#alien voice

[fuzzkaizer]

saxon - smash - press for alien voice

cred: facebook.com/Colin Robinson, Patrick Harte, Jonny Vee,

[cleowho]

“Ambassadors?”

The Ambassadors of Death - season 07 - 1970

[thesassysausage]

seriously everyone needs to hear this man sing...like my vocal training is a bit out of practice but i still have an ear identifying how technically magnificent things are and holy shit...I think this dude has the best voice on the planet

[onvoice]

Herndon explores an augmentation of the breath, using spectral freezing techniques to stutter the sounds of gasping, sucking, and exhaling air. The opening moments of the piece hear a sharp intake of breath being shortly followed by a lower-pitched, stuttering granular shadow of this breath that slowly fizzles out. A silence ensues inferring that the breath is being held. When this breath is finally released with a relieved sigh, the deeper shadow coughs and shudders again. This respiratory rise and fall is repeated continually through the work, and each repetition spawns new layers of stuttering, resonating, croaking and swirling sound-bodies that extend beyond the parameters of Herndon’s original voice.

Nik Rawlings, Castles in the Sky: Clouds, Voices & the Aural Dispersal of the Body Post Internet, p.20

[onvoice]

...(while) she does extend her voice into alternative genders and sonic identities, these identities are untethered from binary gender performances and aural bodies that are identifiably human.... Herndon creates multitudes of sound-objects and timbres that concomitantly can be heard as chattering networks, stuttering cyborg voices and breaths, or impossibly multi-sexed bodies.

Nik Rawlings, Castles in the Sky: Clouds, Voices & the Aural Dispersal of the Body Post Internet, p.20

[onvoice]

HAL does not have a body, even if it has an organ – a red-light sensor – and a voice that is preternaturally calm. 

...(when) we hear HAL begin to audibly mentally deteriorate, we are confronted with the eerie disjunction between consciousness and the material hardware that makes consciousness possible.

Mark Fisher, The Weird and The Eerie, p. 111-112

[onvoice]

Her dialogue is bare, functional – perhaps limited by her competence with language and accent (as the film begins, we hear hear her learn to pronounce a series of words in an English accent). In any case she speaks only enough to draw men into her vehicle – and this, in a passing mordant commentary on a certain kind of male sexuality, does not usually entail much talking. She is never required to give any but the most minimal account of herself, and almost everything she says is in any case a deception. She never gives any voice to feelings. When she liaises with another alien, they don’t speak. Do they have their own language – or is language something that they merely acquire in order to trick humans?

Mark Fisher, The Weird and The Eerie, p.105

[onvoice]

...her language having an unnatural, rehearsed quality, as if she had committed a written commentary to heart.

Sarah West, Say It – The Performative Voice in the Dramatic Works of Samuel Beckett, p 172