Brian Snead
digital presence

A couple of weeks ago, I interviewed Brian Dunning, the creator and host of the Skeptoid podcast. This podcast, which answers all manners of pseudoscience and cultural myth with scientific reality, has a weekly audience of over 80,000 listeners and is a TOP 5 science podcast on iTunes. You'll hear a bit about Skeptoid and his presentation entitled, Sounds from Beyond, which he describes as "weird recordings and sounds from all areas of the paranormal."

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Während eines Aufenthalts bei der Grossmutter meiner Frau schaute man sich bei Kaffee und Kuchen alte Bilder aus einer Schuhkiste an. Und da kam mir die Idee: Aufnahmen aus der Schuhkiste als Audioversion.

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Shoebox Shots from Berlin is all about everyday sounds from a Christmas vacation spent in Berlin. While hanging out at my wife's grandmother's place over cake and coffee, out came a shoebox filled with piles of old snapshots. That's it, I thought, why not do the same thing with audio? And here we are.

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Whatever goes by the name of 'sonic weaponry' is both over-hyped and ineffective. But in this is a disconcerting catch. Even if sonic weapons aren't strong enough to tear people's guts apart in combat, they are capable of causing serious damage to the ears and psyche. Labeled 'Non-Lethal Weapons,' these devices are most effectively used to harass private citizens, protesters and to aid in the torture of prisoners.

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We tend to hear recordings completely divorced from the apparatus that makes them possible as if we weren't listening to recordings at all, but something somehow self-contained and one-dimensionally diegetic: it's a given that any particular recorded piece of music is nothing but that piece of music, performing itself as we perform ours. But this is what we've learned from an industry that was only ever concerned with obliterating our conscious awareness that recordings are in fact different from live performances

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In this special episode, I describe my recent experience at Dialog in the Dark. Features the talents of Atlanta's own, Heather Bond.

DIALOG IN THE DARK'S visually impaired guides lead visitors on a journey through a series of darkened galleries created to replicate everyday experiences. Without familiar sight clues, visitors learn to "see" in a completely new way with their non-visual senses.

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If nothing ever moved, there would be nothing to hear. Something moves and, by moving, it bumps something else, which then bumps something else and over and over again all the way up to the point where it reaches our bodies and our ear drums.

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The sound of a closing car door is no coincidence. It's a carefully constructed sound intended to communicate 'luxury,' 'safety,' and 'quality' to the consumer. It's affect is the goal of all marketing efforts: the creation of an emotional will to purchase.

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Even though machines are are a long way from holding a conversation, the best anyone has been able to come up with so far severly limits the human speaker, the technology is varied and interesting and will underpin those machines decades into the future with which we will able to have meaningful interaction.

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In episode two, I talk about "the Soundscape." This is an idea defined by Murray Schafer as "any acoustic field of study...[consisting of] events heard not objects seen." But it is also "an indicator of social conditions which produce [the sound] and...the trending and evolution of...society."

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The first episode of Sound in the Machine is an introduction to the format, content, and host of the podcast.

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