Noah Kahan
oozey mess
#extradirty
Jar Jar Binks Fan Club
Color Me Curious
The Bowery Presents
YOU ARE THE REASON
untitled
almost home
🩵 avery cochrane 🩵
cherry valley forever
The Stonewall Inn
Kiana Khansmith
Discoholic 🪩
Phantogram Three
Cosmic Funnies
seen from United Kingdom
seen from Malaysia
seen from Germany
seen from China
seen from Kazakhstan
seen from Poland
seen from Germany
seen from Venezuela
seen from Spain
seen from Germany
seen from United States
seen from Germany
seen from Brazil
seen from Germany
seen from United States
seen from Lebanon
seen from United States
seen from Netherlands
seen from Malaysia
seen from Türkiye
@adamhulbert
No More My Lawd
Composition for the online ‘Cities and Memories’ project. This work uses modular synthesiser and previously unpublished field recordings of the 2013 protests in the Nauru Regional Processing Centre (Refugee Action Coalition, used with permission) and recordings from a Mississippi penitentiary in 1947 (Alan Lomax, public domain).
Full version [9:45] MP3 | Wav
Radio version [4:15] MP3 | Wav
(image via Refugee Action Coalition)
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explorations in audio culture collated by @drhulbs
Sound Studies Resource is a new resource for Sound Studies, Audio Culture and Sonic Arts teaching. Please feel free to contribute.
The Akoustikoi Pond
Installation by Adam Hulbert and Phil Young, Jan 2015.
Materials were water, rubens tube (Phil Young), modular synth (Adam Hulbert).
This accompanied a paper presented to the 2nd Annual Aesthetics After Finitude Conference, Sydney 2015.
Extract from the liner notes of this ongoing modular synthesis collaboration:
In the winter of 1967, the duo of Sparks and Diodewski were approached to provide incidental modular music for a new play that would launch the BBC's brand new arts radio station - Radio 4. Having been unceremoniously evicted by the televisual arm of the BBC, the troubled pair grasped the opportunity and began work on the now seminal 'Elevenses on IO and other Interstellar Adventures'. Penned by renowned playwright Algums Sado D. A., this play would later go on to become a bestselling book and a worldwide sensation. Sadly, due to a misappropriation of funds and misguided financial advice involving pigeon racing, Sparks and Diodewski lost the rights to their musical work, which have only now been reobtained by their legal team.
 More at: https://oscrepairteam.bandcamp.com/album/elevenses-on-io-and-other-interstellar-excursions
Here's a reworking of Marc Couroux's superb Xenochronic Dispatches from the Domain of the Phonoegregore for Aesthetics After Finitude.
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An extract of my hypstitial liner notes for an ongoing collaborative modular synthesis project:
The film itself, as understood from descriptions in circulars at the time of release, follows an unexpectedly inventive narrative. A member of the gentlemen’s inner circles of the upper class in the late 1800s, the protagonist, Gordon Cooper, becomes involved with a group of worldly scholars who have developed an interest in the occult. When this group uses a Ouija board, Gordon comes into contact with his future self, who describes himself as a long-dead spectral entity who has been trapped on board a large interstellar coffin ship, held in a semiconscious state of death as a result of the misuse of astral technologies by a life support system that has developed a malevolent consciousness. Cooper, against his will, merges with his future self and is transported to the floating mausoleum, where the ship’s computer, OU1J4, forces him to undergo a series of trials. He manages to survive the first, which is a horrifying puzzle in non-Euclidean geometry; however, he succumbs to the second, in which he has to find his true self amidst a series of simulacrums. Cooper now knows that he is trapped in a cycle: his living self will die in the ship, then on dying his eternal self will haunt the same dead vessel, until once again moving back through time to ensnare his past self. He watches the slow turn of planet Sinax 5 as the film concludes in one long scene that (by all accounts) was a triumph for underground cinematography of the time. There is some speculation that this film was originally intended to have a more upbeat ending. This is based on notes from Diodewski and Sparks that outlined another composition entitled 'Back in Time for Tea.' However, most biographers acknowledge that given their irreverent approach, it is likely that they’ve added this for their own speculative amusement. Certainly, the collective atmosphere of the tracks presented here has little to indicate the possibility of a lighthearted turn. More at http://oscillatorrepairteam.bandcamp.com/album/ou1j4
Demons of Buttecrack County
John Birmingham’s (as yet) unpublished horror fantasy story is a tale of tolerance, culture and flesh eating demons from the deep south of America adapted for radio and performed by Simon Bedak and James McNamara, with comic artist Matt Taylor giving face to these carnivorous monsters.
Story: John Birmingham Pictures: Matt Taylor Adaptation: Simon Bedak and James McNamara Performed by: Simon Bedak, James McNamara, Lucy Goleby and Melody Smith Sound Design: Adam Hulbert
source:Â http://radiowithpictures.com.au/2013/05/19/the-demons-of-buttcracke-county/
Media Studies / fabrykaabd
"Yet this same creature has invented ways of seeing what no naked eye could see, of hearing what no ear could hear, of weighing immense masses and infinitesimal ones, of counting and separating more items than he can individually remember. He is learning to see with his mind vast portions of the world that he could never see, touch, smell, hear, or remember. Gradually he makes for himself a trustworthy picture inside his head of the world beyond his reach." Walter Lippman, Public Opinion, 1921. A collection of organic ambient soundscapes entitled Media Studies.
"Love Adam’s vibe. The Quiet Genius’ stuff is v. BBC 70s Radio Workshop. I think at spike 19 he’s audio-sequenced my genome. Or the snag sanger in front of me."
Simon Bedak, Scriptwriter for The Demons of Buttecrack County.
Stay tuned, vodcast to come feb-march 2013
In Sydney's Martin Place, and Lee's Ct near the Theatre Royal, the Last Drinks Project excavated the past to recreate the progressive Rowe St. precinct and vibrant Hotel Australia. I collaborated with Sarah Barnes to provide sound design for the pieces from archival recordings. This is one of the pieces that was broadcast throughout October 2012.
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Muffled Protest
I contributed the sound design to this video piece for Boat-People.org as part of the 2010 Cockatoo Island Artist Residency Program The Last Boats.
Playing in Te Tuhi Centre for the Arts, Aukland as part of the "What do you mean, we?" exhibition 3rd March - 3rd May.
Playing as part of MoNOW, in Federation Square, Victoria 7-26 April, 2012.
This collaboration with Karle Logge from Makeshift was a live performance using C64 architecture, electric trumpet, laptop and detuned radio. Projections by Stephanie Carrick. This photo was taken at Fraser St. Studios to launch Runway Magazine. Whole-of-house fm transmission was used to spatially transport sound to speakers throughout the building.
The speakers and amps were found on roadsides and as unsold auction items, and each had a unique acoustic imprint, making an essential contribution to the texture of the performance.
A shot from a the R.I.P Moebius event, which was also a tour fundraiser for alternative Australian cartoonists (are there any other kind?) including Pat Grant and Matt Taylor.
I re-imagined film soundtrack scores live for this event, and the image here is of the cube projections of video artist Phil Young.
In the spirit of Brian Eno's micro-compositions, and perhaps with a touch of musique d'ameublement for smartphone, I've created a brief ringtone for the iPhone. This was created using the analog voltage controlled modular synthesiser that is pictured above.
kindly right click here to save.
"Welcome traveller, to the Philip K. Dick Philosophical Podcast. Slide yourself into a dissociative fugue, and let's begin."
I am co-hosting and providing sound design for this project to discuss the oeuvre of this often under-acknowledged modern thinker. Our blog is at http://pkdpp.tumblr.com/. Do drop in.
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Personally I think for the late night listening pleasure of curious people, I would highly recommend this programming. What is there that can be more pleasurable to listen to, than the sound of a soft rain in the city outside? It is such a pleasure to just sit and listen, but in the busy lives of people, often there is not enough time to just stay in one place to appreciate that background. I'm very impressed with your methodology, and ideas. I would imagine that people don't think about how much work actually goes into making such sounds. The actual process of transforming the high-tech dribble which comes out of the television, into something more simple and 'easy' or 'uneasy' to listen to, requires significant thought and effort. But then you can take a simple sound such as a rainy evening and broad cast this sound 'as is' to the delight of people who are willing to make the time to listen.
Email from Simon Henry, reprinted in the World Forum for Acoustic Ecology Newsletter.
I recently discovered this episode of Cathode Immersions. This was a weekly radio show I co-produced and performed live at 2SER radio. It used the choice of 2SER to eschew latency in their transmission, to provide a live simulcast of free-to-air television.
The image of snow (in Japan, Suna-Arashi [sandstorm] or jammy-jammy) was generated using the analog TV app by Yokobori Masayuki, which simulates the reception of analog televisions following the advent of digital-only broadcast worldwide.
Fieldworks is a montage of field recordings, found audio, algorithmic processing, and cut & paste processing. Some of these recordings were used for a weekly radio program Fieldwork, and some have been part of the Sound Transit project. If the player is not working, here is a small MP3 version (you can right click and save-as).
Audiophiles please contact me for the .wav file.
Here are the liner notes.