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Friday, December 2, 2011

Auditions Listening Notes + Sound, Nick Lands Meltdown and Binaural Frequencies

Smaller space

Feed me data-man in flat cap whistling – cluh ching – tills whistles, bleeps, plastic bags whispering to people – fridge hums – resonance – warmth – bass – denseness

Cash machine
Plastic bag – silver
Universe of sound
Gradual envelope (bass)

Cash register
Silvery sounds
Rustling bags
Sheets of sound
Electrical whirring noise
Reminds me of plane engines
Takes over the space

Enclosed space
Not an empty room
Conversation (not clear)

Cutlery clinking
Chairs on floor
“no it’s not”
accident with trestle table
voices knit together
nothing rises to the surface
space created by the sound is leaden  - - maybe warm, enclosed!?!
The recorder signs off with a thud
Speech is a pattern not a series of words
Sound has no pace, it just is
We can’t hear the listening yet

Public private / private
Becoming a part / / intruding
Being aware.
Feed me data 1 – airy.  – moving air. -  rushes of doors, peoples breath. Soft Floors.

Harsh sounding voices-  felt acoustic and fragile. A fragile building.
Buzzes, etc
Feverish activity of sounds


Background to foreground

“can’t hear the person listening”
“oh! Ouch!”

“Hmmm, hmm”

“I literally”

Auditions Notes chop up X Arch Carrier (short) by V1V1AN

listened to Nick Lands Meltdown this morning... lead to this... I'm very interested in taking the life out of voice - voco-mortism...so I just copied our notes into a reader and set them against Arch Carrier by Autechre - something to do with mirroring the cold flatness of the sonic world we dont hear ( due to our natural aural bias, aural acutism), part of getting to the cold mic... there are lots of surprisingly impersonal and hostile adjectives in our notes, so autechre seemed like a natural option for sonically conjuring our barren present...

edit - binaural sounds and the 'science' behind it is quite interesting too.... sort of tags on from my post on vocalities about Sirens

Video: - (7hz) Beat Frequency - - (100hz) Base Frequency -

Theta Brain Waves Information ( 4 to 8 Hz) :

•4.5 Hz - Brings about Shamanic/Tibetan state of consciousness, Tibetan chants.
•4.9 Hz - Induce relaxation and deeper sleep
•4.9 Hz - Introspection. Relaxation, meditation
•5 Hz - Reduces sleep required. Theta replaces need for extensive dreaming
•5.35 Hz - Allows relaxing breathing, free and efficient
•5.5 Hz - Inner guidance, intuition
•6.5 Hz - Centre of Theta frequency. Activates creative frontal lobe
•7.5 Hz - Activates creative thought for art, invention, music. Problem solving
•7.5 Hz - Ease of overcoming troublesome issues
•7.83 Hz - Schumann earth resonance. Grounding, meditative, Leaves you revitalized
•3 - 8 Hz - Deep relaxation, meditation. Lucid dreaming
•3 - 8 Hz - Increased memory, focus, creativity
•4 - 7 Hz - Profound inner peace, emotional healing. Lowers mental fatigue
•4 - 7 Hz - Deep meditation, near-sleep brainwaves

---------------- What are theta brainwaves? ---------------

Theta brainwaves are considered extremely relaxing brainwave activity that is commonly associated with sleep and dreaming. Theta brainwaves are high in amplitude and cycle within the range of 4 -- 8 Hz and are usually generated in the brains right hemisphere. Theta waves kick in when we feel emotional, relaxed, daydreamy, unfocused, or are asleep. Theta brainwaves are generally thought of as the brainwaves that are dominant in people with A.D.D., high levels of relaxation, high levels of creativity, and random thinking. The theta brainwave is considered the brainwave pattern that is dominant in deeply relaxed, dream sleep.

Theta brain waves typically range from 4 Hz to 8 Hz. Theta brain waves are associated with the "subconscious mind" and are usually produced in the right-hemisphere of the brain - as opposed to beta brain waves, which are produced in the left-hemisphere and are associated with the "conscious mind." The brain creates theta brain wave rhythms each time you are in "dream sleep." Also, during R.E.M. [Rapid-Eye Movement] sleep, the brain is full of theta brain wave activity.

Nearly 3/5 of your entire time spent sleeping at night involves the production of theta brain waves in your brain. Many individuals also are able to access theta brain waves when they are: driving for a long stretch on the highway, practicing their meditation routine, using a self-hypnosis recording, or practicing other forms of deep relaxation. When you are able to consciously access the alpha brain waves state, you are just one step away from accessing the depths of theta.

What's cool about theta brain waves is the fact that they allow you to connect with your "subconscious mind." The subconscious mind is the place where all experiences, long-term memories, natural creativity, powerful emotions, spiritual connections, and inspiration are all stored. Think of the "subconscious mind" as one big, infinite storage space for "everything" in your life. The theta brain waves are extremely helpful for healing the body of injury and the mind of diseased-states

--------------Benefits of increasing theta brainwaves----------

•Deep levels of relaxation
•Bridges the spiritual connection
•O.O.B.E. , Astral Projection, Esp, Other related phenomenon
•Advanced intuition
•Subconscious connection
•Ability to program subconscious mind
•Emotional connection
•Peak levels of creativity
•Advanced problem solving skills
•Large boost in learning ability
•Improved long-term memory
•Ability to hyperfocus
•Lower anxiety, stress, and neurosis
•Healing of body and mind


To find more detailed information on Binaural Beats and Brainwaves please visit -


  1. Hi Vivian, I started writing this on my blog in response to your message but realised it should go here instead, keep it in context.

    "Hi Vivian, I'm back on Deleuze again at the moment. Just submitted the first draft of my PhD proposal a couple of days ago so wanted to make some more notes while the pressure is off for a week or so. I love Thirst for Annihilation though, it's such a beautifully written book that approaches the subject with a completely immersive investigation that avoids any theatricality or break of commitment. It's really humble, I like that, and I'm looking forward to getting back to it after I've finished a few more index cards.

    I'm afraid I'm not of the same mind on Land's Meltdown though. Perhaps I don't know the context enough, but the use of accidental concrete poetry delivered by a computer is of a perception of the world that I don't subscribe to.

    The aesthetics obscure the terrain for no real reason and politically I find it significantly lacking. The computer's speech is far from a neutral voice, and ultimately turns any poetry into something rather mawkish (like arnie waving from the furnace in Terminator 2). It recalls the various non-emotional voices of fictive automatons of the past ("I'm sorry Dave, I'm afraid I can't do that") and can't really escape the theatre of it's tight circle of references. I don't think it can not be a cliché, and I think it contaminates everything it touches.

    Incidentally I noticed that a couple of posts down is Laurie Anderson, who's work I love. I've seen her at the Barbican on a couple of occasions and own half a dozen records and across all of these there is obviously a huge amount of processed voice, to the point where I wouldn't want to rule out the possibility of some of it being purely synthesized. Regardless of the process, there is arguable in Laurie Anderson's performance the "synthetic voice" and yet it avoids being dead-ended. Perhaps is the choreography of the process with what is a very front-facing performance, the synthetic voice is like a mask used in a most expressionistic manner. Perhaps, more likely, it's because in Anderson's the use of the synthetic voice is, as with all other aspects of the performance incredibly formal and economical. Quite simply, each "process" is selected with the kind of calm expected from such a trained musician and when anything needs only her voice, it is delivered just like that, with no processing. When I hear a computer reading aphorisms I yawn and ask why they didn't bother setting up a mic instead.

    That's my view on the format, and so it obviously applies to your Autechre based piece (which again I hold my hands up and admit I know nothing of the context for) as well. I look forward to your response!"

    All the very best

  2. Hi Ralph

    Yeah, Lands prose is wonderful, humble, passionate, vivid and enthralling, like he is going through a violent process of engaging with the text - fantastic.

    Ha - I think that's quite a slating for automated voices - yes they do carry a lot of cyberpunk baggage - but that's kind of why I like them.... like using someones ashes in the ink of their text - it's a neon sign to highlight a morbid logos, a detachment from life, drenched in non-life implications.

    I'm unsure of why Land used automated voices to read his text, I wouldn't be surprised if his thinking was on a similiar vector as mine. When you say that the aesthetics obsure the terrain I can't but feel that the aesthetics are the terrain and content, they mirror well.....I am interested in taking life out of text, hence my automatic prose on the other blog (generated by python) - and this converges on the kenji siratori / negarestani necrology tip too.

    The words are taken from a listening session I participated in at the centre for possible studies - everything felt organic, subjective and squirming, I wanted to negate these qualities and find something else, or rather let another listener find something contrary to the original motives and observations - as i feel it's now quite cold, and the words (just on a page, now typed up) are quite distant and inhuman.

    I think we read automated, computer readers in the same light, except I adore their implications!

    The Laurie Anderson piece is a much more effective voco-neutraliser in comparison.

    I think Dolar should write a book about the metaphysical implications of automated voices ubiquity in modern life...

    You should check out my posts over on VocalitiesAVC blog - ties in with all these concerns around the voice.

    I read the HoL piece in Rattle, I quite enjoyed it actually, felt it could've been much much longer. Bit of a patchy reply here, not at home right now... I'd be very interested to hear about your phd subject.



  3. Hi Vivian
    I understand what you mean about the synthetic voice, I'm sure my prejudices are a result of a deep distrust of the 1980s and my parents not giving me enough William Gibson when I was a child.

    I don't know much about Siratori and Negarestani, so could you elaborate on the dead text please? Would that be "death" as in oblivion, the point of equilibrium and stasis? Or is it to do with a dark and inaccessible side? or even a sort of waste matter outpouring, all live as detour of the suns energy toward extinction (Bataille)? Sorry if that sounds glib, it's not meant to, I'm interested in this but doubt I'm going to have time for many more reading detours soon so I thought I'd ask.

    never heard of centre for possible studies, will keep an eye open now.

    Will check out Vocalities blog too (and even give a second chance to the essay on house of leaves!)

    In regards to the PhD thing, I'd been meaning to ask if you'd have look at the first draft of the proposal, it would be very good to get some fresh eyes on it if you don't mind. drop me an email at ralph[dot*&^]dorey{AT??}network(dott)RCA{d0t}ac{døt}uk if you're interested and I'll send it over, I warn you, it's a load of nonsense.

    I'm writing an essay at the moment on Peter Wier's "The Last Wave" and Francis Bacon's "Jet of water" for the "...And What Will Be Left Of Them?" blog. It's starting to crush my brain a bit figuring how to talk about an indescribable space.

    all the best

  4. Kenji Siratori makes quite stunning, neo-cyberpunk machine gun prose, Negarestani makes grotesquely vivid, post Land, quasi lovecraftian, deleuzian hyperstitional theory-fictions - naturally(!) the two have worked on a project together called Necrology! I love a good morbid neologism!

    Thing is there comes a point when meaning is buried, or the text struggles against it's own obfuscatory nature - personally I don't think Negarestani suffers from this, nor does SIratori - but moments of misty prose are employed as strategies - I feel, susupect, hope. This lead me to creating a program on python that generated text from specific sentence structures and specific (mostly my own weird portmanteau) words..... hence the notions of deadening a word, of negating it through a system, Derrida writes of the dead symbol, the signifier word, and deconstructs through punnage and contextural pivoting - pharakos, remedy, poison etc - negative old me wants to strip the words of any meaning except the projected assumptions.... the matrix of absences, the web of signifiersrs aside if everything is random and the product of a program then any sense, and logos is co-incidental or the consequnce of pareidolia or apophenia.... I hope this explains my remarks!?!? It's late and i'm tired so probably not doing it justice...

    Vocalities blog is where most of my writing as been dumped over the last few weeks. I've just finished the Mladen Dolar book and have lost my mind. Some, I hope, I thought at the time, interesting little thoughts around the voice on there though.

    Yeah, It'd be nice to see your Phd thing, I'll email you and we can go frm there...



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