![\"Everyday](\"https:\/\/www.gruenrekorder.de\/Photos\/gruen_228-320px.jpg\" "\\"Everyday")
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Everyday Infrasound in an Uncertain World | Brian House<\/a><\/strong> Everyday Infrasound in an Uncertain World<\/p>\n Even though you can\u2019t hear it, infrasound fills the air. And because the atmosphere doesn\u2019t absorb it like regular sound, infrasound comes from hundreds, if not thousands, of miles away. If humans could perceive frequencies lower than 20 Hz, then changing ocean currents, wildfires, turbines, receding glaciers, industrial HVACs, superstorms, and other geophysical and anthropogenic sources from across the planet would be part of the quotidian soundscape of our lives, wherever we might be.<\/p>\n I made this recording in the small town of Amherst, Massachusetts. I sped it up by a factor of 60: 24 hours becomes 24 minutes, raising the pitch by almost six octaves and making infrasound audible. Although we might think we hear something familiar when listening to this album, only its very highest sounds could have been detected with an unaided ear.<\/p>\n Since ordinary microphones cannot pick up frequencies this low, I constructed infrasonic \u201cmacrophones.\u201d If a microphone amplifies small sounds, a macrophone brings large sounds with long wavelengths into our perceptual range. Each consists of a wind-noise reduction array leading to a microbarometer and a data recorder. I based the design on what the Comprehensive Nuclear Test Ban Treaty Organization uses to detect distant warhead tests. In this case, however, we\u2019re listening to a planet in transition.<\/p>\n This work germinated in Oregon amid an unprecedented season of wildfires. It developed along with my chronic illness, Lyme, a tick-borne disease that has become more common as a result of warming winters. My young son watched over the recording process; our ancestors mined coal. For me, it\u2019s not just a matter of hearing what is novel to the human ear, but of encountering those agencies greater than our own that connect us through the atmosphere.<\/p>\n Side A \u2013 Day, 6am\u20136pm [12:00] | MP3<\/a> 2 Tracks (24\u203200\u2033) 3 macrophones placed equilaterally at 100 ft Concept, construction, programming, and audio production: Brian House. Mastering: Jon Cohrs. Design: Partner & Partners. Illustration: Lincoln Nemetz-Carlson. Studio assistance: Zac Watson, Andrew Kim, Ziji Zhou. With support from: Creative Capital, Amherst College, J & K Altman Foundation. Thanks: Ethan Clotfelter, Ben Holtzman, Leif Karlstrom, Theun Karelse, Lucia Monge, the art department at Lewis & Clark, and the Columbia Center for Spatial Research.<\/p>\n Field Recording Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Story by Dana Milbank and Hailey Haymond | The Washington Post<\/a><\/strong> AMHERST, Mass. \u2014 Brian House, in long beard and muck boots, leads me through a pine forest on a cold afternoon until, on the edge of a marsh, we find it: an array of three circles formed by plastic milk crates equipped with furry microphone covers and connected by tubes to microbarometers. <\/p>\n It looks like the sort of thing one might use to make contact with extraterrestrials, or perhaps Satan, if you\u2019re into that sort of thing. But House, a professor at Amherst College and a sound artist, has more earthly interests. A sign cautions wanderers in these woods not to touch: \u201cAtmospheric Infrasound Research in Progress.\u201d <\/p>\n House produces his art by recording sounds that are outside the range of human hearing. He then speeds them up or slows them down, so we can experience what had been inaudible. In this case, he\u2019s collecting atmospheric infrasound \u2014 the extremely long-wave sounds from ocean currents, volcanoes, glaciers and even data centers \u2014 that can travel hundreds to thousands of miles and are all around us, even if we can\u2019t perceive them. <\/p>\n The human ear on its own can decipher sounds with frequencies as low as about 20 hertz up to an outer limit of about 20,000 hertz, or 20 kilohertz. Infrasound is anything below that range. Ultrasound \u2014 such as the choruses of rats and the pulses of bats \u2014 is above it. Yet another category of sound, which most of the world\u2019s insects use to communicate, travels inaudibly through solids. <\/p>\n Knowledge of these sounds isn\u2019t new. Humans first detected infrasound in the late 19th century, for example, and monitored it to track nuclear tests during the Cold War. But recent advances in artificial intelligence, signal- processing software and the miniaturization of sensors make it relatively cheap and easy to remove the noise and isolate these sounds. <\/p>\n \u201cThere is no Silence in the Earth,\u201d wrote Emily Dickinson, who lived not far from these woods. <\/p>\n Now, science is proving her correct. <\/p>\n \u201cWe\u2019re evolved to have a narrow perceptual range of what we need to know,\u201d House says, \u201cand we\u2019re just oblivious to the rest.\u201d But when you realize you\u2019re bathed in soundwaves from far away, \u201cyour sense of the local expands.\u201d You feel that you are part of something larger. <\/p>\n We lose our human-centric view of the world as we realize that even the smallest of creatures are \u201ctalking\u201d to each other. We feel insignificant when we hear an ocean storm hundreds of miles away. <\/p>\n House, with his $2,000-setup in the woods, has made an album, \u201cEveryday Infrasound in an Uncertain World,\u201d featuring the incoming sounds on a single day. He has also captured natural and human-made sounds in isolation. With his permission, I\u2019m sharing some here. <\/p>\n \u201cThe planet is speaking to us,\u201d he says. And this is what it is saying. <\/p>\n A symphony of sounds <\/p>\n House\u2019s album is haunting and unsettling. (When I played it at home, the cats ran away.) <\/p>\n You might pick up on elements that resemble a squeaky gate swinging on its hinges, the footsteps of giants, an empty can rattling down the street, a slide whistle, drumming, wind blowing, a missile falling from the sky. <\/p>\n In other places on the album, there is popping and clicking and zooming, what sounds like garbled voices rising and falling, a heartbeat, a seagull, shrieking, rumbling. Browp. Thump. Boom. Crunch. Bowch. <\/p>\n \u201cThis is what\u2019s happening all the time,\u201d House says. <\/p>\n Long-waved sound of nature<\/p>\n When we listen to infrasound, it\u2019s not the sound we typically associate with a thing, such as the crashing of the ocean surf or the thunder of a storm. Common sounds have wavelengths only inches or a few feet long. But infrasound waves are often hundreds of feet long. They can travel great distances without being absorbed by the atmosphere. <\/p>\n The infrasound coming from the ocean is called a \u201cmicrobarom.\u201d The interaction of wind and surface waves create something reminiscent of a background heartbeat. Sometimes it sounds like ripples of thunder or the echoes of an explosion. <\/p>\n The infrasound from a storm front, caused by clashing air masses, sounds like a fighter jet or a clap of thunder. But the infrasound from actual thunder sounds like a wimpy \u201cbloop.\u201d The jet and thunder sounds are joined by muffled thumps, pops and cracks. <\/p>\n The infrasound from a glacier, which House recorded while in Svalbard, Norway, is made of a series of thuds and knocks, with orchestral tones in the background. None of this comes from the visible calving of ice but rather from the movements deep within. Each \u201ccrack,\u201d lasting one second in the sped-up recording, is actually a full minute long. <\/p>\n The volcanic infrasound, which House took from publicly available U.S. Geological Survey data from a 2021 eruption in Tonga, sounds like a wave crashing on a beach. But these are, in fact, the pressure waves, caused by the ejection of rocks and ash, that traveled thousands of miles. Because the frequency was extremely low, House sped it up by 960 times rather than the usual 60 times.<\/p>\n The sounds of human activity<\/p>\n House\u2019s recordings reveal that we are changing the planet in ways we can\u2019t always perceive. <\/p>\n For Earth\u2019s first 4.5 billion years, give or take, only nature could produce infrasound. But human industrial activity has altered the soundscape of the planet as surely as it has altered the climate. Studies suggest that intense levels of human-generated infrasound can cause symptoms such as nausea and dizziness, and could even be used as weapons. <\/p>\n A train\u2019s infrasound resembles a jet approaching and then screaming past, with its Doppler effect. (Actual jets don\u2019t generate noticeable infrasound at all.) A helicopter sounds like a slide whistle \u2014 generated by the air currents, not the engine. A data center, with its massive power and cooling systems, produces an almost soothing hum, while industrial HVAC systems combine to form a discordant droning. <\/p>\n High-frequency nature<\/p>\n At the other end of the spectrum, animals communicate at frequencies too high for us to hear naturally. House recorded rats in the New York subway and then slowed down the recording by 24 times, to bring it into our hearing range. The result, in his telling: \u201cThere are cries of joy and excitement, and there are shouts of warning, admonishment and displeasure. Percussive chatter mixes with plaintive questioning, and most relatable of all are the occasional bouts of laughter.\u201d <\/p>\n I am less sure about what the animals are saying, but they are definitely singing and squawking, solo and in groups, and variously sounding like they are barking, howling and sounding a foghorn. <\/p>\n The technology is relatively accessible. For $179 you can get the Echo Meter Touch 2 from Wildlife Acoustics. Plug it into your phone and it allows you to hear bats calling in short pulses of about 10 per second. When the sound is played at 1\/20th speed, you can hear big brown bats chirping and clicking rhythmically, in different tones. <\/p>\n Communicating through solids <\/p>\n The more science advances, the more it seems that everything is talking. Plants emit airborne sounds when under stress. Coral larvae navigate toward the sound of healthy reefs. Fish and turtles vocalize. A nonprofit called the Earth Species Project is using artificial intelligence to decode the language of animals so we can understand what they are saying to each other. <\/p>\n One of the group\u2019s projects involves trying to learn the language of jumping spiders. Like 90 percent of insects, they communicate through solids, in the spiders\u2019 case by drumming. Using a miniaturized version of a technology that measures vibrations in planes and cars, the researchers record the little critters doing what sounds a lot like beatboxing: pounding, purring, blowing raspberries and scratching. <\/p>\n \u201cWhen I listen to this, it\u2019s just like looking at a completely new world,\u201d says Damian Elias, an entomologist at the University of California at Berkeley who leads the project. His team is identifying which sounds the spiders use for mating, shows of aggression and communicating hunger. \u201cIt\u2019s just mind-blowing, because it matches the things that we feel and care about. \u2026 We\u2019re so locked into how we perceive the world that we didn\u2019t have any idea that all these things were happening in front of us.\u201d <\/p>\n Mystery infrasounds <\/p>\n Even as we learn to understand more of the sounds of the Earth, we\u2019re sometimes reminded how little we know. In the five recordings below, the sounds remain unidentified. To my ear, they are a cosmic rattling, something plunging into deep water, a haunting, weak whistle. Natural or anthropogenic? A meteor? Something terrestrial? \u201cThe unknowns are much more interesting,\u201d House says, and \u201clistening to these samples, I think, bears that out.\u201d <\/p>\n House is an artist, not a scientist. He\u2019s recording the sounds not to explain and interpret them but to experience them for their beauty and mystery. He thinks scientists, too, should immerse themselves in the \u201caesthetic experience\u201d of what they study, so they \u201cknow what questions to ask.\u201d <\/p>\n It was long thought that considerations of beauty and wonder would inject bias into the scientific process, with its reliance on data and empiricism. But no more. In a 2022 survey of more than 22,000 scientists, Catholic University of America sociologist Brandon Vaidyanathan found that majorities reported experiencing awe and wonder in their work and said that encountering beauty improves their scientific understanding. <\/p>\n \u201cA lot of scientists are motivated by beauty, drawn into science through a feeling of overwhelming awe, of the beauty of some process, whether biological, geological, physics, math,\u201d argues Ben Holtzman, an MIT geologist who has collaborated with House. \u201cWhen you\u2019ve landed on something that feels right, it feels right because it\u2019s beautiful.\u201d <\/p>\n I\u2019m no scientist. But hearing the inaudible sounds of the planet coming to me through a bunch of milk crates in the forest, I share their sense of awe. <\/p>\n Alper Maral | Neue Zeitschrift f\u00fcr Musik<\/a><\/strong> <\/p>\n A.D. Amorosi | SPIN Magazine<\/a><\/strong> <\/p>\n Creaig Dunton | Brainwashed<\/a><\/strong> With the sides split between day and night, the differences are audible dependent on the time of recording. The day side (6AM through 6PM) leads in with silence that is soon blended with distant, heavy rumbling and other low frequency, submerged like sounds. Slow passages of sound whiff over like clouds, offsetting unconventional echoing sounds. Through the 24 minutes of the piece, House captures higher frequency tones, indistinct rattling, and guttural textures. The overall structure is a consistent one, however, even with all of these disparate layers mixed with a strong compositional structure.<\/p>\n The night side is comparably more active in comparison. With a ghostly opening, sputtering noise and buoyant tones enter the mix. The piece is busier, but also more unsettling when compared to metaphorical light of day. The moments during the day that drifted more towards silence are filled with more aggressive outbursts and shrill segments that sound like nothing we would perceive as naturally occurring.<\/p>\n One of the most fascinating aspects of this album is how these otherwise unheard sounds are interpreted (for me, at least) into familiar touchstones that are obviously not represented. For example, I could hear subtle musical tones and sounds that were quite similar to chirping birds weaved throughout the day side of the record. On the night side, there were ghostly chimes, revving engines, and monster movie-like roars amidst the ambience.<\/p>\n While technically falling under the genre of field recordings, the source material recorded by Brian House and the means in which it was captured results in something entirely different. I am not sure how much processing was employed by House beyond the time compression, but no matter what, just the knowledge of these being sounds that exist every day just a few miles from me makes it all the more captivating. Everyday Infrasound in an Uncertain World is interesting from a conceptual and academic perspective, but the results presented are just as engaging from a purely audial standpoint as well. <\/p>\n Jes\u00fas Quesada | National Geographic Espa\u00f1a<\/a><\/strong> A Brian House no lo ver\u00e1s en lo m\u00e1s alto de las listas de Spotify, Apple Music y otros servicios de m\u00fasica en streaming, ni tampoco en las radiof\u00f3rmulas de las principales emisoras, pero no por ello su trabajo es menos especial o interesante. De hecho, la obra de este artista contempor\u00e1neo resulta fascinante, porque utiliza el sonido como una herramienta para hacer audibles procesos abstractos o invisibles. House es un maestro de la sonificaci\u00f3n.<\/p>\n La sonificaci\u00f3n es una t\u00e9cnica que consiste en convertir conjuntos de datos complejos en sonido, utilizando variaciones en tono, intensidad y timbre para representar informaci\u00f3n. Es la contrapartida de la visualizaci\u00f3n, y permite analizar datos astron\u00f3micos, m\u00e9dicos o biol\u00f3gicos mediante el o\u00eddo, facilitando la accesibilidad y la detecci\u00f3n de patrones. A trav\u00e9s de la sonificaci\u00f3n, House invita a escuchar la informaci\u00f3n, ya que para \u00e9l el ritmo es una forma de entender el tiempo y los sistemas que nos rodean.<\/p>\n Del amplio trabajo de House, su obra m\u00e1s conocida quiz\u00e1 sea \u2018Quotidian\u2019. En ella, el artista rastre\u00f3 su ubicaci\u00f3n por GPS cada minuto durante un a\u00f1o. Luego, mape\u00f3 esos datos en un disco de vinilo de 365 surcos. Cada revoluci\u00f3n del disco representa un d\u00eda en su vida, y cuando el sonido se repite significa que estaba en el mismo lugar a la misma hora. House vuelve a sorprender con su nuevo \u00e1lbum, titulado \u2018Everyday Infrasound in an Uncertain World\u2019.<\/p>\n El inquietante y bello sonido del mundo El \u00e1lbum condensa 24 horas de estos retumbos en 24 minutos de las l\u00edneas de bajo m\u00e1s b\u00e1sicas, d\u00e1ndole un nuevo giro a la idea de la m\u00fasica ambiental. Como el sonio, realmente, solo es variaciones en la presi\u00f3n del aire, construy\u00f3 un conjunto de tres \u00abmacr\u00f3fonos\u00bb (tubos que canalizan el aire hacia un bar\u00f3metro) capaz de tomar lecturas 100 veces por segundo.<\/p>\n Luego, el artista acelera la grabaci\u00f3n por un factor de 60 para que sea audible para los o\u00eddos de los humanos: \u201cEstoy realmente interesado en las capas de percepci\u00f3n a las que no podemos acceder. No es solo sonido bajo, sino tambi\u00e9n sonido distante. Eso me vol\u00f3 la cabeza\u201d, dijo House.<\/p>\n Los bar\u00f3metros registraron la erupci\u00f3n del volc\u00e1n Krakatoa, en el Pac\u00edfico Sur, en 1883, en lugares tan lejanos como Londres. Y a d\u00eda de hoy, una red global de sensores de infrasonido ayuda a hacer cumplir el tratado de prohibici\u00f3n de pruebas nucleares. Algunos expertos en infrasonido, como Leif Karlstrom, vulcan\u00f3logo de la Universidad de Oreg\u00f3n que lo utiliza para estudiar el monte Kilauea en Haw\u00e1i, ayudaron a House a configurar su sistema de recopilaci\u00f3n de m\u00fasica y a comprender mejor lo que escuchaba.<\/p>\n Est\u00e1 destacando fen\u00f3menos interesantes Sin duda, \u2018Everyday Infrasound in an Uncertain World\u2019 podr\u00eda ser la banda sonora de una pel\u00edcula o videojuego de terror. Decir que sus sonidos son inquietantes es quedarse corto. Si te interesa escucharlo, puedes hacerlo a trav\u00e9s de su perfil oficial de Bandcamp. La obra est\u00e1 dividida en dos pistas de 12 minutos cada una: \u2018Day, 6am-6pm\u2019 y \u2018Night, 6pm-6am\u2019. Con la compra del \u00e1lbum digital, se obtiene la descarga en alta calidad 24-bit\/48kHz en diversos formatos. Incluso es posible comprarlo en formato vinilo, ahora que est\u00e1 tan de moda. <\/p>\n Monique Brouillette | MIT Technology Review<\/a><\/strong> The boom of a calving glacier. The crackling rumble of a wildfire. The roar of a surging storm front. They\u2019re the noises of the living Earth, music of this one particular sphere and clues to the true nature of these dramatic events. But as loud as all these things are, they emit even more acoustic energy below the threshold of human hearing, at frequencies of 20 hertz or lower. These \u201cinfrasounds\u201d have such long wavelengths that they can travel around the globe as churning emanations of distant events. But humans have never been able to hear them.<\/p>\n Until now, that is. Everyday Infrasound in an Uncertain World, a new album by the musician and artist Brian House, condenses 24 hours of these rumbles into 24 minutes of the most basic of bass lines, putting a new spin on the idea of ambient music. Sound, even infrasound, is really just variations in air pressure. So House built a set of three \u201cmacrophones,\u201d tubes that funnel air into a barometer capable of taking readings 100 times a second. From the quiet woods of western Massachusetts, House can pick up what the planet is laying down. Then he speeds the recording up by a factor of 60 so that it\u2019s audible to the wee ears of humans. \u201cI am really interested in the layers of perception that we can\u2019t access,\u201d he says. \u201cIt\u2019s not only low sound, but it\u2019s also distant sound. That kind of blew my mind.\u201d<\/p>\n House\u2019s album is art, but scientists made it possible. Barometers picked up the 1883 eruption of the South Pacific volcano Krakatoa as far away as London. And today, a global network of infrasound sensors helps enforce the nuclear test ban treaty. A few infrasound experts\u2014like Leif Karlstrom, a volcanologist at the University of Oregon who uses infrasound to study Mount Kilauea in Hawaii\u2014helped House set up his music-gathering array and better understand what he was hearing. \u201cHe\u2019s highlighting interesting phenomena,\u201d Karlstrom says, even though it\u2019s impossible to tell exactly what is making each specific sound.<\/p>\n So how\u2019s the actual music? It\u2019s 24 minutes of an otherworldly chorus, alternating between low grumbling vibrations and soft ghostlike whispers. A high-pitched whistle? Could be a train, House says. An intense low-octave rattle? Maybe a distant thunderstorm or a shifting ocean current. \u201cFor me, it\u2019s about the mystery of it,\u201d he says. \u201cI hope that\u2019s a little bit unsettling.\u201d But it also might connect someone listening to a wider\u2014and deeper\u2014world. <\/p>\n \u0141ukasz Kom\u0142a | Nowamuzyka.pl<\/a><\/strong> Dzi\u0119ki wydawnictwu Briana Housa \u201eEveryday Infrasound in an Uncertain World\u201d w\u0119drujemy w \u015bwiat infrad\u017awi\u0119k\u00f3w, czyli fal akustycznych o cz\u0119stotliwo\u015bci poni\u017cej 20 Hz, kt\u00f3rych ludzkie ucho nie odbiera. Bohater tego wpisu od lat bada ow\u0105 materi\u0119 d\u017awi\u0119kow\u0105 wykorzystuj\u0105c do tego przer\u00f3\u017cne technologie, a tak\u017ce bada rytmy system\u00f3w ludzkich i nie-ludzkich. Jego prace by\u0142y pokazywane m.in. w MoMA, Los Angeles MOCA, Ars Electronica czy ZKM Center for Art and Media. House posiada tytu\u0142 doktora w dziedzinie muzyki komputerowej uzyskany na Uniwersytecie Browna. Pe\u0142ni r\u00f3wnie\u017c funkcj\u0119 adiunkta na wydziale sztuki w Amherst College.<\/p>\n Wydawnictwo \u201eEveryday Infrasound in an Uncertain World\u201d pomie\u015bci\u0142o dwa d\u0142u\u017csze nagrania: \u201eDay, 6am\u20136pm\u201d i \u201eNight, 6pa\u20136am\u201d zrealizowane w miasteczku Amherst w stanie Massachusetts. Jak wyja\u015bnia badacz atmosfera nie poch\u0142ania infrad\u017awi\u0119k\u00f3w tak jak zwyk\u0142ego d\u017awi\u0119ku, zatem infrad\u017awi\u0119ki dochodz\u0105 z odleg\u0142o\u015bci setek, je\u015bli nie tysi\u0119cy kilometr\u00f3w. \u2013 \u201eZmieniaj\u0105ce si\u0119 pr\u0105dy oceaniczne, po\u017cary, turbiny, cofaj\u0105ce si\u0119 lodowce, przemys\u0142owe systemy HVAC, pot\u0119\u017cne burze i inne \u017ar\u00f3d\u0142a geofizyczne oraz antropogeniczne z ca\u0142ej planety by\u0142yby cz\u0119\u015bci\u0105 codziennego krajobrazu d\u017awi\u0119kowego naszego \u017cycia, niezale\u017cnie od tego, gdzie si\u0119 znajdujemy\u201d \u2013 czytamy w opisie p\u0142yty.<\/p>\n Poniewa\u017c zwyk\u0142e mikrofony nie s\u0105 w stanie wychwyci\u0107 tak niskich cz\u0119stotliwo\u015bci, House skonstruowa\u0142 \u201emakrofony\u201d infrad\u017awi\u0119kowe, kt\u00f3re maj\u0105 przenosi\u0107 d\u017awi\u0119ki o d\u0142ugich falach do naszego zakresu percepcji. Ka\u017cdy z nich sk\u0142ada si\u0119 z uk\u0142adu redukuj\u0105cego szum wiatru, prowadz\u0105cego do mikrobarometru i rejestratora danych. Do\u015bwiadczamy tego od pierwszego fragmentu \u201eDay, 6am\u20136pm\u201d, gdzie bardzo niskie cz\u0119stotliwo\u015bci przyspieszone przez House\u2019a sze\u015b\u0107dziesi\u0119ciokrotnie i podniesione tonalnie o prawie sze\u015b\u0107 oktaw da\u0142y finalnie taki efekt, \u017ce infrad\u017awi\u0119ki sta\u0142y si\u0119 s\u0142yszalne.<\/p>\n Zarejestrowane tu d\u017awi\u0119ki zosta\u0142y uchwycone w Oregonie w czasie wzmo\u017conego sezonu po\u017car\u00f3w las\u00f3w. Projekt rozwija\u0142 si\u0119 r\u00f3wnolegle wraz z przewlek\u0142\u0105 chorob\u0105 House\u2019a \u2013 borelioz\u0105, chorob\u0105 przenoszon\u0105 przez kleszcze, kt\u00f3r\u0105 doskonale znamy w Polsce, a jej nasilenie wzros\u0142o w wyniku ocieplenia klimatu.<\/p>\n To, co dochodzi do naszych uszu na \u201eEveryday Infrasound in an Uncertain World\u201d okre\u015bli\u0142bym jako pewnego rodzaju smugi d\u017awi\u0119kowego o zmieniaj\u0105cej si\u0119 amplitudzie nat\u0119\u017cenia \u2013 od bardzo niskich drone\u2019owych rezonator\u00f3w, drga\u0144 po wy\u017csze pasma przypominaj\u0105ce brzmienia akuzamtyczne. Nieco inna materia wype\u0142nia \u201eNight, 6pa\u20136am\u201d, w sensie rytmiki fal i ich intensywno\u015bci, wyczuwa si\u0119 w nocy wi\u0119ksz\u0105 dynamik\u0119 meandruj\u0105cych fal i swoist\u0105 harmoniczno\u015b\u0107.<\/p>\n Finalnie to bardzo wci\u0105gaj\u0105cy proces s\u0142uchania infrad\u017awi\u0119k\u00f3w, momentami przypominaj\u0105cych tkank\u0119 d\u017awi\u0119kow\u0105 wyj\u0119t\u0105 niemal z eksperymentalnego studia. I my\u015bl\u0119, \u017ce najlepszym kluczem do zrozumienia \u201eEveryday Infrasound in an Uncertain World\u201d s\u0105 s\u0142owa samego House\u2019a: \u201eDla mnie nie chodzi tylko o to, aby us\u0142ysze\u0107 co\u015b nowego dla ludzkiego ucha, ale o spotkanie z si\u0142ami wi\u0119kszymi od nas samych, kt\u00f3re \u0142\u0105cz\u0105 nas poprzez atmosfer\u0119\u201d. <\/p>\n Ernesto Aguilar | 10 Great ambient albums of Fall<\/a><\/strong> What we hear is both intimate and cosmic. Over two approximately 12-minute tracks, slow-motion pressures become tremulous drones, tectonic tones and surging resonances that feel halfway between field recording and synthesis. Even sped up by six octaves, the music retains its origin\u2019s scale. What you will discover as you listen is how each tone carries the gravity of distance and time compressed.<\/p>\n Context deepens the sound\u2019s weight: conceived amid Oregon\u2019s wildfires and the artist\u2019s own experience with Lyme disease, the work frames listening as ecological awareness, a reminder that the planet\u2019s pulse runs through us whether we notice or not. It\u2019s a humbling document. The album is scientific in method, yet spiritual in impact. It\u2019s also one where data becomes elegy and atmosphere becomes an instrument.<\/p>\n Albeit brief, listening through Everyday Infrasound is like standing inside a musical nervous system. As the final tones recede, what remains is awareness itself. House creates a sense that the ground beneath us hums with stories too vast for melody. In this outstanding recording, he transforms geophysics into hymn, turning vibration into revelation. <\/p>\n textura<\/a><\/strong> And what, you may ask, does that have to do with House’s recording? Well, in presenting the earth and its atmosphere to us in a way that’s inaccessible under normal conditions, he too reminds us that the world is not as we take it to be. In his own words, if humans were able to \u201cperceive frequencies lower than 20 Hz, then changing ocean currents, wildfires, turbines, receding glaciers, industrial HVACs, superstorms, and other geophysical and anthropogenic sources from across the planet would be part of the quotidian soundscape of our lives, wherever we might be.\u201d<\/p>\n Admittedly, House made one critical adjustment that merits mention. The sounds on each vinyl side were collected in Amherst, Massachusetts over twelve-hour periods\u2014six am to six pm for side one, six pm to six am for two\u2014and then converted to twelve-minute segments. Accelerating the originating recordings raised the pitches by almost six octaves but more importantly made infrasound audible. Regular microphones aren’t capable of picking up frequencies so low, so House constructed three infrasonic \u201cmacrophones\u201d to bring long wavelengths into perceptual range. Illustration and photo images on the deluxe gatefold sleeve (300 copies) allow the listener to better appreciate how House gathered the data.<\/p>\n How does it sound? The \u201cday\u201d side unfolds as an uninterrupted, visceral flow of subterranean rumblings, convulsions, creaks, shrieks, and dive-bombing whistlings. The \u201cnight\u201d side is even more active, with myriad creature noises adding to the soundtrack of the daylight hours. It’s hard to resist hearing the sounds as ghoulish spirit vocalizations coming to us from the earth and air, their presence rendered audible through the medium of House’s gear. That the physical realm outside our bodies \u201ctalks\u201d won’t come as any surprise to geologists and meteorologists who in their professions are naturally aware of and sensitive to its sounds. House’s gripping sound portrait of a \u201cplanet in transition\u201d captivates for being so unusual, unfamiliar, and thought-provoking. Had Mahler not beaten him to the punch, House could have called his recording Das Lied von der Erde for being, literally, a song of the earth. <\/p>\n Holger Adam | skug \u2013 MUSIKKULTUR<\/a><\/strong> Angesichts fortschreitender globaler Umweltzerst\u00f6rung und sonstiger weltweiter Ausbeutungs- und Unterdr\u00fcckungsszenarien ist es nicht die schlechteste \u00dcbung, zur\u00fcckzutreten, innezuhalten und zuzuh\u00f6ren. Aber diese vornehmen Gesten sind oft leider nicht besonders wirkungsvoll gegen\u00fcber dem ignoranten und machtvollen Gehabe all derer, die meinen, sie w\u00fcssten, wo es langzugehen h\u00e4tte. Dem Vormarsch rechter Ideologien sowie der ihnen entsprechenden politischen Ausdrucksformen und gesellschaftlichen Trends im Dienst der Gegenaufkl\u00e4rung fallen t\u00e4glich Errungenschaften demokratisch-aufgekl\u00e4rter Gesellschaften zum Opfer \u2013 nicht nur in den durch Trump und seine Kollaborateur*innen tyrannisierten Vereinigten Staaten von Amerika. R\u00fccksichtslose Wichte wie Elon Musk gei\u00dfeln Empathie als Schw\u00e4che und auch wenn ich wissen kann, dass solch markigen Spr\u00fcche nicht nur dumm und inhaltlich falsch sind, so sind sie zugleich Ausdruck einer um sich greifenden Enthemmung: Die, die meinen, nichts mehr sagen zu d\u00fcrfen, sind ja genau diejenigen, die in ihrem grenzenlosen Ressentiment das Maul am weitesten aufrei\u00dfen. Eine eigentlich l\u00e4cherliche und durchschaubare, aber leider auch erfolgreiche Strategie, Aufmerksamkeit zu erlangen. Demgegen\u00fcber k\u00e4mpft der randst\u00e4ndige Sound-Artist auf verlorenem Posten und wird im Verh\u00e4ltnis nur wenige erreichen. Aber in diesem gesellschaftlichen Spannungsfeld, einer Gegenwart voller dummdreistem Get\u00f6se und hasserf\u00fclltem Geschrei, steht er mit seinen feinen Antennen und anderen Apparaturen, die er zum Einsatz bringt, um Menschen f\u00fcr das zu sensibilisieren, was sie erfahren k\u00f6nnen, wenn sie sich darauf einlassen. Wenn sie die Gelegenheit wahrnehmen, zuzuh\u00f6ren. Im diesem relationalen Charakter, der das Verh\u00e4ltnis der Menschen zu sich und ihrer Umwelt zur Voraussetzung hat und erforscht, ist die philosophische Bedeutung von Sound-Art aufgehoben. Hierin erf\u00fcllt sich auch ihr sozialer Sinn, wenn man so will. Das wei\u00df auch Brian House, wo er dar\u00fcber sinniert, was uns miteinander verbindet, und so seine \u00dcbersetzungsarbeit als Kommunikationsangebot rahmt, als Einladung zum Dialog. Es ist ein Jammer, dass Klangkunst als Bestandteil der Popul\u00e4rkultur an dieser Stelle einen verh\u00e4ltnism\u00e4\u00dfig schweren Stand hat. In der Literatur oder in Filmen, die thematisch der Science-Fiction zuzurechnen sind, scheint es leichter zu sein, solche Perspektiven zu vermitteln. Vielleicht liege ich da auch falsch, aber das geisterhafte Gebrumme, das sanfte Dr\u00f6hnen der Aufnahmen von Brian House ist \u00bban sich\u00ab wenig spektakul\u00e4r. Die H\u00fcrde, auf \u00bbEveryday Infrasound In An Uncertain World\u00ab mehr als nur \u00bbGer\u00e4usche\u00ab wahrzunehmen, ist relativ hoch. Das ist in der Auswertung und Betrachtung von Radioteleskopaufnahmen aber auch nicht anders. Die Arbeit, solche Eindr\u00fccke verstehen zu wollen und einzuordnen, die muss man sich schon machen. Sie erfordert einige geistige Klimmz\u00fcge, aber die Anstrengung lohnt sich. Ich habe in der Besprechung versucht, vorzuturnen. Jetzt sind Sie dran. <\/p>\n Colin Lang | Musique Machine<\/a><\/strong> Now the point about being beyond the purview of any critical apparatus (I’ve been called worse) should begin to come into focus. How is one to make a judgment around the breeze in a forest, or the sound of waves crashing? „Ah, nice enough, but I prefer the way air moves through a more dense arrangement of trees.“ I am walking through the open door, I realize, but it is all to say that what is left to talk about here is House’s concept, and perhaps its implementation. Split into two, 12-minute tracks, each comprised of a sped-up segment of 12 hours, where each minute is roughly equivalent to 1 hour of the day in question. Much to my surprise, without knowing it, the nighttime portion sounded much more night-y than the former, though pitch shifting will do funny things to your perception. It made me wonder why speed and pitch still had to be married to one another, given so much in the world of electronic composition that has worked to separate them? Finally, given the hallucinatory nature of these phenomena, why not keep going with their manipulation into the realm of the audible? There is not much truth to material anyway, but I digress.<\/p>\n Fans of field recordings, passive microphonics, and other niche listening experiences, will certainly find a bizarre, if familiar world of acoustic phenomena on Everyday Infrasound in an Uncertain World. <\/p>\n The Wire Magazine<\/a> (The Wire 502<\/a>)<\/strong> <\/p>\n Rigobert Dittmann | Bad Alchemy Magazin<\/a> (131)<\/strong> <\/p>\n framework radio<\/a> | #948<\/a><\/strong> <\/p>\n Broc Nelson | Everything Is Noise<\/a><\/strong> What I had not initially considered, and I imagine many people don\u2019t, when thinking about the science of sound, is that just like the light spectrum, or our sense of smell, is that humans cannot hear every sound. There are frequencies that move around us all of the time that we are oblivious to. Think of a dog whistle (the object, not how public figures try to shine up their bigotry). The high pitched tone is unique in a way that dogs\u2019 ears can hear it, while ours cannot. Dog whistles produce very high frequency sound waves. but there are also very low frequency sound waves that are outside of our hearing range, as well. This is called infrasound (again, think infrared, the light wave frequencies below our lowest level of perception), and it is produced by many things, slowly covering vast distances with its long and low waves.<\/p>\n This is where Brian House comes in. House is an artist and a professor, holding a PhD in computer music, utilizing interdisciplinary research and modern technology to create internationally renowned sound exhibits that have been displayed from MoMA to Los Angeles to Stockholm and beyond, gaining recognition from WIRED, The New York Times Magazine, The Guardian, and even a listing in TIME Magazine\u2019s Best Inventions issue. He is an assistant professor of art at Amherst College and has been published in numerous scholarly and scientific journals. His recorded output, so far, includes improvised acoustic instruments merged with field recordings, but he is on the cusp of releasing a new project on November 7th, on Gruenrekorder, entitled Everyday Infrasound In An Uncertain World that documents recorded infrasound, using devices called macrophones to record and then speeding up the recordings by a factor of 60, allowing for these novel sounds to become audible.<\/p>\n \u2018Infrasound is an anthropocentric term,\u2019 Brian says. \u2018It just means sound below the frequency range that any human can hear, typically defined as sound lower than 20 Hz. \u2018Sound\u2019 in this case is periodic vibration in the atmosphere (seismic infrasound is also a thing, but I\u2019m only dealing with what is moving through the air).\u2019 This in and of itself is fascinating, but Brian\u2019s interest is much more robust and detailed than mine:<\/p>\n \u2018There are two qualities of atmospheric infrasound that I find fascinating. The first is that infrasound is not only low; it is distant. That is, these long wavelengths (like a mile long) can travel vast distances through the atmosphere\u2014even all the way around the globe. Knowing that, I feel that hearing these sounds changes my relationship to planet as a whole. I\u2019m not imagining that I\u2019m looking at the globe from outer space, in some disembodied way, I\u2019m stretching out my sense of what\u2019s around me where I stand. The second is that atmospheric infrasound comes from sources that are at the threshold between what is anthropogenic and what is geophysical. Changing ocean currents, wildfires, turbines, receding glaciers, industrial HVACs, superstorms \u2026 this is where climate change is literally happening. And these things make noise. So at the same time that we\u2019ve changed our sensation of the planet, we\u2019re also witnessing what is happening.\u2019<\/p>\n To capture these sounds, Brian has developed bespoke recording gear:<\/p>\n \u201dMacrophones\u2019 is my term for the instruments I\u2019ve put together that encompass a sensor and wind-mitigation manifold. There\u2019s been a few iterations, some focused on portability, others on low-frequency fidelity, and others on the sculptural aspect. The primary form of this project is an installation artwork where visitors can listen to the infrasound happening right where they are. While I\u2019m looking for the right exhibition opportunity for that, I wanted to release this album, because I just found the sounds so compelling\u2019<\/p>\n Everyday Infrasound in an Uncertain World is more than compelling; it is awe inspiring. The sounds slip in and out, like some mysterious interdimensional wraith cutting in and out of our shared reality in some sci-fi\/horror film, but for as ominous as these sounds can be, they arrive with an immense sense of beauty and wonder, like witnessing some new, uncharted journey into somewhere we were never supposed to go. It isn\u2019t all low rumbles, either. There are high pitched whistles and pings and fluttering warbles, but only the highest sounds on the recordings are barely audible to us in nature. Brian elaborates:<\/p>\n \u2018\u2026the Macrophones have a sample rate of 100 Hz as well as some additional filtering, so 40 hz is about the highest frequency they capture, which is audible sound, but just barely. Single digit frequencies are the sweet spot, and it goes down to a quarter of a Hz. Speeding the recordings up by a factor of 60 raises the pitch by ~6 octaves. And I should say that that ratio is a subjective choice. To me, it made sense because it maintained the weight of these sounds while raising them just enough to be audible.\u2019<\/p>\n In a way, listening to this record is like listening to a noise album: you have to let the sounds happen and surprise you. With each new sound, one cannot help but wonder where it came from. For the time being, however, identifying the sources of each sound is elusive. \u2018I can say that I\u2019ve gained some intuition about which sounds are anthropogenic and which are geophysical,\u2019 says House, \u2018But much of what is there, I have no idea where it\u2019s coming from, and the scientists I\u2019ve worked with have not had answers either. Part of my motivation for getting this out there is to learn more about what I\u2019m listening to.\u2019 Knowing those sources could help provide greater context to Earth\u2019s cycles, environmental degradation, and man\u2019s indifference, but Brian says, \u2018the sources don\u2019t ultimately matter to me, it\u2019s about the aesthetics of this usually inaudible world.\u2019<\/p>\n Brian House has traveled far and wide with his macrophones, yet Everyday Infrasound was recorded in Amherst, Massachusetts. Besides being Brian\u2019s home, he adds:<\/p>\n \u2018\u2026it is purposefully not a charismatic space\u2014we\u2019re talking about suburban\/rural Massachusetts. I\u2019ve also recorded on Svalbard, and in old growth forests in Oregon, etc etc. But what is remarkable to me is that infrasound is everywhere. You don\u2019t have to be in an exotic location to capture it. It\u2019s all one atmosphere. So I think being in Amherst helps make that point. If I said I was in Antarctica or whatever, you\u2019d receive it very differently, and honestly I am also very tired of Western sound artists extracting sound from the global \u2018elsewhere\u2019. Wherever we are, we\u2019re listening to the planet.\u2019<\/p>\n This album seems more like a science project than what people usually think of in terms of music. \u2018I want this record to be understood as documentary as opposed to composition,\u2019 Brian says. Yet it is in this document that the art arises. Like a photographer, Brian House is changing how we understand the world around us by exposing us to perspectives we haven\u2019t considered about how we connect with our surroundings, but ultimately what he is doing isn\u2019t solely about the science, either. \u2018My macrophones are tuned for aesthetic purposes,\u2019 he says, adding that geologists and vulcanologists use infrasound to learn more about the seismic and structural elements of the earth while the Comprehensive Test Bad Treaty Organization uses infrasound to monitor nuclear weapons testing.I know I am still sorting out how listening to these recordings make me feel, and I am certain their impact will linger, For Brian House, the impact is more defined and profound:<\/p>\n \u2018They\u2019ve taught me to listen in a new way. That sounds clich\u00e9, but when you\u2019re not sure what the sound is, or even what sound is, you have to follow the lead of signal and coax it into being on its own terms. I say that in regard to the mixing and mastering process. At the end, I feel like I have an intimate relationship with all these whistles and booms, whatever they are. So, now I\u2019m walking around the world, and I know something more is there. Everywhere. Many sound artists treat listening as a kind of sacral act, and I get that, but I\u2019ve always been more interested in the poetics and politics of everyday life. I\u2019m a fan of Henri Lefebvre, for instance\u2014also, after being out with NatGeo recording lions and being at a loss with those recordings, I decided to record urban rats instead (https:\/\/brianhouse.net\/works\/urban_intonation\/), point being, it\u2019s not about the elsewhere, it\u2019s about the right here. If sound is special, it\u2019s because it\u2019s good at making our dynamic interdependencies accessible to the senses. You can\u2019t get out of sound. The fact of planetary, atmospheric infrasound just makes that acute.\u2019<\/p>\n All of this is truly one of the most amazing things I have run across in my decades of music obsessiveness, and I feel absolutely honored to get to cover such an innovative and unique artist. Brian House isn\u2019t letting his curiosity slow down, either. \u2018I\u2019ve been working with the astrophysicist Jeff Hazboun, who\u2019s part of the NANOGrav project that tracks cosmic gravitational waves via pulsar triangulation,\u2018 he says. \u2018It\u2019s wild. What I\u2019m interested in there is the problem of \u2018groundlessness\u2019\u2014that is, in a universe without absolute reference points, how do we situate ourselves and act with purpose? In many ways, it\u2019s an extension of the thinking in the Macrophones project.\u2019Be on the lookout for more from Brian House, whether it is musical or more of a documentary; he has a knack for finding the most interesting ways to capture and manipulate sound, and maybe through that, we can all come to appreciate sound and our home planet with more empathy and grace than we have ever given it. Like the David Attenborough of sound, Brian House is leaving an unparalleled love letter to planet earth in the liminal space where science and art collide, bridging the gap between what we can witness and what we stand to lose.Check out more from Brian on his website, Instagram, and Bandcamp pages! <\/p>\n Gruenrekorder @ Textura – TOP 20 AMBIENT \/ ALTERNATIVE<\/a><\/strong> Everyday Infrasound in an Uncertain World | Brian House Gruen 228 | Vinyl (+ Digital) | Digital > [order] Reviews Everyday Infrasound in an Uncertain World Even though you can\u2019t hear it, infrasound fills the air. And because the atmosphere doesn\u2019t absorb it like regular sound, infrasound comes from hundreds, if not thousands, of […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-22001","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/22001","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=22001"}],"version-history":[{"count":78,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/22001\/revisions"}],"predecessor-version":[{"id":22214,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/22001\/revisions\/22214"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=22001"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nGruen 228 | Vinyl (+ Digital) | Digital > [order<\/a>]
\nReviews<\/a>
\nngg_shortcode_0_placeholder<\/p>\n
\nSide B \u2014 Night, 6pm\u20136am [12:00]<\/p>\n
\nVinyl (300 copies)<\/p>\n
\nPressure range: +-25 Pa (0.001 Pa \/ 0.01 s)
\nRecording samples per second: 100 Hz
\nWavelengths captured: 28.12\u20134,658.79 ft
\nMeasured frequencies: 0.25\u201340 Hz
\nPlayback frequencies: 15\u20132,400 Hz
\nLon\/lat: -72.506248333,42.367743333<\/p>\nngg_shortcode_1_placeholder\n
\nGermany \/ 2025 \/ Gruen 228 \/ LC 09488<\/p>\n
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\nFor eons, the Earth has been talking to us. New technology allows us to listen. <\/p>\n
\nlink<\/a><\/p>\n
\nVerlag\/Label: Gruenrekorder 228
\nerschienen in: Neue Zeitschrift f\u00fcr Musik 1\/2026 , Seite 80
\n\u201cBrian House geht es [\u2026] nicht darum, etwas Neues f\u00fcr das menschliche Ohr zu erfinden, sondern darum, jene Kr\u00e4fte zug\u00e4nglich und erfahrbar zu machen, die uns mit der Atmosph\u00e4re verbinden. F\u00fcr Sound-\u00d6kologist:innen und Sound-Technik-Nerds unverzichtbar, ebenso f\u00fcr unheilbare H\u00f6rs\u00fcchtige.\u201d
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\nMACROPHONE FIEND – Brian House recorded Earth’s deep sounds
\nWith a PhD from Brown, museum exhibitions, and field recordings made for the Nat Geo Network, Brian House is a sound artist legend. His studies in the rhythms of human systems have led him into „entanglements with the nonhuman world,“ via self-devised technologies. „I’m trying to communicate sounds that are all around us, but which we cannot ordinarily hear – sounds equally geophysical, anthropogenic, and, on some level, disturbing in the sense that they may shift our worldview.“ Inspired by Roger Payne’s Songs of the Humpback Whale recordings which transformed how we view animals and conservation, Brian is going for something similarly appropriate to climate change with his new album, Everyday \/nfrasound in an Uncertain World, and an accompanying art installation. „It’s more or less a straight 24-hour recording sped up by a factor of 60,“ which becomes 24 minutes, 12 minutes each side, with its pitch raised 6 octaves in order to hear super low sounds. „My project is about atmospheric infrasound, low-frequency sounds traveling through the air, such as storms, gas flares, meteors, wind over the ocean, glaciers cracking, wildfires, etc.“ In order to do this accurately, House developed „macrophones,“ rather than microphones, to go beyond the norms of the „field recording“ genre for something more deafeningly epic. „Macrophones are my design, but they’re based on infrasound arrays used by the [Comprehensive] Nuclear Test Ban Treaty Organization to monitor for nuclear testing,“ he notes. „Microphones let us hear small sounds. Macrophones enable us to hear big ones … When I listened to the results, hearing all this crazy shit, I’m realizing that what I’m hearing are the sounds of climate change. „I’m not sure about calling it ‚music‘ as it’s not a composition or something. It’s sound that is always here. It’s unlike anything else I’ve ever heard – atmospheric infrasound, nothing else. „What ii does is act as a kind of witness to what is happening with our planet. If you could hear these wild booms, whistles and crackles as you are walking down the street, you would intuitively understand the scale of the planet in a different way. It is not a passive planet, things are happening, big things. I don’t understand them, and that’s part of the point – in our human hubris, we think we have it all figured out, or at least that it’s all up to us, but in actuality there are agencies larger than our own at work. And either we figure out a humbler role to play within all that, or we’re gone.“
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\nInfrasound, or frequencies of sound that exist beyond the range of human hearing, are omnipresent but cannot be heard, nor recorded using traditional equipment. Captured over a period of 24 hours in Amherst, Massachusetts (coincidentally, a town adjacent to mine, and that I drive through multiple times per week), Brian House captured infrasound via custom built macrophones, speeding the recordings up 60 times to render them into the range of human hearing. The outcome is an expansive, at times terrifying, pair of compositions that are as sonically enjoyable as they are scientifically fascinating.<\/p>\n
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\nUn artista ha creado la ‚banda sonora‘ de la Tierra a partir de los ruidos imperceptibles de la naturaleza
\nBrian House es un maestro de la sonificaci\u00f3n que ha usado los \u00abinfrasonidos\u00bb del mundo para crear su nuevo \u00e1lbum, ‚Everyday Infrasound in an Uncertain World‘.<\/p>\n
\nEn \u2018Everyday Infrasound in an Uncertain World\u2019, Brian House usa los \u00abinfrasonidos\u00bb del estruendo de un glaciar al desmoronarse, el crepitante rugido de un incendio forestal o el rugido de un frente tormentoso; los ruidos de la Tierra viva, que por muy fuertes que sean, emiten a\u00fan m\u00e1s energ\u00eda ac\u00fastica por debajo del umbral del o\u00eddo humano, a frecuencias de 20 hercios o inferiores. Tienen longitudes de onda tan largas que pueden viajar alrededor del globo como emanaciones vibrantes de eventos distantes, pero que los humanos nunca hemos sido capaces de o\u00edr.<\/p>\n
\nEn los 24 minutos que dura el \u00e1lbum se puede escuchar una especie de coro sobrenatural, que alterna entre vibraciones bajas y quejumbrosas y suaves susurros fantasmales. House dice: \u201cPara m\u00ed, se trata del misterio. Espero que sea un poco inquietante\u201d.<\/p>\n
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\nListen to Earth\u2019s rumbling, secret soundtrack
\nA New England artist makes music from the imperceptible noises of nature\u2014using tools that usually detect hidden nuclear explosions.<\/p>\n
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\nUs\u0142ysze\u0107 nies\u0142yszalne.<\/p>\n
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\nBrian House\u2019s latest project makes the inaudible startlingly present. Using self-built \u201cmacrophones\u201d modeled after nuclear test detectors, House captures infrasonic vibrations. If you are not familiar (me either), those are the sub-20 Hz murmurs that normally pass beneath human hearing. House then accelerates 24 hours of recording into 24 minutes. The verdict is a planetary auscultation of sorts: It\u2019s one where Amherst, Massachusetts (where the album was recorded) is a resonant body, with its atmosphere setting the tone. Insofar as it relates to the recording, that means transmitting signals from oceans, storms, machinery and seismic throes many miles away.<\/p>\n
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\nInterestingly, while Brian House’s Everyday Infrasound in an Uncertain World is a mere twenty-four minutes (two twelve-minute vinyl sides), an entire doctoral dissertation in Philosophy could be built around it. The sound artist’s field recordings project offers a perfect illustration of the Kantian principle that the world we experience using our regular modes of apprehension is but one representation. Stated otherwise, the German philosopher contended that we don’t experience the world as it is \u201cin itself,\u201d even though we act as if we do; instead, the world assumes the shape that it does because of how we’re equipped to experience and represent it. Reminding ourselves that other species\u2014dogs an obvious example\u2014experience the world differently than we do, even though it’s physically the same one presenting itself to both, goes a long way towards convincing us of Kant’s position.<\/p>\n
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\nN\u00fcchtern betrachtet, l\u00e4sst sich, was als Musik zu Geh\u00f6r kommt, auf mathematische bzw. physikalische Grundlagen zur\u00fcckf\u00fchren. Klang besteht aus Frequenzen, Schallwellen im f\u00fcr Menschen h\u00f6rbaren und nicht h\u00f6rbaren Bereich. Infrasound wiederum besteht aus Niedrigfrequenzen, die uns allt\u00e4glich umgeben, wir aber nicht wahrnehmen k\u00f6nnen \u2013 es sei denn, sie werden aufgezeichnet und anschlie\u00dfend in den Frequenzbereich \u00fcbersetzt, der dem menschlichen Ohr zutr\u00e4glich ist. Wie dies genau vonstattengeht, ich kann es nicht wirklich erkl\u00e4ren. Weder in Physik noch in Mathematik war ich besonders gut in der Schule. Aber Brian House hat sich mit einer entsprechenden Versuchsanordnung darangemacht, Infrasound einzufangen, h\u00f6rbar zu machen und als Musik zu ver\u00f6ffentlichen. Im Begleittext zu \u00bbEveryday Infrasound In An Uncertain World\u00ab erl\u00e4utert House sein Vorgehen und kontextualisiert seine Experimente, sodass auch nicht naturwissenschaftlich geneigten Menschen einleuchten kann, was das soll. Die Ver\u00f6ffentlichung kreist um eine paradoxe Situation. Die physikalischen Ph\u00e4nomene k\u00f6nnen in ihrer eigentlichen Form zwar dokumentiert, aber (\u00e4sthetisch) nicht rezipiert werden \u2013 zumindest nicht mit den Ohren. Die zugrundeliegenden Datens\u00e4tze k\u00f6nnen aufgenommen und gelesen, aber nicht geh\u00f6rt werden. Was im Anschluss an die Bearbeitung dieser Daten tats\u00e4chlich geh\u00f6rt werden kann, ist eine ver\u00e4nderte, an den menschlichen Wahrnehmungsapparat angepasste Form dieser geisterhaften Schallwellen. Die \u00dcbersetzungsarbeit von House dient, so k\u00f6nnte man sagen, der Erm\u00f6glichung der Erfahrung einer ansonsten nicht wahrnehmbaren Realit\u00e4t. In eigenen Worten spricht er von \u00bbencountering those agencies greater than our own that connect us through the atmosphere\u00ab. In diesen Gedanken ber\u00fchren sich sozusagen Physik und Metaphysik; Gottesbeweise werden ja schon lange nicht mehr nur von gottesf\u00fcrchtigen Mystiker*innen oder Religionswissenschaftler*innen unternommen, sondern die Frage, was die Welt im Innersten zusammenh\u00e4lt, motiviert auch experimentelle Physiker*innen \u2013 oder Klangk\u00fcnstler*innen. Idealerweise eint alle diese Forschenden eine gewisse Demut vor der Sch\u00f6pfung bzw. dem, was der Fall ist, eine wissenschaftlich-ethische Haltung, die logisch fundiertes und spekulatives Denken mit einem grunds\u00e4tzlichem Respekt vor allem, was ist und nicht (oder noch nicht entdeckt) ist, verbindet \u2013 denn man wei\u00df ja nie (alles)!<\/p>\n
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\nBrian House has put together something of an album, the contents of which really pass over anything resembling the possibility of a critical appraisal (more on this in a sec). The concept of Infrasound \u2013\u2013 the auditory information that exists below the threshold of human perception \u2013 is a topic closely wed to larger concerns of situatedenss, environmental awareness, and the like. So when Brian House, a professor of such things, set out to construct microphones capable of capturing such phenomena, the die was essentially cast. In other words, House, fully cognizant of this fact, had no real control over what it is said microphones would relay. In order to render these findings perceptible, House used an old chestnut of tape recording: speed things up, which will de facto pitch things up to a frequency range that our little lugs can hold onto.<\/p>\n
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\nIn Amherst, Massachusetts, more than 150 years ago, Emily Dickinson wrote of her appetite for silence. Brian House, on a visit to the poet’s home town, made recordings of low frequency noises pervading the air yet ordinarily inaudible to the human ear. These pulsations of infrasound may have originated in remote events: wildfires; turbulence in oceans; some distant glacier receding. For Dickinson, all would have been subsumed into her consciousness of silence. But House sped up his recordings, condensing a day into 24 minutes, rendering infrasound audible in the process. Everyday Infrasound In An Uncertain World is a notable document in terms of its conceptual and technological ingenuity. The title also registers House’s sensitivity to pressing ecological issues that reverberate through our lives. Dickinson, habitually focused on that interface where sensory awareness melds with a world beyond its apprehension, would surely have found poetry here.
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\nZitat: Wenn der Mensch Frequenzen unter 20 Hz wahrnehmen k\u00f6nnte, w\u00e4ren Ver\u00e4nderungen der Meeresstr\u00f6mungen, Waldbr\u00e4nde, Turbinen, zur\u00fcckweichende Gletscher, industrielle Klima- und L\u00fcftungsanlagen, Superst\u00fcrme und andere geophysikalische und anthropogene Quellen auf der ganzen Welt Teil der allt\u00e4glichen Ger\u00e4uschkulisse unseres Lebens, wo immer wir uns auch befinden. BRIAN HOUSE legt damit die Basis f\u00fcr Everyday Infrasound in an Uncertain World (Gruen 228, LP). Mit in Amherst, Massachusetts, mit ‚Macrophones‘ eingefangenem Infraschall bei Tag \u2013 ‚Day, 6am\u20136pm‘ [12:00] \u2013 und bei Nacht \u2013 ‚Night, 6pm\u20136am‘ [12:00]. Wobei er die 24 Stunden auf zweimal 12 Minuten gerafft hat. Das ergibt eine wie getr\u00e4umte Phonographie aus schlurchenden Sch\u00fcben von dumpf dr\u00f6hnenden Klangwolken, glissandierenden Strichen und fl\u00f6tenden Lauten mit einem Anklang von EVP, von ‚paranormalen Tonbandstimmen‘, oder von Walgesang. Eine heimliche und merkw\u00fcrdig zarte Musik, die die Welt da f\u00fcr sich macht. Dabei geht es House, der am Amherst College Kunst lehrt, um den Climate Change, der auch da stattfindet, wo man es nicht ’sieht‘ und ‚h\u00f6rt‘. Mit \u201eAnimas\u201c (2016) hat er den katastrophalen ‚2015 Gold King Mine waste water spill‘ thematisiert, mit \u201eTerminal Moraine\u201c (2021) die Gletscherschmelze und unser fehlendes Zeitgef\u00fchl, mit \u201ePost-Natural Pastorale\u201c (2022) New Yorks Freshkills Park als renaturierte M\u00fclldeponie. Man sollte auf ihn h\u00f6ren.
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\nphonography \/ field recording; contextual and decontextualized sound activity
\npresented by patrick mcginley
\nEveryday Infrasound in an Uncertain World<\/a> | Brian House<\/a><\/p>\n
\nWe are music nerds at Everything Is Noise, each of us geeking out weekly, if not daily, about some obscure band or another, and this enthusiasm and passion is what has built and maintained this website. Some of us are musicians, but all of us have opinions on music regardless of our level of understanding music. I am not much of a musician, but I have become fascinated with how music works, or more specifically, how sound works. When I started learning about synthesizers, I took a step back from years of listening to music to appreciate that the building blocks of every sound, whether the strum of a guitar, the pop of a snare drum, the notes from a vocalist, or literally any other sound, musical or not, are just waves. Synthesizers allow you to shape and warp and modulate the wave length, shape, frequency, etc., of a relatively simple sound wave into potentially any sound you can imagine or wish to replicate. Thinking about sound this way can be overwhelming, but also kind of simplifies our music obsession into boiled-down clich\u00e9s, like, \u2018music is just wiggly air,\u2019 or \u2018Everything Is Noise.\u2019<\/p>\n
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\nSound of the Wetlands<\/a> | Various artists
\nEveryday Infrasound in an Uncertain World<\/a> | Brian House<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"