#Baalman

[mateo393]

lepanto brandy 

[americasgreatoutdoors]

The calendar says it’s spring, but it still looks like winter at Chautauqua National Wildlife Refuge in Illinois. The snow and fog glow in the purple gloom on this April morning. Despite the chill, the wetlands, forests and prairies of the refuge are great places to see migrating waterfowl and shorebirds. Listen for their calls in the morning. Photo by Mitchell Baalman, U.S. Fish and Wildlife Service.

[reneleijen]

FVD-lijsttrekker weg bij politie wegens nazivergelijking op internetforum

FVD-lijsttrekker weg bij politie wegens nazivergelijking op internetforum

De politie heeft de arbeidsovereenkomst met agent Brian Geertshuis (47), tevens FvD-lijsttrekker in Hengelo, beëindigd. Geertshuis kwam meerdere malen in opspraak wegens online kritiek op onder meer het coronabeleid. Hij vergeleek ministers met nazi’s en noemde hen ‘smeerlappen die met de kop op het hakblok zouden moeten liggen’. Volgens districtschef Karlijn Baalman overtrad de agent daarmee de…

[vigilate-et-orate]

AJ BAALMAN: ALTERNATIVE PLATFORMS HAVE WORSE CENSORSHIP

[techcrunchappcom]

New Post has been published on https://techcrunchapp.com/90-wildcats-on-sec-spring-sports-academic-honor-roll/

90 Wildcats on SEC spring Sports Academic Honor Roll

LEXINGTON, Ky. (UK Public Affairs) – A total of 90 Kentucky Wildcat student-athletes earned a place on the 2020 Southeastern Conference Spring Sports Academic Honor Roll, announced Friday by SEC Commissioner Greg Sankey.

UK had 23 baseball players on the list, most from any school in the league in that sport.  In addition, UK had seven athletes from men’s golf, six from women’s golf, 13 softball players, three men’s tennis players, four from women’s tennis, 13 men’s track and field athletes and 21 from women’s track and field. The SEC spring honor roll is based on grades from the 2019 Summer, 2019 Fall and 2020 Spring terms.

Any student-athlete who participates in a Southeastern Conference championship sport or a student-athlete who participates in a sport listed on his/her institution’s NCAA Sports Sponsorship Form is eligible for nomination to the Academic Honor Roll. Among other criteria, students must have a grade-point average of 3.0 or above for either the preceding academic year (two semesters or three quarters) or have a cumulative grade point average of 3.0 or above at the nominating institution.

Kentucky – Sport – Major

Carson Coleman – Baseball – Integrated Strategic Communication

TJ Collett – Baseball – Communication

Braxton Cottongame – Baseball – Undeclared

Elliott Curtis – Baseball – Psychology

Breydon Daniel – Baseball – Communication

Cole Daniels – Baseball – Community and Leadership Development

Alexander Degen – Baseball – Social Work

William Gambino – Baseball – Management

Trae Harmon – Baseball – Marketing

Daniel Harper – Baseball – Management

Mason Hazelwood – Baseball – Elementary Education

Cameron Hill – Baseball – Community and Leadership Development

Tanner Holen – Baseball – Kinesiology

Brendan Hord – Baseball – Civil Engineering

Ben Jordan – Baseball – Communication

Coltyn Kessler – Baseball – Communication

Trip Lockhart – Baseball – Communication

Dillon Marsh – Baseball – Accounting

Justin Olson – Baseball – Communication

James Ramsey – Baseball – Communication

Hunter Rigsby – Baseball – Undeclared

Austin Schultz – Baseball – Communication

Jaren Shelby – Baseball – Communication

Jacob Cook – M Golf – Management

Alex Goff – M Golf – Finance

Allen Hamilton – M Golf – Economics

Jay Kirchdorfer – M Golf – Management

Matt Liston – M Golf – FInance

Zach Norris – M Golf – Finance

Garrett Wood – M Golf – Management

Ryan Bender – W Golf – Marketing

Josephine Chang – W Golf – Biology & Kinesiology

Sarah Fite – W Golf – Kinesiology

Rikke Svejgård Nielsen – W Golf – Agricultural and Medical Biotechnology

Casey Ott – W Golf – Psychology

Sarah Shipley – W Golf – Integrated Strategic Communication

Renee Abernathy – Softball – Human Health Sciences

Grace Baalman – Softball – Art Studio

Jaci Babbs – Softball – Mathematical Economics

Emma Boitnott – Softball – Neuroscience

Autumn Humes – Softball – Kinesiology

Lauren Johnson – Softball – Integrated Strategic Communication

Mikayla Kowalik – Softball – Finance

Alexandria Martens – Softball – Integrated Strategic Communication

Mallory Peyton – Softball – Human Health Sciences

Meghan Schorman – Softball – Marketing

Tatum Spangler – Softball – Animal Sciences

Larissa Spellman – Softball – Management

Bailey Vick – Softball – Accounting

Cesar Bourgois – M Tennis – Marketing

Ying-Ze Chen – M Tennis – Economics

Jonathan Sorbo – M Tennis – Management

Lesedi Jacobs – W Tennis – Accounting

Akvile Parazinskaite – W Tennis – Diplomacy and International Commerce

Anastasia Tkachenko – W Tennis – Management

Diana Tkachenko – W Tennis – Management

Dylan Allen – M Track & Field – Marketing

Cole Dowdy – M Track & Field – Biology

Tanner Dowdy – M Track & Field – Political Science, Finance

Joseph Jardine – M Track & Field – Marketing

Matthew Peare – M Track & Field – Communication

Jacob Smith – M Track & Field – Journalism

Joshua Sobota – M Track & Field – Management

Dwight St. Hillaire – M Track & Field – Communication

Gabriel Szalay – M Track & Field – Marketing

Matthew Thomas – M Track & Field – Marketing, Finance

Trevor Warren – M Track & Field – Economics

Benjamin Young – M Track & Field – Mathematical Economics, Accounting

Lincoln Young – M Track & Field – Digital Media and Design

Nicole Bagby – W Track & Field – Psychology

Celera Barnes – W Track & Field – Kinesiology

Perri Bockrath – W Track & Field – Psychology

Rachel Boice – W Track & Field – Biology

Riley Caudill – W Track & Field – Kinesiology

Alison D’Alessandro – W Track & Field – Mathematics

Ellen Ekholm – W Track & Field – Marketing

Nicole Fautsch – W Track & Field – Marketing, Psychology

Carly Hinkle – W Track & Field – Animal Sciences

Kaitlyn Lacy – W Track & Field – Accounting

Molly Leppelmeier – W Track & Field – Computer Science

Mallory Liggett – W Track & Field – Kinesiology

Lainey McKinley – W Track & Field – Kinesiology

Sara Michels – W Track & Field – Journalism

Janie O’Connor – W Track & Field – Family Sciences

Madisyn Peeples – W Track & Field – Elementary Education

Masai Russell – W Track & Field – Communication

Caitlin Shepard – W Track & Field – Kinesiology

Abby Steiner – W Track & Field – Kinesiology

Kelli Walsh – W Track & Field – Finance

Kamilah Williams – W Track & Field – Journalism

[michaelmaca11-blog]

Conan O’Brien portrait 

Jason Baalman

Cheetos! 

2010

*Collapsing boundaries between "high" and "low"*

[hms3649271]

Working towards the three projects I chose this semester has been an experiment in both time management and creative consistency. One of the main components of the experience that I have found to be most productive has been the process of creating works with both an intention and a deadline. I have struggled with this element of creative work within my own practice for several years, and university has been an opportunity for me to get out of some bad habits and work towards creating finished products. The change of my mindset regarding my creative products from something that I make completely selfishly and without intention to share has been a positive outcome and is something I hope to build on. I want to continue making things, and I feel that the opportunities I have been granted both this semester and last have been formative in my personal journey to develop a conscious understanding of the type of works that I want to make. These kinds of broader experiences are what make me feel justified in the decisions I have made to continue studying as I have. It’s unlikely in any way that I would get the chance to work on these types of projects in the way that I have had I not put myself in this environment. I have had moments of uncertainty, but in retrospect, there have been many lessons that I have learnt which I value significantly and doubt I would otherwise come across.

On a more specific level, working within the structure of the HMSeX studio, I feel that each project has presented me with several valuable experiences. When I look back at the decision I made at the beginning of the semester to work under the term ‘mesmerising’, I feel that it was made with the intention of finding a way to facilitate myself working with a pre-existing idea of my own ‘aesthetic’. This decision was not necessarily a bad thing, although it feels like my initial interpretation of it has evolved significantly since the first few weeks. The research that I did drew parallels between the threshold of immersive media and helped me establish a conceptual guideline to work under. This was a productive choice, as I had struggled to find academic implementations of the term ‘mesmerising’ specifically, especially relating to media art and experience. I attempted to demonstrate that the state of mesmerisation was one that is ‘contingent upon the viewer responding to the artwork’ (Eastwood, 2012), a parallel with the development of immersive experiences. I found that the ‘multifaceted relations between critical distance and immersion’ (Grau, 2003) were the same relations that the works I wanted to create were reliant upon in their success. It was this creative structure that I was consistently referring to throughout the semester to make sure that my works retained the academic backbone that I initially tried to establish. In hindsight, this seems to have helped me maintain a thread of complex relationships throughout my work, however, it feels as if the inherently subjective manipulation of the physical experience leaves their success up to the viewer and their response.

Town Hall I felt that my work in the town hall was generally successful, despite facing several challenges. I feel that I was able to accomplish the process and results-based goals that I set out for myself regarding the production of mesmerising content, especially with my implementation of quadraphonic audio. Employing high-frequency detail in the rear speakers that relates to and differs from the content being played through the main left and right loudspeakers is one way that I attempted to implement my definition of the adjective and the process of its induction. The (unintentional) choice to locate the loudspeakers that were used for the two rear channels underneath the circle was potentially to my benefit, as it helped contain some of the more difficult acoustic properties of the space. The two biggest challenges were the time constraints and limited access to the hall itself. As we didn’t have any chance to work on the project on the organ itself and with the loudspeaker system employed for the concert, it was quite a surprise to hear it the first time. This in and of itself definitely made things more interesting however I believe that there would have been decisions that I made differently had I been able to access the space beforehand. I don’t however, think that this affected my implementation of my adjective. As part of this project Cameron and I have still ended up with a file that contains his video and my audio, and when viewing this despite it not containing the sound of the organ I still feel that it is representative of the types of works I wanted to create this semester and a successful application of my creative structure. I think as unlikely as it is if the opportunity were ever to arise again to write music for a MIDI controllable grand organ I would still take it.

Capitol Theatre Collaborating with Cameron on a second project was an easily realised extension of the work we had already done in the town hall. Each of us was able to work independently on our respective components, while also bouncing ideas back and forth. In this way, I think our collaborative workflow was quite effective, as we each had a good sense of what we wanted to achieve and had both chosen the same adjective. This meant that aesthetic decisions were able to be made in conjunction with each other in an attempt to meet similar research-based goals.

From my perspective, I had a lot of issues getting the audio somewhere I was happy with. This was partially related to the fact that we had settled on a structure early on in the semester that we would work towards as a result of a few sketches I put together. I wouldn’t usually want to write in this way, and I put myself in a box by doing so. I also had some trouble with getting the track right in the room, a lot of which ended up being issues that I was having within Ableton that I was, fortunately, able to resolve by the date of the exhibition.

I think our time management could have been improved, most specifically in relation to our lighting design. It was really this element of the work that set it apart and related it to our adjective. We had intended to link the video and the lighting by utilising the LED matrix as an extension of the screen space, subtly creating peripheral relationships between what was visible on the screen and what could be seen in the corner of the eye along the walls and the ceiling. Unfortunately, this got left to the last minute and I didn’t get to quite spend as much time on it as I had wanted. That being said, I was fortunate to already have the software-based skills required to create the work, and once I sat down with Cameron we were able to efficiently create something that we were both aesthetically happy with and felt functioned as we had planned.

Black Box As I have mentioned in some of my previous blog posts, I felt that the work I completed in the Black Box was the one that I got the most out of and was most pleased within the end. The various lessons I learnt regarding the implementation of spatial composition techniques have been invaluable, and the experience itself has been very positive and enriching. These techniques have been informed by the work of Marije Baalman, a dutch academic whose work has focused on quantifying the ‘tension between compositional techniques to create ‘spatial music’, and audio technologies for spatialisation’. I found that this resonated with me throughout my process significantly, and I probably spent more time focusing on the HOW rather than the WHAT. It was this dialogue between technique and product that I spent most of my sessions in the room experimenting with. I wanted to explore how the level of control I granted myself within the software impacted the product that I ended up with. In my discussions with other students who have worked in the room, I am quite glad for the amount of time I spent focusing on this. Some of the techniques that I found were highly efficient methods of producing the type of spatial ‘music’ that I had set out to create. When I look back at my initial experiments, I feel I have come a long way. The development of production techniques within Ableton that maintained program accuracy but allowed for the creation of complex polyrhythmic sequences across multiple speaker outputs was an outcome I was quite happy with. I would like to expand on this with some experimentation in max for live, to see how far I can push this idea.

Baalman uses the term ‘accuracy’ multiple times, in reference to the compositional systems ability to translate the spatial parameters of the loudspeaker array into the program. This was something I felt Ableton lacked, and through my experimentation found a solution for. In some ways, this is not actually a necessity for a successful composition. The variance in what this adds to the experience for both composer and viewer is quite significant.

I will briefly touch on the visual component I had attempted to add. I’m quite glad that after the conversation I had with Darrin this morning I made the decision to strike it. The thoughts I was having earlier in the semester about the impact it had on the experience by orienting the room throughout were still just as valid, and I suspect my misgivings about introducing that as a variable were what made that decision so easy. The experience of the work on its own is much stronger and opens up the viewer's experience of both the space and the array. I noticed today while watching the audience the variety of perspectives throughout the room. Everyone had gathered around in the centre of the room and were each facing in different directions. This made the experience much more insular, and the focus became the sound and its field. Introducing visual content not only orients the audience within the space but also changes the way that we listen, and focuses their attention on the sounds and their field. I feel that this decision meant that despite the visual content introducing further possible audiovisual relationships, it actually detracted from the accomplishment of my chosen adjective. The level of resolution within the loudspeaker array already allowed significant opportunity for the types of interrelated devices that I wanted to employ to meet my criteria. I’m glad for the opportunity to use this system. It has truly been a very enriching experience and I feel that I have learnt a lot. I hope to focus on these kinds of systems more in the future within my creative practice.

[jeankoning]

... On Twitter...

Esther Baalman en @jeankoning tijdens repetitie Sebastiaan (2010).#25jaarjubileum #throwback pic.twitter.com/MKvnpour5Y

— Andrea de Leeuw (@loose_sand) September 23, 2019

[ravelite]

With my hybrid background as both an artist and an engineer, what I see a lot is that engineers don’t always understand the aesthetics while artists don’t always understand the engineering possibilities. Sometimes I found that people come up with solutions where I think, yeah that could have been simpler or better thought through. Or artistic approaches with a naive concept of how a technology works and then don’t really get everything out of it or are aware of the limitations and biases that are in the technology. Engineers on the other hand - this is specifically in the NIME community sometimes a problem - can have quite old-fashioned ideas of what a musical instrument is or what musical practice is. They work from an old-fashioned model where you have a composer, you have a musician and then you have an instrument maker. I think in the current artistic practice this is not so clear cut anymore, but just one way of approaching music, especially when you look across genres.

An Interview with Marije Baalman | WoNoMute

[lanemhollarsma]

Southwestern Hearing Centers Patient Testimonial - Stephan Baalman

from Southwestern Hearing Centers - Main Page https://www.youtube.com/watch?v=cY9z-6fJcvo

from Southwestern Hearing Centers https://southwesternhearingcenters1.tumblr.com/post/615475456237568000

[stevenbattleusa]

Southwestern Hearing Centers Patient Testimonial - Stephan Baalman

source https://www.youtube.com/watch?v=cY9z-6fJcvo

source https://isouthwesternhearingcenters-usa.tumblr.com/post/615475244553142272

[georgeveale]

Southwestern Hearing Centers Patient Testimonial - Stephan Baalman

Via https://www.youtube.com/watch?v=cY9z-6fJcvo

source https://southwesternhearingcenters.weebly.com/blog/southwestern-hearing-centers-patient-testimonial-stephan-baalman

[vigilate-et-orate]

CATHOLIC PRINCIPLES FOR CATHOLIC RESISTANCE TO THE SCAMDEMIC

Listen to Dr. Thaddeus Kozinski, Ph. D.,

Br. Bugnolo, and A. J. Baalman talk about

how and why ALL CATHOLICS should resist the Scamdemic

[pamelagburger32]

Southwestern Hearing Centers Patient Testimonial - Stephan Baalman

from https://www.youtube.com/watch?v=cY9z-6fJcvo

from Southwestern Hearing Centers - Blog https://southwesternhearingcenters1.weebly.com/blog/southwestern-hearing-centers-patient-testimonial-stephan-baalman

[anahoffmanusa]

Southwestern Hearing Centers Patient Testimonial – Stephan Baalman

source https://www.youtube.com/watch?v=cY9z-6fJcvo

source https://southwesternhearingcenters.wordpress.com/2020/04/15/southwestern-hearing-centers-patient-testimonial-stephan-baalman/

[hms3649271]

These screenshots depict one of the methods I am employing in the Black Box project to address the ambisonics array. This panner employs up to 12 ‘nodes’ within an XY module that can be given both positional data within the axes and global dimensions that affect the size of the nodes. Each of these nodes corresponds with a speaker within the array. The user then manipulates the positional data of the input slider to modify the amount of audio sent through each of the speakers. 

This method is quite effective in the trajectory manipulation of highly transient sounds, however, it struggles when trying to do the same to sounds with subtler textures. Baalman (2010) suggests that the necessity of accurate trajectories in spatial compositions is an important consideration for the artist. My experimentation so far has included this as part of the effectiveness criteria for the technical processes I have explored. The accuracy of this node panner is dependant on the sound sources textural and temporal qualities. For example, when panning high-frequency digital noises between each speaker, the minute phase click that the panner generates is indiscernible, however, when doing the same with a field recording or pad sound, this click is very noticeable, and increases in amplitude depending on the speed that the panner is being moved at.

This idea of spatial accuracy is something I have thought about during the process of writing this piece. I found that my implementation of the array was equal in effectiveness before and after I mapped the nodes in the panner to correspond with the speakers in the space. The sounds still interacted polyrhythmically as I had hoped, in much the same fashion as when they were unmapped. It did, however, allow me much more control in my process as I directed sounds to each speaker. The benefit of spatial compositional processes that can be said to create accurate sonic trajectories was felt much more during the process of composition, rather than listening. I aim to explore these ideas further in relation to my own composition.