Project 365 // days 12 - 18

Tuesday, January 20, 2015

365.12 I miss the days when fortunes were fortunes and not just one-liners from self help books.

365.13 Road trip!

365.14 My IKEA hack help desk space at work!

365.15 First pics on our new iPhones. Dat resolution tho

365.16 Madam Mam's on Burnet.

365.17 First ice cream trip of the year <3

365.18 I'll be sad when I don't have football to put on as background noise while writing

Project 365 continues! See the whole album here.

Project 365 // days 5 - 11

Tuesday, January 13, 2015

365.5 Cat's eye view

365.6 Dissertating with a side of Parks & Rec

365.7 A pup and her favorite bone

365.8 This is what a nerd's fridge looks like

365.9 Rainy day a.k.a. winter in Austin

365.10 Dinner with this cutie

365.11 I don't have spare time. I have dissertation time.

Project 365 continues! See the whole album here.

Music Monday // Get Even

Monday, January 12, 2015

I don't really consider myself a Ian MacKaye nerd; I never found myself following along with all of his projects or anything like that. But The Evens album Get Even is required winter listening for me. I think it comes down to the sparse sound, the open and raw quality of it all. The track "Get Even" is my favorite on the album, if only because of the math jokes.

Check out my other Music Monday entries here.

The Doctor Who Music Guide // An Unearthly Child, 100,000 BC

Wednesday, January 7, 2015

Figure 1. Susan Foreman explaining the fourth and fifth dimensions to her Coal Hill School teachers in “An Unearthly Child.” ©BBC
“I know these Earth people better than you, their minds reject things they don't understand.” — Susan, “An Unearthly Child”

Even from its humble beginnings in 1963, the music and sound design of Doctor Who proved to be one of the most striking features of the program. The impact of the program's music is easily seen in the critical documentation on Doctor Who’s reception and history. Within the first page of his introduction to the series, Kim Newman pays attention to the fact that,
The tone is set by the title sequence, which combines monochrome video distortion with music from Ron Grainer and the BBC Radiophonic Workshop. Later regenerations added colour, the faces of current stars or unfortunate semi-disco arrangements, but the first, simplest and strangest take remains the most evocative. (Newman, (Doctor Who BFI TV Classics), source)
The Doctor Who fanzine “Doctor Who: An Adventure in Time and Space” also pays mind to the unique aural signature of the program early on in its run. The opening comment of that first issue addresses the sound design of the pilot episode. The “buzzing,” “shrill” sound of the computer banks, “throbbing” and persistent, made an impact on those viewers that caught that first episode of Doctor Who back in 1963.

Figure 2. An illustration of Susan Foreman based on her appearance in promotional imagery for “An Unearthly Child,” found in the first issue of “Doctor Who: An Adventure in Time and Space” fanzine.
The buzzing was everywhere. Shrill and insistent, it cut into Barbara Wright's mind like a knife. She stared, terrified, at the throbbing banks of equipment…
The program’s sound effects and compelling electronic and avant-garde scoring gave every indication to its audience that the spectacle would be a suspenseful science fiction drama. In fact, its music—particularly its title tune—would prove crucial to the establishment of the sci-fi leanings of the program that are otherwise far-removed from the main storyline of the first episode.

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