visual arts analog talking pictures ((a/k/a radio (1920s- "images of the mind" vs natural radio))

Vis-à-vis (Cindy Sherman's analog photographs); I recall the attribution to some of my soundworks as being either electronically DSPd or computer manipulated. Having fleshed out my SAIChicago MFA 1972, wrapping up two University teachings 2002, on through 2012- I do know intuitive satisfaction for having evolved personal acoustic concepts which at base, writing retrospectively, were guided by long term memories.

My intuitive terrain vantage during 1970s-1980s assumed: sound was not to be derived from (dj) microphones but, initially, the mono accelerometer (analog sensor). On through the cassette-sharing years of these raw soundings, on one of the tracks, I inserted my name in Morse code, sometimes at x speed and at a very low level. Having done so for awhile, this ended abruptly; my thinking was that these unheard vibrational natural phenomena sources were potentially available to everyone on "spaceship earth" - they're ours to behold.

Parenthetically though, I was experimenting with complex sources and the unique aspects/nuances between sound and music. I pressed on. I'll stop here, as my middle name is suono.

Most of my soundworks (audio audio or video) are either public domain or in my archived, autobiographical external HD. Importantly though -to import sound- the preferred solar sensor/preamplifier I/O was the key to earphone listening from the multitude of terrestrial wave forms. My now defunct freetoears.net pages is a failed attempted to achieve the then desired net-outreach.

Into this head wind, 'my intercepted compositions' meandered DECK II, SoundDesigner I and II, with reliance upon synced layered tracks using multi year recordings, each w/time, day, date, WWV voice&signal. The 1990s challenged; tempting me into multiple tracks w/software inducements. Earlier, I had receive 100 Shadow sensors from the Erlangen Germany owner.
I was still on course to overhear (even speedup very low frequencies) from '200 + found sounds in nature.' This turned out not to be a problem after having attached 11 of these Shadows to a 50 year old Birch tree! (After all, there are more natural vibrations "in heaven and Earth that are thought of.") The purist in me was satisfied.

When will anyone ever mirror and comprehend, in realtime, this analog/digital supraterrestrial trove. Conceptually, I could lock onto a flow chart, RF transmissions, modulated laser, optic & fibre sensors' A/D I/O sampling/multiplexing/demultiplexing- in two-way realtime stream outs - as audio/video directly to and from your hand held. The temptation was Audiomedia I & II; eventually digi002- when I began borrowing from my 5, 7 & 12" raw analog Norelco, Sony, Nagra, Scotch 601 master and cassette tapes - this audio I/O was from direct contact to the various gauges of galvanized wires, including 1/2" brass windribbon, with using mono & triaxial accelerometers, strain gauges, Shadows and DiMarzio sensors.

I did have limited realtime events in which I simultaneously used a He-Ne modulated laser to transmit aspects of the whole from the then "Permanent Forest Terrain Instruments." Some public releases: "Musicworks," "MITEK," "Audio Arts," "Nonsequitur." "Earlabs," "Aerial," "Tiln," "¿What Next?," "KUNSTradio," "Zero Trace FACT" "Deadtech " and "ACOWO" were networkable samplings from this Lat46.812716 Long-092.059014, and provided in-progress-projects to obtain grants from the NEA, Jerome, NEA, Minnesota Arts Board, University of Minnesota Graduate School.

I did come close to lots more three times. An Intel 8080 microprocessor (200 inputs, keyboard-controlled 200+ outputs) at New Music America, Minneapolis 1980 and at the Hudson River Museum, NYC 1982. Both public performances used grant money to achieve Westar V satellite up/down links to relay analog-mixed realtime sounds via a telephone-delivered 2 channel pair from Duluth Minnesota- to these locations.

Shortly before retirement from UMD 2002 email traffic between the Microflown (sensor) founder and I documented a special UMD price for a single sensing element- used in a larger array -which was a "sonic particle camera." Third party paper work did not get synced, the deadline came and went and so did I.

At this moment. Analogs', Sounds', Musics' thoughts' from all of us - in evolving states- it's samo process who. what, where, when, why, how, NOW analog to nando/digital.
Unprecedented challenges for earfulls; and NASA's eyes/ears (w/Sagan Mars mic!) realtime, outputing to hand helds- via two-way on-call streams - are underway. Perhaps generations later, listening/seeing Global's imaging & sound tracks will have both at par.
leif BRUSH

I seem to have taken an incorrect turn. My fault, please delete the previous.

I seem to have taken an incorrect turn. My fault, please delete the previous.

Pleasantly receptive while listening to and seeing .093's compact, tiered. dense and very interesting profile.

>>Saw your greeenlight too late Jason for 08? In a walnut sized nutshell: composer Volker Staub brought up my windribbong concepts see Mar 28 in DarM stadt http://www.neue-musik.org/presse_service/INMM_2008_FLYER_KOR_5.pdf He referred to my WINDRIBBON v1 of 1975 http://www.d.umn.edu/~lbrush/WINDRIBBON%20v1'78.%20.mov I am zooming in now RE: voice/wind poetry http://earthguest.net/EP.html#anchor205586 and some alternative two-way streaming instances http://weblackwhole.net/w2bw.htm Currently housed at http://weblackwhole.net over to you, LB