May 4, 2022
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A set of 11 little what I call, speaking with Goethe, "Sayings in Prose." Each miniature is a window on a thought, a problem, a way of looking.
In the background is Eagle Creek, where the recordings were made. I contrast as prelude & coda two related avian friends, the Western & Eastern Meadowlarks (respectively, Sturnella neglecta & Sturnella magna. I grew up in Ohio Country, where these two related species merge...) I watch carefully when the S. neglecta returns to the Sagebrush steppe in March or April, always such a joy both to hear, and to see!
A set of 11 little what I call, speaking with Goethe, "Sayings in Prose." Each miniature is a window on a thought, a problem, a way of looking.
In the background is Eagle Creek, where the recordings were made. I contrast as prelude & coda two related avian friends, the Western & Eastern Meadowlarks (respectively, Sturnella neglecta & Sturnella magna. I grew up in Ohio Country, where these two related species merge...) I watch carefully when the S. neglecta returns to the Sagebrush steppe in March or April, always such a joy both to hear, and to see!
SEE eBook/Kindle of 100 MINIATURES at: picture-poems.com/ebooks/100-minia…res_10-23-03.pdf
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Here is a more aesthetically driven sonification/soundscape composition I’ve been working on. 2014 Weather data for the Gastown area (precipitation, mean temperature, wind), controls the effects (granulation, filter, pan) of the single recording provided at the beginning of the piece.
What results is a composition with interesting properties. The sonification partially transforms the sound of the steam clock into trickling water. That is, trickling water can certainly be heard througout the piece, but the iconic sound of the clock is still recognizable. This design appears to transform the sound while maintaining its relationship to its source. Hence the twin designation of soundscape composition.
I also justify calling this piece, which uses sonification as a design strategy, a soundscape composition because it is context driven on every level. All the elements of the piece, the name, the steam clock soundmark, the data, and the keynote sound of trickling water, are all fundamentally based in the context of a certain location.
Weather data controls the effects of a single recording, turning one iconic Vancouver soundmark into another one without the use of analysis/resynthesis techniques.
By Zai Tang This piece was composed for Drive; an exhibition on wheels that brought the audience on a journey through Singapore's arts & heritage district. 9 Artists were involved in the show, each creating a piece for different parts of the route through bustling city scape. My composition took its inspiration from a particular street in China Town where Chinese Opera in Singapore originated from... Wayang, a form of Chinese musical theatre, was brought to Singapore by Chinese immigrants arriving in the late 1800's. With it's growth in popularity during this period many theatres were built centred around Chinatown. One such theatre was Lai Chun Yuen which existed from 1887 - 1927, at 36 Smith Street, also known as Theatre Street to the older generation. The composition you hear sources material from an old Chinese opera record I discovered at Thieves' Market (Sungei Road), combined with various personal recordings of Singapore's soundscape from more recent times. To me the piece functions as a wormhole into the past; transporting the listener through the ambient remnants of a Wayang performance captured on vinyl, to a fleeting scene from the aural memory of Smith Street, re-imagined through sound.