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Before Irv Teibel, listening to nature meant leaving the house. One night inan anxious New Yorker named Irv Teibel discovered the perfect ocean. But he could hear it, and the sound was all he needed. It was winter, freezing. The men rushed toward the shore and back with the tide, Teibel with a microphone in his hand and a tape player on his back.

Even in the off-season, he found the beach loud, Hustler world trade story, nothing like the postcards promised. In fact, the longer the loop played, the more relaxed Teibel felt. He walked feet in either direction of where he first stood. Still, he persevered—perseverance was his way. When they did, he bought a bus. Eventually, a friend named Louis Gerstman suggested Teibel pay him a visit.

Gerstman was a Hustler world trade story and neuropsychologist working at the frontiers of speech synthesis, or, how computers might be used to analyze and render speech. By the time Teibel met him, Gerstman was helping rehabilitate people after strokes. Gerstman began processing the sound the way he might a sentence, breaking it into increments small enough to replicate and recombine, adjusting equalization settings and compressing dynamic range to make smoother shapes, adding new, synthetic waves with Hustler world trade story random noise generator that masked the splices in the original tape, creating something that sounded uniform and continuous but non-repeating—something, in other words, natural.

By the end ofTeibel had pressed an album called Environments 1: Psychologically Ultimate Seashorecredited to a company he called Syntonic Research, Inc.

The name conjured lab coats, clipboards, a world beyond the vagaries of human error—not art, but science. The album Hustler world trade story briskly and was written about in all the papers. Listenership improved.

In the part of the loop where the waves crested, Teibel had added a brief clip of his own voice making a vowel sound, played backwards. At the time, it was entirely new. Troubled sleep.

The existential plaque of modern life. You might shelve Environments with your records, but in conception Hustler world trade story was more like a can opener or vacuum: Tools designed to streamline and optimize a task. Someone, somewhere, had Hustler world trade story it, and supposedly, it had worked. Teibel was born in and raised in a narrow brick house in Buffalo, New York. Instead of playing instruments, Teibel learned to edit magnetic tape with razor blades; instead of performance, he learned the sensitivities of microphones and portable recorders—not music but sound.

Teibel enjoyed the process but tired of the product. Teibel made his way to New York, photographing for glossy magazines like Popular Photography and Car and Driverfalling in love with Sichuan and Korean food: pickled things, organ meats, the hotter the better. One friend remembers unknowingly eating a mouthful of chilies while Teibel tented his hands in Mephistophelean delight; another remembers Teibel declaring his love for udders, Hustler world trade story because he knew it was an opinion in which he could be alone.

Also in view was the West Side Highway, whose elevated second level was soon abandoned and repurposed as a de facto shade structure for junkies and cruisers passing through the shadows below. Almost everyone I talk to recalls a party Teibel threw during the Bicentennial, watching the tall ships sail downriver against time. Parking tickets. The occasional marijuana plant. Ray Erickson, a harpsichord player and professor with whom Teibel made a curious, one-off record in Hustler world trade story, remembers coming to visit one afternoon and encountering a Hustler world trade story bat in the hallway, swooping toward him out of the darkness.

The registry for the building listed Teibel as a filmmaker, a title that had more to do with his salesmanship than his artistic practice. Syntonic took an office at the top of the Flatiron Building, a wedge-shaped skyscraper in lower Manhattan.

Miriam Berman, a graphic designer who worked with Teibel Hustler world trade story years, remembers the surrounding neighborhood as quiet, almost pastoral. Teibel, who seems to have been pathologically incapable of relaxing, felt otherwise. In an effort to project an image of rigor and professionalism, Teibel staffed Syntonic with a handful of researchers, consultants, and customer-relations specialists over the years. Teibel laughs.

The man laughs back. Teibel ended up making 10 more records in the Environments series, each one a little more baroque in construction than the last. In a gesture of Hustler world trade story more in step with classic rock than sound therapy, he claimed to have once filled a soundstage with thousands of crickets because he could get a clearer recording indoors. Nesuhi Ertegun, an Atlantic executive and one of the most artistically progressive and commercially intelligent figures in 20th century music, wrote Teibel a couple months after Christmas,Hustler world trade story thank him for the umbrella.

Business continued apace. The same time next year, Ertegun wrote to thank Teibel for the barometer. Teibel was no environmentalist. If anything, nature was his obstacle, the raw material Hustler world trade story of which he had to sculpt something more appealing.

As for Hustler world trade story great symphony of night, Teibel slept with earplugs in. Everything about its packaging and presentation was haunted by the task of coping: of stabilizing in unstable situations, of squeaking through until the next day. And yet Teibel sold these albums in part with the promise that they would help us sleep better and focus more.

The moral is a capitalist one at heart: Our best selves and our best working selves are the same thing. Inabout a year after Environments 1 came out, the biologist Roger Payne released an album called Songs of the Humpback Whalewhich ended up going multi-platinum and fueled preservation efforts worldwide.

The lecture continues for the remainder of the page, concluding by adding that of course Syntonic restricts all commercial use of their recordings, lovingly, Mike Kron. Environments also marked an early expression of what we now call ambient music. Though synonymous with the s, the roots of the concept could be traced back to s composers like John Cage, who eschewed the scripting of specific sounds in favor of creating conditions in which sound—chancy, spontaneous sound—could occur.

In taking stock not just of the spotlight but the periphery, Cage argued, the audience could step into a state of meditative inattention, porous and dreamlike, wherein art was defined less Hustler world trade story what it is than by the attention we pay to it.

Suddenly even the clang of the elevator shaft sparkled with aura, the specific identity of something that happened without intention or event but Hustler world trade story never happen again.

Still, even this was the echo of an older idea, advanced by the French composer Erik Satie. They were drinking, they were talking, they were occupied by the stream of externalities we call life.

Music, like good lighting or a decent chair, was less the object of experience than an accompaniment to it. Forty years before the advent of elevator music and 60 years before the Walkman turned people into their own private theaters, Satie envisioned a world of continuous sound, inescapable and yet ignorable—as transient as the breeze. Hustler world trade story of his earliest experiments involved a group of musicians scattered around a gallery, playing incidental sound between theater pieces.

Every time the musicians started, the audience would return to their seats. Satie scrambled around the gallery like a party host frantically micromanaging his guests. If Cage argued that our surroundings could be music, Satie argued for music that disappeared seamlessly into our surroundings. The question of science dogged Teibel for years. People responded at length, often appending typewritten commentary to the forms, digressing into their lives, their worries, their ailments and their solace—a patchwork of anxious, disconnected souls strung together Hustler world trade story form stationery.

A lonely housewife in Soddy-Daisy, Tennessee, would retreat into Environments when her son and husband abandoned her for TV. Environments kept Teibel relatively busy, but he still made time for extracurriculars. At one point, Syntonic even tried to break into book publishing with an offshoot called Simulacrum Press. I ordered a used copy from Amazon for a few dollars. Coney Island, where Teibel made his first ocean recording, was ripped up by Hurricane Sandy. I spent a large part of my childhood in a building across the street from Westbeth, watching the high heels of drag queens stride fabulously past the egress window on their way to the river during Pride Week, hitting tennis balls against the courtyard walls, growing up in a New York that, like all New Yorks, faded inevitably into the future.

Teibel died inafter a long struggle with diabetes punctuated by cancer that killed him within weeks. Unlike him, I give up: As much as Sexy young innocent model admire his perfect ocean, I prefer the vision of Teibel standing on the shore and waiting for planes from JFK to pass, cursing the ice cream truck as it stalks the boardwalk, its incessant jingle weaving through the beachgoers and the sunbathers and all the people capable of enjoying Coney Island for the noisy, saturated place it is, not for what it might be without us.

Within his archives is a simple, three-paneled comic of Teibel trying to record Hustler world trade story single snowflake on its journey to the ground.

In the first panel Hustler world trade story can see him holding his microphone to the sky, uncertain if the signal is coming through. The two had been a couple, which nearly everyone I talked to besides Miriam Berman chose to bring up.

Her tone is weathered, Bollywood actress fake nude gif images, edged by the laughter of someone practiced in keeping the past where it belongs.

She accompanied Teibel on a lot of his little field trips, she said. He was fussy, obsessive, maybe a little brilliant, never quite satisfied. I asked in particular about one recording of a heartbeat, the only instance in the Environments catalog where Teibel acknowledges the presence of human life.

Teibel ended up Hustler world trade story a woman named Rosanne in A small group of musicians played medieval repertoire in period dress. It was Sunday. The couple soon packed Hustler world trade story and moved to Austin, Texas, where Teibel became a father twice over, got involved with the local Jewish community, and never made another recording for commercial use again.

Not that he gave up on Environments. There was Songs of the Hustler world trade story Whale. There was a series called Solitudes. He pauses, then laughs. More recently, the Chicago label Numero Group has been working on retrofitting Environments for a contemporary context. When Teibel first started out, he was limited by the half-hour side of a vinyl record.

In several cases, he calibrated the sounds to make sense at various speeds, meaning that a listener for whom 30 minutes of the ocean was not enough could slow the album down and cruise for an hour. Then there was mobility. In dreams, Teibel envisioned a continuous, portable experience, something that could be adjusted to fit the rhythm and space of our lives rather than the other way around.

He was a beat or two too soon. His daughter Jennifer tells me he had a smartphone toward the end of his life, and that he liked it. Photos and sounds courtesy of The Irv Teibel Archive.

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