Louis Wain - Schizophrenic artist that paints cats
October 12th, 2006
Archive
Archive for October, 2006
Effects of LSD on an artist
October 12th, 2006
This interesting article goes to show the effects of LSD on an artist as he attempts to draw a portrait .
These 9 drawings were done by an artist under the influence of LSD — part of a test conducted by the US government during it’s dalliance with psychotomimetic drugs in the late 1950’s. The artist was given a dose of LSD 25 and free access to an activity box full of crayons and pencils. His subject is the medico that jabbed him.
First drawing is done 20 minutes after the first dose (50ug)
An attending doctor observes - Patient chooses to start drawing with charcoal.
The subject of the experiment reports - ‘Condition normal… no effect from the drug yet’.
Great results !
Fake Name Generator
October 11th, 2006
This handy tool will create a full fake name , including phone number ,street address, email address and credit card number .
Perfect for feeding forms that won’t let you pass until they are full.
Example :
William D. Ellerson
90 Lane Street
Viewbank VIC 3084Email Address: William.D.Ellerson@mailinator.com
Phone: (03) 8046 5221
Mother’s maiden name: Morrison
Birthday: June 2, 1982Visa: 4929 0150 1867 2202
Expires: 6/2007
Musique Concrète
October 6th, 2006
Bit more info on the history of Musique Concrète
In 1948, Pierre Schaeffer used tape manipulation of natural and mechanical sounds to make a pioneering radio programme. His new techniques, known in artistic circles as musique concrète, used tape recorders to create new sounds from old. He used ‘spooling noise’, played tapes backwards or at different speeds, or turned the spools by hand. By using a machine with a variable-speed capstan motor, the pitch of a sound could be modified with musical accuracy.
And some more info and the methods and techniques :
Two other effects that briefly saw popularity were phasing and flanging, both caused by upsetting the azimuth (the vertical angle of the tape head) during recording or playback, usually by touching the flange of a tape spool. Neither could be described as musical, but they were very dramatic.
Phasing was the result of combining the input and output of a tape machine, or the two outputs of a stereo machine. As the phase between the signals changed, the output at certain frequencies, and their harmonics, was cancelled out, an effect identical to a comb filter. Flanging was similar, but relied on feeding some the tape machine’s output into the input, almost causing oscillation at some frequencies. The result was more metallic than phasing and was used on many pop records of the sixties.
Alex Grey describes his first DMT experiance
October 6th, 2006
Ok, this is what truly happened, this was my first time..
I was in a group of 6 people, inside at nighttime. The only light source was a candle
in the centre of the room, and we were all around it. Anthony just had a huge dose,
he did prana breathing with his dose and I was shaking with excitement…
a full body shake that I could not control. Now it was my turn.
‘Gastro’ held the glass bong with the glass pipe attached, he
lit it carefully making sure not to fully vaporise it, he said.“NOW!”
Biffs Question Song
October 4th, 2006
This cracks me up …
Have a question about Back to the Future for the guy who played “BIFF?” Yeah, so do a billion other people!
Musique Concrète
October 3rd, 2006
As defined by wikipedia is :
Musique concrète (French; literally, “concrete music”), is the name given to a class of electronic music produced from editing together fragments of natural and industrial sounds. Concrète was pioneered in the late 1940s and 1950s, spurred by developments in technology, most prominently microphones, and the commercial availability of the magnetic tape recorder (created in 1939), utilized as tape loops.
The linked page has some more info , and nice diagrams to show what some of the cuts made to the tape were .
Music concrete was recorded directly to tape with real (concrete) sounds , while musique abstraite was the traditional way of composing by writing down the score to be played later.
Music Concrete was based on manipulation of tape. (Although the first research involved phonograph records, eventually tape technology became more available , and with it the possibilities of splicing and pasting parts together versus a non-re-recordable fixed format). It also concentrated on ‘found sounds’ or natural recordings rather than electronically produced sounds such as created by synthesizers.