more
> thoroughly in my new book, "The Great Animal Orchestra: Finding the
> Origins of Music in the World's Wild Places," to be published on
> Little Brown (Hachette in Europe) 19 March. This will cover a wide
> range of historical background on soundscapes, their impact on human
> culture, and the resulting human interrelationships with acoustic
> aspects of the natural world.
>
> BTW, I could use some help from group: We're looking for nature
> recording, music, and academic chat groups, networks, and associations
> (particularly in Europe, Latin and Central America, and Asia) to
> contact regarding this effort. Suggestions would be greatly
> appreciated (off-line, please). Thanks everyone and Happy New Year.
>
> Bernie Krause
>
> On Jan 8, 2012, at 6:39 PM, Peter Shute wrote:
>
>> I don't understand part of this article:
>> "I put on the headphones and was suddenly engulfed in birdsong-so
>> much so that for a moment I took them off to look around. Where were
>> all these birds?"
>>
>> "What you're hearing through the headphones is the world the way our
>> ancestors heard it, before mechanical sounds dominated everything,"
>> Krause explained. "The microphone pulls in the biophony, so it seems
>> that you're in your own private music hall."
>>
>> This sounds like it's being suggested that our ancestors could hear
>> thing we can't hear because of mechanical noise, yet in this
>> situation there should have been none. I would have thought all that
>> was happening was that it was amplified by the recorder, and that
>> the listener was simply too far away to hear them unaided. Or is
>> this simply an illustration of the sounds that are out there to be
>> heard, if we get close enough?
>>
>> I've only recently started making recordings, and even more recently
>> ambient recordings, so I've only just realised how hard it is to get
>> away from noise. My pet hate is "frivolous" noise - the sound of
>> small aircraft carrying joyriders, trailbikers tearing up a
>> mountainside, etc. Unlike the sound of a factory, I get no benefit
>> from the process making the noise, and in my opinion they don't get
>> a lot either, and the sound is continuous and carries for huge
>> distances.
>>
>> Peter Shute
>>
>>
>> ________________________________
>> From: <naturerecordists%40yahoogr=
oups.com
>> > <naturerecordists%40yah=
oogroups.com
>> >
>> ] On Behalf Of Dan Dugan
>> Sent: Monday, 9 January 2012 7:00 AM
>> To: <naturerecordists%40yahoogrou=
ps.com
>> >; Nature Sounds Society
>> Subject: [Nature Recordists] great article about quiet places by
>> Virgina Morell
>>
>>
>>
>> Here's a great article about quiet places:
>>
>> http://www.cntraveler.com/features/2012/01/The-Sound-of-Silence
>>
>> Morell interviewed Bernie Kraus, Robert Dooling, Kurt Fristrup, Hans
>> Slabbekoorn, Arthur Popper, Martyn Stewart, and Gordon Hempton.
>>
>> -Dan
>>
>>
>>
>>
>>
>>
>>
>> ------------------------------------
>>
>> "While a picture is worth a thousand words, a
>> sound is worth a thousand pictures." R. Murray Schafer via Bernie
>> Krause.
>>
>> Yahoo! Groups Links
>>
>>
>>
>>
>
> Wild Sanctuary
> POB 536
> Glen Ellen, CA 95442
> 707-996-6677
> http://www.wildsanctuary.com
> <chirp%40wildsanctuary.com>
> Google Earth zooms: http://earth.wildsanctuary.com
> SKYPE: biophony
>
>
>
>
>
>
>
>
> ------------------------------------
>
> "While a picture is worth a thousand words, a
> sound is worth a thousand pictures." R. Murray Schafer via Bernie
> Krause.
>
> Yahoo! Groups Links
>
>
>
>
Wild Sanctuary
POB 536
Glen Ellen, CA 95442
707-996-6677
http://www.wildsanctuary.com
Google Earth zooms: http://earth.wildsanctuary.com
SKYPE: biophony
|