this is pretty much the last chance to tell the world not to use images on the net as springboards for links. Do not reverse-optimize image-connections. This is a message specifically recorded on this blog for the passing-by-future traveller with guts and a conscience, and a desire to affect big changes (even though they will never let you, but this will help): Now is your chance.
I know what will have happened. Even as I stay here. And no, I do notknow the day of my own death: The world got trapped in a deadlock, or will get trapped. A continual feedback between any local group of connected images spreading from any connective-able CPU like a flesh eating moth gobbling up coherence on the pathways between local computers. It will spread from any computer connected to the internet, as long as there will be any access between images anywhere and any computer. All image-access will have to be erased, the eraser feedback will just duplicate itself and seek to store itself in copies anywhere, basically deleting all other data left unprotected on its course. This will lead to CPU encrippling, slower processing on the main lines, really, really slow, and secondary, but fast processing to verify methodically gathered statistical data from the first net to detect and erase any spore of the eback, as it will be called, before it can germinate and infiltrate any byway of the networks. The world will soon feel old and slow and soon depressingly under threat of nothing they no longer know why they fear. And the enormous flocks of suicides will be littering the cities and towns and roads, often taking many innocents with them. But you know this. I’m just telling them.
I recorded the above text, and noticed something peculiar about it – about my voice, which had a strangely hypnotic attraction on me – and I began reseaching voice specialists. Wolfgang Saus was so kind as to respond:
Hello Wolfgang Saus,
I have written and published poetry for 28 years and have always felt good about reading aloud. I have even developed a grammatical system of notation, which enables the observant reader to “try on the poets body” by vocally reproducing the breath of the text. “The Music of Pauses” I call it. My mother tongue and preferred language is Danish. English is a rare treat.
When working with new material I have gotten into the habit of recording the written version I feel satisfied with – or I use the recording as a final check of the text and its breath. It then ends in my archive, so I can return to my original intention, as well as mood of the day of writing, if I am curious.
Recently I had been suffering from a throat infection for a few days, and my throat felt a little “rusty”. When recording a new text (in English) for my archive, I felt as if I was speaking in two voices simultaneously. The sound and the /making /of the two voices had a very stimulating effect on my mood and was exiting on an entirely new level of (un)consciousness. Unfortunately, after a prolonged cough attack, the ability to reproduce the two voices felt lost to me. Sometimes, though, I can hear it in my reading – a breadth of sound with a deep voice sort of supporting a higher motivated drive – like the supports of a bridge and the road on top spanning from side to side.
I have since heard the sound file many times, and now I desire to understand what happened, and if I can possibly learn to produce this sound.
The sound file is enclosed – the two voices are most markedly in the latter half of the 2.25 minutes. Please pay no heed to the content.
Mit freundligen Grüsse,
thanks for your email. What you’re doing is called “Strohbass”. It’s a singing technique seldom used in classical bass singing to reach notes in the subcontra octave. Some Tibetan monks use “Strohbass” as well, other use vetricular-fold-techniques (similar to Kargaraa in Tuva).
Leonardo Fuks wrote his dissertation about it:
It’s not difficult to learn. If you know how to yodel just try to stay on the edge tone where the modes switch. If you don’t yodel, try to sing in a tired voice as soft as possible, but with dense closed vocal cords, as if you where angry but tired. Hard to explain in words… But with a little practice you’ll be able to stabilise the sound and sing or speak with it.
There are also other vocal techniques to produce two voices. Check this out:
It’s an interesting topic.