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Showing posts with label instructional. Show all posts
Showing posts with label instructional. Show all posts

Monday, February 27

iPigeon.institute 2023 classroom and activity ideas.


  • Musicianship and Introductory Piano - learning to sing, and rhythmic training. Learning to sight read music.
  • Illustration - Ink brush coloring and illustrations. Color theory, rudimentary figure (animals, nature) drawings.
  • Track and Field - Running / jogging exercises. Stretching techniques. Physical health routines.
  • Nutrition - Demonstrate how to barbecue. How to cook rice and egg. Nutrition lessons - 4 food groups, nutrition theory. Alternative diets (raw). 
  • Journaling - Scrapbooking, Typography / handwriting - choosing a font. Bullet Journaling. Page layout and Design.
  • Botany - Learning to plant seeds in pots. Plant identification. (Fruit or Flower tree planting?) / community garden. Preserving flowers and leaves (press-method).
  • Agriculture lessons - Chicken egg incubator. Animal care - livestock feeding techniques. Genealogy of Poultry and Game Birds.
  • Computer Skills - Hand / eye coordination and identification / discernment training. Keyboard navigation on desktop / laptop computer. 
  • Sustainability - Compost heap. Community service (leadership) and the ecology. Accessibility - pedestrian safety. Noise and light pollution.

Christmas lights wire art, powered by USB, for example. Available on Amazon. An unexpectedly “way” to dry clothes up, a bit, wow! - USB wired Christmas lights. Who would have thought?


Saturday, August 21

Product Review: New Haul of fragrance ingredients from PerfumersWorld.com.

 It's only been two months since I started doing this stuff (again). (I'd previously, back from around 2008-2012 had the budget to do fragrancing, with essential oils from Whole Foods, mostly). This time around, though, it was serious. I'd discovered online retail and wholesale suppliers of fragrance compounds and aroma ingredients (essential oils and absolutes), and I finally had my living situation and circumstances such that I could muster pulling off some mail order purchases, and develop my fragrance-making hobby successfully. My latest haul was for over $1250 and it got me over 70+ quality ingredients, of my choosing, priced by the gram, as the website www.perfumersworld.com does, as their retail fragrance supply basis, as an e-commerce website and organization, based out of Thailand. 

My summer of 2021 Perfumer's World fragrance ingredients haul - over 70 ingredients of my choice, given 2 months of experience and shopping around, at this point; I had my picks, and I got what I wanted, good and all, for the most part. 

This time around, I was interested in procuring mostly highly-prized standards and classics, such as rose de mai, I got jasmine absolute, jasmine flowers, methyl jasmonate, jasmine sambac absolute, frangipani absolute, indole crystals, for reconstituting these flowers, artificially (by design), and many other classics of fragrances beloved, and the well-known plants, herbs, flowers, and trees that provide these lovely fragrances, as well as some fragrance industry insider tricks ingredients, such as Schiff's Base, which is also used to reconstitute flower absolutes. I also dived richly in to the world of classic musks, of the global fragrance research and design houses; a history of musks, that I'd procured, as you would see, from my listed purchases, below. I also decided to experiment, slightly, with hormonal and mood-altering pheromone compounds, such as truffle concentrate, to see how they would affect the fragrance-wearing experience. 





I made a neat-o fresh, minty, cool, phenolic and narcotic rich floral essences composition out of this, after I had spent some time protecting the shipment, once it had gotten in to my possession, delivered by Fed-Ex. The shipment from www.perfumersworld.com took about a week, or so, to arrive, and I had security concerns over receiving it, since I go out, in to town, to feed the birds, during the day, and there were some delays, aside from that, in various stops that the shipment had gone through, such as being held up in Taiwan, and then the package went to Alaska, and Tennessee, even, before it got squared away in the Los Angeles area, finally. I decided to have the package held at a Fed-Ex location, for me to pick up, at my leisure. I didn't play with the ingredients much, during the initial receipt phase, because I was more interested in protecting it, and keeping the bottles sealed. Opening up a haul of fragrance ingredients produces a vastly diffuse aroma experience that spreads in to the extent of neighboring households, and it draws attention to the fragrance maker, and the goings-on of making a fragrance, which is easily an enviable position to be in, given a standard neighborhood, around town. 

All things considered, and that being said, I came up with an appreciably fine(-ish), or notably novel, and "good" fragrance composition, with the inspiration behind mixing which of these purchased new ingredients ought be, being an indole cornmint (I was big on cornmint and hay absolute coming to me), floral fresh narcotic standards of perfumery history-"easy," such as rose de mai, jasmine sambac, and frangipani absolutes being the main fragrance feature components, chamomile, included,  along with a full array of several or more musks, which, this time around, with this purchase, brought a veritable selection of poignant, delicate, nuanced, clean, fresh, and beautiful musks, of the musks of standards established, throughout history, in perfumery - muscone, Macrolide, Helvetolide, Cosmone, Celestolide, Amberfix, and Velvione; I added some Vitamin E, and solubizer, some patchouli, heavy on the pink pepper, and Sugandha Kokila, an Indian fragrance, for some classic and exotic appeal. There was raspberry ketone, ethylene brassylate, phenylacetic acid, lyral, coriander, marjoram, and plenty of oud to it. All in all, I was generally reserved, about how much of each I had put in, and extra-careful, on some of the inclusions. It turned out fabulous. I highly recommend this purchasing list, as a first-resort reference for beginners and aspirants in fragrance composition mixing, and I highly recommend www.perfumersworld.com, for the ingredients purchase. They sell by the gram, and are therefore as economical as need be, while maintaining a high standard of ingredient purity and shipment delivery handling, and customer service. 


Tuesday, November 10

Constructing Trap House Music - the bunchie. [resonance; sourcing audio samples; music production].


In the context of producing a quality audio sound design and music composition based on Trap House music, the percussive development and intelligence in placement and sequencing of a standard motivic idiom - based on what might appear to be seemingly simple, yet which the pros would attest to: a four-on-the-floor beat is one of the most difficult drum tracking and drum session gigs to play out. Not only is the beat quite obvious, and naked, in its simplicity, rendering mishaps and slip-ups most apparent and uncomforting, to the listener. It is a bold and challenging rhythm, requiring much timing, insightful progressive design, in choicing the splices of the beat, as it develops, and stands, on its own. Drums and bass are known as the backbone of a song. Moreover, the drums and the bass are aught to live off of each other, and for each other, oftentimes picking up slight syncopations and touches upon one another, as bass can also lead several lives; sometimes, a percussive element about it. 


Good and well-placed drums and percussive elements, within a track, are notoriously difficult to pull off, given stock virtual instrument patches on a beat-making sequencer machine, drum synth, etc. - in general. For one thing, drums and percussive elements are tunable instruments. A live percussive or drum set has some give to it, in that the live instrument can be malleable in its tuning, given the nuance of the performer and performance that is played out. Somewhat similarly, yet less organically, designed drum beats and sequences can be tuned, with individuality to the notes, when using MIDI, and, as well, in audio, although pitch-shifting or transposing audio supposes a bit more of destructive editing and computing resource. In addition, having to tune a drum sound individually is a very non-present tense mind-mode activity - I find that the creative process is easily abandoned, or that it becomes an ineffable debacle of becoming bored, or apathetic upon the subject, this being the creation of a fuckworthy track dance music piece. 


Somewhere (recently), along the way, “bunchie” got introduced to me. The semiotics of bunchie are obvious, in common usage in higher analytical standard American English: its bunch, it’s an active, present-tense descriptor, it describes a subject, or topic - it’s easily adapted to the comically [attempt] insulting, yet for me, over a short while in tossing “bunchie” around, in my head, and that it had floated by others, in the confines of my mind, and here and there, I’d let it leak out that bunchie had been developing in other people’s | smells, etc., | eww, umm. BunchieApHff way off calibration meter, on this one. Take some care towards others; few things, at this point in time, are truly as hermitic as we might appreciate, given that “no man is an island” happened long ago, in literature, and we live in a techno trap house bwopp-down dance-off, at least sometimes, and it’s a hard to live down and abandon pop and electro scene musical form, and it gives rise to more advanced, more chill, more future, more fancy, through its simple and rudimentary primitivistic design and demand - a promise of a relentless four-on-the-floor bass kick, and a BPM that can be extensible, modular, and transient, and with mixtapes online being a significant distributor of musical supervisory taste and disposition on aesthetics and preference, a lot of ground can be covered, and trap house beats commonly set the feature of much of what I consider to be well supervised mixes. 





The bunchie, though, simple and dumb as it might seem, is actually a resonance freedom declaration, of a departure from octaves and A=440 Hz common and standard music theory: it is the sound of our anything; here, in my case, for my bunchie, I chose the bunchie of my recyclables-collection bag, with bunches of smushed plastic bottles, cans and glass in it, as I jogged down the beach boardwalk earlier this afternoon. It is the resonance of me, myself; I bunched up and smushed the cans and bottles, and the glass containers are made at a standard size that suits our Imperial system standards, our measures of our selves, as human form, and for that sake, there are elements of individuality, as well as community, within a bunchie bag of recyclables being jogged out, spliced up, and sampled, for bunchie scrum, of drum tracking in a basic trap house music beat, as the aspiration and inspiration towards a banger track. 


The bunchie carry-alongs of an of on bum.


My other source audio comes from the Metro train’s sounds, as I can appreciate the hums, chugging, whistling, poofs, and struggle of the great force of weight being compelled, via locomotion, as it were, of a massive and deeply resonant source sound element. 


The sound of a bunchie tracking design, or for a build-up or break-down development or bridge element in a song is well, when it’s tuned | appropriately |, yet it can stand on its own, with a complementary tuning, unique to the song itself, given that it resonates, or develops well, within its own context and for the other elements of a completed music production piece, or song. 


Bunchie just happens, in life, sometimes. The dance floor gets bunchie. People get bunchie, too, all on their own, although a bit less distasteful, of the preferably notion, moving on, in life. At some point, I’ll compose a new track with my new bunchie beat-making concept, fresh in my mind. Hopefully you’ll become inspired, as well, to exercise your musical intelligence and resourcefulness, through the node of bunchie. 

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