Chinese Character 7 - Various - Journey Through China (CD, Album)

I was, however, unable to locate any local artists after several months of searching. I was taking those issues into consideration when I thought that perhaps I should work with video. DVDs are cheap to buy and distribute. I also reconsidered the use of video because I was having doubts about the ability of the MP3 delivery system being adequate to the task of telling the story of the journey in the Six Realms of Rebirth.

My thinking was that if I were to explain the journey with video, it might go some way towards giving the listener the context for a deeper understanding of the narrative of the work. I wanted to make sure that the narrative of the work was understood. This was a mistake, a moment of self- doubt and ignorance.

Let me explain. There is no need for videos to go with the songs, no need for spoon feeding of meaning or context to the audience. Hemingway would write a story but never really tell the reader what it was really about — the meat of the narrative was hidden. The advantage of CDs are obvious— cheap to buy and easy to distribute.

The sound is superior to MP3. The CD is a more appropriate medium for this content and context. CDs also allow for a gallery event, if that is desired. In thinking about the presentation of the creative work, the earlier mandala-like images I crested using video have been at the back of my mind. The sound is the focus of the event — however, I also have still images and text on the walls of the gallery.

This makes the event somewhat interactive as sounds and images will be juxtaposed — random, unintended connections will be experienced by the audience as they circulate around the gallery.

Does each piece Chinese Character 7 - Various - Journey Through China (CD a vocal for a cohesive sonic experience? Or will the mixture of vocal pieces and instrumental works provide much needed variety to the listening experience?

A further and related thought on voice; can I include spoken-word pieces as part of the flow of sound? Short improvised monologues and skits to create further variety for the listener?

I like this idea, but have yet to record anything in this vein. As the practice proceeds, pieces of this nature might arise and then I can see how they work in the context of the musical content. I am an autodidact musically: I do not know my major from my minor — the concept of key signatures baffles me. Traditional musical notation is intimidating nonsense to me. I write this not to exalt myself as some primitive savant but merely to point out that when I improvise, I am totally reliant on what a piece sounds like — there is no theory behind the playing, it is based on feeling and intuition alone.

I have developed personal tunings for the bass and electric guitar, and these are also based on what sounds right to me.

Just a Chinese Character 7 - Various - Journey Through China (CD. A further thought on presentation — I am intrigued by the possibilities of the invention of artists — the making of biographies — the alter-ego eg. Perhaps even artists as beings encountered in the Six Realms.

January I have recently been experimenting with asynchronous recording. This a process in which separate tracks is recorded without reference to each other. The usual method of multitrack recording entails listening to previous tracks and playing at the same time. It is synchronous.

Then it is customary to add the vocal whilst listening to the whole instrumental piece; drums, bass and guitar at the same time. In my recent experimentations, I have taken to recording vocals in isolation from the other tracks. I have many pieces of work where the three instrumental tracks are finished but I am yet to add vocals to them. In recording vocal tracks without listening to the instrumental tracks, and then adding that recorded vocal to the three instrumental tracks, surprising and unusual sonorities result.

Recording the vocals in isolation also allows me to experiment with processing the voice in highly creative ways. The process forces me to extend my vocalizing in new directions. When I add the vocal track to the instrumental piece, it is like a meeting of parallel worlds which somehow seem to mesh.

This asynchronous method of recording also reflects the playful nature of the ludic sensibility — I am playing with time. February 1 Today I went to the School of Art Gallery with some speakers, an amplifier and a CD player to experience my work in a gallery setting.

It was gratifying to hear the work at loud volume and I learnt several significant lessons. Firstly, it is very important to sequence the tracks with care — I need juxtaposition, contradiction, timbral variety and paradox for the listener to have a rich auditory experience.

Secondly, and most importantly, the gallery is not, for me, the ideal site of this experience. It is too impersonal and not designed for sound art. The process is like sending an image by telepathy. I imagine a world, an image, a scene. The listener then hears the work and makes their own image in their mind — this could be a fascinating area of the research. How I would research that is certainly worth exploring. March In my practice, I have returned briefly to the live improvisations using pitch to midi software which enables using voice or an instrument to control electronic sounds and software.

Where previously I had performed this work in the studio, it had been as an experiment and was not recorded. I envisage these recorded improvisations of pitch-to-MIDI pieces as transitions between the more formalized pieces these are also improvisations but come out more structure and song-like than the pitch-to-MIDI pieces. The p2m pieces could be valuable in sequencing the piece as a whole as they provide timbral variety and act as a contrast in that their sonic palette is more extreme.

My song pieces are based on rock instrumentation whereas the p2m pieces can use any sounds I can conjure up. March A while ago I was attempting to delete files from my MP3 player and as a result some files became mixed up, spliced in unusual ways. The results struck me as creating a compelling listening experience and one I could not arrive at by conscious effort.

This is something to think about. June Having listened to the playback of the work on a regular basis, I am thoroughly convinced that the key to the production of an interesting artifact lies in the sequencing of the tracks created. I fancy the idea of sequencing the tracks based on the contrast of textures, these juxtapositions creating friction and variety for the listener. However, this might be a little simplistic and could result in a jarring discontinuity for the auditor.

In my practice, I have had as a guiding theme the narrative of a journey through the six realms of Rebirth, taken from Buddhist cosmology Trungpa These Six Realms are: Deva or 'God' Realm - Defined by bliss and pleasurable states of all types, this realm is reminiscent of Greek myths about the realm of the gods. This has proved somewhat useful as inspiration for writing tracks and for thinking about a final structure for the piece. However, the taxonomy of the Six Worlds does suffer from a nebulous, arbitrary quality; the idea is perhaps better used as a metaphor.

Each world has its characteristics but these are hard to pin down and translate when thinking about how a particular track fits into a particular world. Some tracks are obviously of a certain realm, whilst others seem to exist in multiple realms and some tracks do not fit anywhere, in an obvious way. How to classify a track as belonging to a realm is also problematic — do I judge based on the lyrical subject matter, the texture of the processed guitar, the kinetic urge generated by the rhythm of the drum track or a totality grounded in the emotional responses engendered by the track?

So with these misgivings in mind, I would like to entertain the possibility of using other themes and frameworks for the sequencing of the tracks. I must qualify this idea by stating that a major concern for me in all this is the idea that the product of my improvisations and recordings are to be shoehorned into categories that may not hold them, might not be appropriate for the work.

Perhaps there is no need for a narrative framework or theme by which the work is to be sequenced. Perhaps the sequencing can be related to more prosaic criteria, i. Perhaps it is fitting that the journey through the six realms acts as a hidden guide to the work and its sequencing. Each piece I have recorded does exist for itself, in a sense: each track is a scene, it is an aesthetic world of itself, but it is in how these pieces stand together, are strung together, that the process of sequencing potentially becomes a process of intense creative exploration and a challenge.

After Tommy every collection of songs I submitted for a Who album was inspired by an idea, a story or concept that had some kind of dramatic shape and form, not always evident, but always there. It leads me back to thinking that my earlier idea of fitting the tracks into the structure of a narrative journey through the Six Realms is too literal, perhaps inflexible.

Also of interest is the chronology of the process: Townsend often wrote tracks with the theme or dramatic form in mind, as an inspiration to the recording process. It was pre- sequencing i. I presented Glyn with my ideas for sequencing. It was then that I came up against his intransigence. It is a tension worth exploring. The answer was staring me in face all along; a simple and elegant guide to sequencing the recorded pieces of music. What are the sonic characteristics that make up the designations of clarity, obscurity and penetration?

A superficial attempt at such taxonomy is below: Clarity — brightness, spaciousness, intelligibility, obviousness, directness, confrontational, unapologetic, revealed, near Obscurity — darkness, dense, intense, confusing, subtle, suggestion, hidden, masked, far Penetration - inner brilliance, non-duality, cohesion, conjoined, wholeness, holistic. They still seem to come out of nowhere, occurring at virtually any time and in any context, and no amount of musical analysis or intellectualism has dissolved these life defining moments.

At this moment, I feel as if the final piece of the puzzle that is the creative core of the practice as research is falling into place. October 28, Having returned from Kyoto, I have edited some field recordings and these might provide useful in sequencing the tracks, to add variety and contrast to the flow of musical pieces. These musical pieces offer an opportunity to sequence the tracks with more contrast, as they are of a more obscure character. Combined with the field recordings, these could make a valuable addition to the available material.

February Sequencing of 2 CDs — 60 minutes each — accomplished by playfully using clarity-obscurity-interpenetration taxonomy translated through the tables of qualities for yin-yang.

At this stage, have not managed to create any spoken word, though the idea still appeals. May-December Sequencing begins and continues, based upon the qualities of yin and yang as described in the tables above. The process involves repeated listening and classification depended upon my immediate reaction to the track as it plays and the qualities that reveal themselves as I listen.

When qualities from yin and yang are detected, the track is classified as belonging to both groups. This requires tinkering with the sequence and repeated listening in order to reach an optimal sense of contrast and arrangement. The following tables detail each track of both CDs, their main qualities drawn from the yin-yang tables above, and their classification and place in the sequence.

It is vital to bear in mind when reading these descriptions that each method is employed playfully, and therefore the reversals, abandonments, embellishments, exaggerations, tensions and contrasts of the play sphere are applicable to each method i. Recording is the hiding and revealing of sound, and in this practice, sources of sounds the acoustic instruments are processed until hidden, the signal itself becoming lost beneath effects but somehow revealing properties of itself in the process.

Vocally, the semantic content of lyrics has often been submerged beneath other sounds, revealing nuances of meaning through what is not expressed. Similarly, the melodic lines of the bass and guitar are like sunlight peeking through clouds, filtering through a forest of rhythmic clusters, or like water running over patterned stones, blurred yet distinct. In applying this method, the challenge lies in application in a relevant context and in service of the creation of a novel, interesting texture.

In all of the creative practice, I have endeavoured to balance on the continuum between clarity and obscurity, playfully. In multi-track recording, each track exists in the shadow of the other — creating in effect a layered picture of shadows. The recordist navigates a path through the unknown as it is presented at each stage of multi-track recording. The subject matter of the improvised lyric its inspiration is unknown until voiced. The only exceptions to this are ladder up CD 1, Track 31 and burninsonoplastica CD 1, Track 3where pre-existing lyrics where employed.

Improvisation, extemporaneous musical creativity, has been the method at the heart of the entire project. In this practice, the recordist reacts to the sounds as they are layered, an approach to creation which is in Zen tradition of first thought, best thought, as the moment allows; each track is created without forethought, rehearsal or mapping out of a melody.

All tracks on both CDs are the fruit of this method. The practice requires an abandonment of song structures, the omission of lyrical meaning and forethought, the laborious editing of tracks — all these techniques are open to use and may also be ignored and abused.

Instrumentally, I use the rockist arsenal of drums, bass, guitar and vocals, but not all these instruments are used on every track. In the DAW, I attempt to restrict the processing of the signal to a minimum. The tools for sound-shaping in the DAW are so extensive and powerful that it only takes a little to yield a lot. The pieces are mostly around 1 minute in length. Each moment of creation and recording contains that potential for the melding of the obscure and the clear, and the recordist operates in such a field of awareness.

In this practice, the admixture of bright and dark sounds is an essential method — as in iconick CD 2, Track 23 - as is the placing of sounds in a space that suggests depth or the shallows — where oh where CD 1, Track 13 and justify your self CD 2, Track 5 reveal the use of these methods.

The voice is often altered to higher pitches — as on Me no like speakee CD 2, Track 12 - and melodies are stretched to create backgrounds over which short staccato lines are played. In all instances, these ideas are applied experimentally and extemporarily.

Another metaphor that has proved useful is the sense of the percussion creating a frame, or acting as a whole block of wood or stone, with the other instruments drawing lines across the space, carving out new shapes from the existing sound materials.

The ludic recordist plays beyond convention, relying on intuition, playing with the material of music, not aware of any final destination, guided only by the momentum of the matrix the recordist is in. The decision to play certain parts is taken in the moment without regard to how the harmonies will coalesce.

In this practice, I have disregarded the traditional templates of sonic clarity and the endless thirst for the newest technological innovations that the DAW makes possible. The DAW consists of Cubase running on a second-hand desktop computer and various plug-ins.

The practice for this research has taken place in what is best described as a low budget home studio. Conclusion The recorded material submitted for this doctorate consists of two CDs, each containing 60 minutes of music. CD 1 has 44 tracks, while CD 2 has 41 tracks. Despite having lived with, and listened to, these recordings for some time now, it is difficult to be objective regarding their quality as musical works of art.

Any judgment regarding the strengths and limitations of the work is best left to the listener. I can report that during the process of undertaking praxis and research for this doctorate, this recordist often felt deeply the mystery of the creative act and the universe in which we take part. A more fruitful approach to reflecting upon the effect of the recordings would be to elucidate what exactly was revealed to the author of this thesis when listening to the work.

It is noticeable that the rock, hip-hop and pop music that I have listened to throughout my musical life have had a profound influence on the recordings. The process of employing these methods results in work that spans genres and encompasses a universe of melodic invention, rhythmic variations and sonic textures.

Chicago: University of Chicago Press. Alleyne, M. Ames, V. Vilnius: Vaga. Attfield, N. New York: Continuum. Bailey, D. New York: Da Capo. Barrett and Bolt Practice as Research. London: I. B Tauris Bates, E. Brighton, England: Sussex Academic Press. Examining the Technological Divide amongst Record Producers in the s. Journal on the Art of Record Production. Issue 3, October ISSN: Bennett, S.

Issue 7, November Biggs and Karlsson The Routledge companion to research in the arts. New York: Routledge. Blyth, R. Tokyo: The Hokuseido Press. Sublime Frequencies' Ethnopsychedelic Montages. Bordwell, D. Princeton University Press. Borgo, D. Black Music Research Journal, Vol.

Born, G. Berkeley, California: University of California Press. Brandon, J. Brzostoski, J. The Noh Robe As Perfection. Buchanan, I. Swiboda Deleuze and music. Edinburgh: Edinburgh University Press. Byrne, D. San Francisco: McSweeney. Carr, D. Cascone, K. Computer Music Journal,pp. Cateforis, T. New York, London: Routledge. Chanan, M. London: Verso. New York : Bloomsbury. Chion, M. New York: Columbia University Press.

Chusid, I. Chicago: A Cappella Books. Cichorei, K. CK: can you explain the tradition of the white Gi?. Collins, N. Cambridge; Cambridge University Press. Connelly, F. Cambridge: Cambridge University Press. Cook, N. Copon, M. Sir Richard Bishop 13 questions. Corbett, J. Durham: Duke University Press.

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Deane, A. Chapter Aesthetics. Debord, G. Knabb Complete cinematic works: scripts, stills, documents. London, New York: Verso. Dixon, S. Cambridge, Mass. DouganJ. Druckrey, T. Dufour, D. Eaton, B. Eisenberg, E. Emmerson, S. Aldershot: Ashgate Publishing. Aldershot; Ashgate Publishing. Brian Eno: a painter in sound. Everett, Y. Middletown, Conn. Buddhism and Japanese Aesthetics. Fine, G. Wiley -Blackwell Flanagan, W. Chicago:Contemporary Books. Footman, T. Surrey: Chrome Dreams. Fournier, M.

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At long last, Prospero has a chance to get revenge on those who have wronged him. But, will he also ruin Mirandas chance for happiness? The Tempest is considered by many critics to be Shakespeares crowning glory. This full-color graphic novel presents the sparkling romantic comedy just as Shakespeare intended: in its original and unabridged format, and in its original setting.

As with the other titles in this well-received series, it encourages readers to discover classical literature while staying true to Shakespeares vision. Also available are a Plain Text version, translated into modern U. English, and a Quick Text version, with less dialogue for a fast-paced read. Kutscher, The book focuses on over- reactions, brakeless behaviors, easy frustration, time management, and organizational problems as key aspects of ADHD.

Kutscher writes with a clear and compelling style in an easy to follow format. Empathic, responsible, readable, and extremely useful information for families and teachers about ADHD. But fewer know that Olathe achieved notoriety again inwhen a member of Olathe's growing Evangelical Christian population, a gentle man named David Harmon, was bludgeoned to death while sleeping--the force of the blows crushing his face beyond recognition.

Suspicion quickly fell on David's wife, Melinda, and his best friend, Mark, student body president of the local Bible college. However, the long arms of the church defended the two, and no charges were pressed.

David's former wife and friend were now living separate, successful, law-abiding lives. Melinda lived in suburban Ohio, a devoted wife and mother of two. Mark had become a Harvard MBA, a high-paid corporate mover, a family man, and a respected community member in a wealthy suburb of New York City.

Some twenty years after the brutal murders, each received the dreaded knock of justice on the door. A Cold-Blooded Business provides fascinating character studies of Melinda and Mark, killers who seemingly returned to normalcy after one blood-splattered night of violence.

Featuring a new afterword by the author covering the events of the past five years, this fast-moving true crime narrative is a chilling exploration into the darkest depths of the human psyche.

For all the boys and girls in the world, here are two special books celebrating the wonder of youth. These chunky pint-sized volumes pack a punch with loads of material guaranteed to occupy, fascinate, and entertain boys and girls of all backgrounds and with all interests.

Designed with vintage illustrations that are as timeless as their contents, these two delightful volumes will be well-thumbed classics in no time at all. Each volume includes: 12 excerpts from beloved fictional classics; 14 poems from such poets as Walter de la Mare, Robert Frost, Langston Hughes, Christina Rossetti, and Shel Silverstein; 20 activities ranging from : science tricks and juggling to star gazing and building a lean-to in Boys; braiding and finger knitting to make blue jean bags and silk screen t-shirts in Girls; 12 songs, including: "Mr.

Frazier, All forms of Buddhism--The Theravada, the Mahayana and the Vajrayana--affirm the perfectability of the person, and one finds this notion of perfection embodied in three images; the arahant, the bodhisattva and the mahasiddha. By close textual analysis as well as by extensive field work, Katz criticizes this emphasis on difference and prefers to treat Buddhism as a whole, a position he finds in accord with the teachings of both Buddhists and Buddhist texts.

By a close examination of these three images of human perfection, bridges among the Theravada, the Mahayana and the Vajrayana are built and continuities within Buddhism are explored.

Murray, Shannon M. Fraser, The site of Warren Field in Scotland revealed two unusual and enigmatic features; an alignment of pits and a large, rectangular feature interpreted as a timber building. Excavations confirmed that the timber structure was an early Neolithic building and that the pits had been in use from the Mesolithic.

This report details the excavations and reveals that the hall was associated with the storage and or consumption of cereals, including bread wheat, and pollen evidence suggests that the hall may have been part of a larger area of activity involving cereal cultivation and processing.

The pits are fully documented and environmental evidence sheds light on the surrounding landscape. Introduction to Dental Public Health, M. Downer, Stanley Gelbier, David E. GibbonsX, Strategic Management, N Chandrasekaran, P. Anathanarayanan, Strategic Management is a comprehensive textbook designed to meet the requirements of postgraduate management students.

Written in a student-friendly style, it covers concepts and research in the field, and provides a balanced approach to the subject. The book begins with introducing the basic concepts and objectives of strategic management. Further, it explores corporate strategies, their formulation and implementation. The book addresses issues regarding corporate social responsibility and corporate governance and emphasizes the importance of evaluating and controlling the effectiveness of a strategy.

It also deals with analysis of business cycles with reference to cost impact, other than explaining about risk management and its measurement. The book concludes with a chapter on case analysis which contains matter on practicing the applications of strategic management. Owing to its comprehensive coverage and insights, students will find this book useful. It will also serve as a guide for professionals because of the inclusion of varied examples and case studies.

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