This posting is based off of an incomplete draft for a review of Tomorrow Is For Those Who Can Hear It Coming, a one artist show at the New Langton Arts gallery in San Francisco. The show ran in October 2008 and featured work by artist Julio César Morales.

Well, when I discovered that the New Langton closed its doors earlier this year, I felt compelled to share my experience of that show with you all. The New Langton has been an important gallery in San Francisco since the 1970s. It supported young and unestablished artists and helped foster new directions in art. Unfortunately, the New Langton was unable to secure enough funds in 2009 to remain open. Bellow is the article that I began in 2008.

Tomorrow Is For Those Who Can Hear It Coming

San Francisco based artist Julio César Morales has a show this month at the New Langton Arts gallery. I was fortunate enough to see the show with my good friend Vincent Lee.

Tomorrow Is For Those Who Can Hear It Coming is an installation of photographs, neon signage, and a film entitled Interrupted Passage. The show deals with the Mexican ceding of California to the U.S. via the Guadalupe Hidalgo. Here’s a excerpt from the publication handed out at the show.

“Eighteen forty-six, the Bear Flag Revolt takes place. A militia of exhausted, dirty, rag-wearing men pound at the door of General Mariano Guadalupe Vallejo’s Casa Grande in Sonoma. The militia is there to demand that Vallejo—Mexican Commandant of Alta California’s northern frontier—surrender California, and to take him prisoner. Vallejo graciously receives the men, offers them his wine and aguardiente (a homemade alcohol derived from sugar cane), and orders a steer to be slaughtered and prepared. He decides to handle things at the table. As a result of this encounter, the Treaty of Guadalupe comes into existence, and the territory of Alta California is transferred from Mexico to the United States.”

The film is portrayed from two different perspectives at the same time on two screens. On the left we see Americans waiting within the villa for their feast, while on the right we see the Mexican servants preparing the meal. The film loops as it plays. Bellow are some screen captures I made from the film.

Inside

The New Langton Arts gallery space is basically a small apartment building. It has a second floor space and a basement. Morales show was held in the loft space of the second floor gallery. The lights were dim and no one was around. We thought we might have come a little too late, but Vince and I ventured upstairs anyway. Not a curator, intern, or human in sight, just the soft pink light from a neon sign and the sounds of Interrupted Passage drifting over us. Framed and matted photography were hung against the rear wall. Opposite that were two screens on which the film was projected. Pamphlets were placed on a buffet style table along the side wall. We grabbed some and then headed for the photos.

The photography was interesting. We could tell immediately that these were photos of reenactors. It was obvious they were intended to be disingenuous. It was a modern perspective on the past and not the recreation of that past. I liked that the photos were separate from the film and not stills. The photographs showed bright vivid color, much like you’d see in a fashion zine spread of summer looks.

We finished studying the photos and then turned our attentions to the film. The framing of the American guests were kept to mostly tightly cropped compositions. I felt somewhat claustrophobic watching it. On the right screen Vallejo’s servants prepare the meal that will be served to the Americans. The beef being sliced and prepared is almost fetishistic in presentation. Vince and I remarked on how we both felt like voyeurs. The soundtrack is composed of electronic sounds that force us to remember the present. This is an enactment, not a reenactment. The mood is sober as the meal is served and the men eat. They eat in almost a meticulous manner. No one it seems is enjoying themselves.

Vincent and I watched the film loop through a couple of times and then went in search of that pink neon sign. The old English letters were strewn across the ground proclaiming the name of the show. Vince and I disused the intentional anachronism at play in the show and the importance of our perspective and context for viewing history (or something like that).

Epilogue

Out side in the chilly (but not too chilly) fall night waves of protesters blocked all buses for a couple of miles, a part of a massive show of support to end the Iraq War. It gave us plenty of time to chat about the role of art in relation to commercial art and the massive failure of the Morphosis designded Federal Building that was only a couple blocks away. We talked about our futures and shared our current goals. Then the bus finally came and we got on. So long New Langton.

This video is re—posted here via http://danielgorrell.com/?p=30

Resources

http://langtonblog.wordpress.com/

kqed.org video featuring Julio Ceaser Morales

SFMOMA blog article explaining the closing of the New Langton

Just what makes a good Photoshop workstation?

I do almost all of my work in Photoshop. Sometimes I use InDesign, but most of my work takes the form of digital paintings. So since my computer needed to be replaced I thought this was a good time to build a workstation that could leverage all of what Photoshop has to offer.

What does Photoshop have to offer?

Photoshop CS4 (the latest version) is special. It’s special because it’s the first version of Photoshop (from now on PS) to offer support for 64 bit processors. Unfortunately for you and me, Apple decided to scrap support for 64 bit Carbon in favor of Cocoa. Since there wasn’t enough time to redesign CS4 in Cocoa, Mac users have to wait till CS5 for 64 bit support. Windows is a different story. CS4 runs in 64bit mode natively in XP 64 and Vista 64/ Windows 7 (Lame, I know).

Wait, why should we care about 64 bit anything?

64 bit processors can address data orders of magnitude higher than 32 bit processors the result of which is, computers can now effectively have up to 16.8 million terabytes of RAM, in theory anyways. That’s why if you work with huge images (like photographers) you care. With PS the rule of thumb is, more RAM = more better—er?

Scratch that Scratch Disk

PS uses your hard drive to store temporary files when its data gets out of hand. Generally speaking, we don’t want PS reading from and writing to the hard disk. Reading and writing to hard disks (unless you’re using some type of Solid State Drive) is slower than reading/writing to RAM (which is a Solid State Drive). So the more RAM a system has, the less of that nonsense will be going on.

Unfortunately we still need the Scratch Disk, just in case. Good news is that with advances in hard drive technology drive speed has sped up. We can optimize the Scratch Disk by placing it on an isolated hard drive of its own (you don’t want that many read/writes happening on your main disk where your OS is installed) and making sure we’re using a fast drive with a good amount of drive cache (around 16mb is good for 160gb drive). If you have the money (300 bucks or so) you can spring for a SSD with SLC technology. SLC drives have far less writing errors than previous version of SSDs, so I’d go with that. If you do choose an SSD that doesn’t have a PCIE or mini PCIE connection type (as in SATA) you’ll need to buy a mounting kit (they’re much smaller than normal optical drives).

Hardcore

Like it or not, marketing hype or not, more cores = more computational might. Using filters (such as Gausian Blur) on high resolution images requires processing machismo. And if you’d like to be able to do something else at the same time as your applying that Gausian Blur to your 45 megapixel image, then you’re going to want more computational mojo. Enter quad and eight core processors. The good thing here is that it’s not about processor frequency speed as much as front side bus speeds. I f you have 800mhz RAM and a 533mhz front side bus then your RAM will run at 533mhz. For a PS workstation we want processor power (parallel cores) + fast RAM access (RAM plus FSB speed). To top that off we’ll also want a good amount of processor cache to hold the processor’s instruction set, at least 1mb per core.

Some other things to consider for your PS processor is heat and power requirements. This is where smaller is better. Because transistors for the time being are as small as they can be, CPU makers are trying to shrink the size of the surrounding chip, to increase efficiency. That’s good for us, because low heat = longer operational life. Low power on the whole reflects lower heat. That will be something to consider as we delve deeper into the whole system.

Motherboards without puns

Your mobo (as the kids say) is the root of the system. If the motherboard doesn’t support a system component then you can’t use it. There’s a couple of things that are important when looking at motherboards. Because this is a workstation, we want higher quality parts. That means solid state capacitors, good heat sink, and board layout (a good board layout should make logical sense like making sure cable connections can reach and pcie card slots aren’t so close together they block other card ports).

Output ports are always high on the list. Most people know what kinds of output ports they want/like so I’m not going to go into that, but it is important to have the ones you need. You’ll also want to make sure that the board supports your processor type and socket (socket 775, or core i7; core 2 duo or quad core or core 2 quad).

Another important item is the bus speed of the board. You want to make sure it matches your processor’s bus speed. In most case you’ll wan this to be faster than the processor so you have room to upgrade in the future. That goes for RAM speed as well. You want RAM speeds that match or exceed processor bus speeds, even if you plan on putting in some lower speed RAM (just makes it a little more future proof). Also ram configuration is important. Depending on the slots of RAM and the max amount the board can support for one stick (ie, a 4gb stick), this can vastly increase the cost of RAM. 4gb sticks are much more expensive than a 2gb stick. If you plan on getting 8gb of RAM, it will be cheaper if you can spread that RAM out over 4 slots as opposed to 2. Finally pay attention to the max RAM the board can actually support. Sometimes manufactures skimp on the total RAM because most users, even gamers don’t need more than 4gbs of RAM.

Often overlooked is the BIOS options for the board in question. A good manufacturer will generally have extensive control over the different components of your mobo. This is important for us because we want to be able to highly tune our workstation to maximize its performance.

One last thing I’ll point out is on–board video. On–board video used to be a joke, but Nvidia is turning that around with there latest chipsets. The 9 series chipsets from Nvidia support DX 10 and Open GL 2.1. There capable of streaming full HD video and playing games like Crysis on low settings. Pretty impressive for an integrated GPU. Apple thought so too, so all of the new MacBooks and MacBook Pros come with the 9400m chipset (and so does the new Mac Mini btw). Nvidia has also come out with a workstation integrated GPU called the Quadro FX470. This is exactly the same chipset but, and it’s a big butt, with workstation quality Open GL drivers, making a sizable difference in quality. Although PS mostly relies on your CPU, since CS3 PS has leveraged the system’s GPU for screen redraws, freeing up the processor even more. So although video cards are not the most import aspect of a PS workstation, an integrated GPU can be an easy optimization (and inexpensive too).

3D in the PS

Photoshop since CS3 has provided some limited 3D object support via 3D layers. Depending on what you use PS for, you may need this kind of new functionality. One such application I can think of might be matte painting for motion pictures. CS4 has even more 3D support. You can now import a 3D object into PS and change its texture and lighting source. You can manipulate the object in 3D space as well (zooming in and out, scaling, and rotating). This adds even more importance to having some kind of Open GL compliant GPU, even if it can’t play HD videos. You can buy a video card today for $30.00 or less that will fit the bill nicely.

The case for form factor

If you’re not an enthusiast, form factor PCs may be a little off your radar. Motherboards these days come in 3 basic flavors; ATX, microATX, and Mini ITX. ATX, as you may have guessed is a full–sized PC. Mini ITX is only 6.7″ x 6.7″ (almost as small as the Mac Mini board). And, microATX is somewhere in the middle. If you’re like me, space matters. I want all the desk real estate I can get. If I can fit a workstation into a 7×7 in case I’m going to do it. If you’re going to go with a tiny case like me, then quality matters. If a case is cheap, the makers have usually skimped on the design. When there’s so little space design matters even more than usual. Some good manufacturers of small cases are Antec, Jetway, and Thermaltake. When you find your case make sure it has plenty of ventilation. Airflow is key when making a performance computer, especially if you plan on using a stock cooler. Mini ITX motherboards usually come without expansion slots. At most they’ll have one PCIE, but more often than not they’ll have a mini PCIE for wireless/bluetooth expantion cards. If we were making a video editing workstation, I’d recomend a full-sized ATX or ATX extended case and motherboard so we could SLI or Crossfire together parallel GPU (Like the Quadro FX 4800), but this is a PS workstation, so I’m going with microATX, a good compromise. MicroATX will usually have the footprint of a tabloid size piece of paper (11 x 17 in). Some are smaller. The microATX boards are roughly 9″ x 9″ in size. They usually have 2-3 expantion slots and can fit an ATX size power supply (PSU).

Green PSU

There have been some marked improvement in power management and countability in the computer industry (like so many industries) of late. PSUs now have different levels of power efficiency certifications, Plus 80, Plus 80 Bronze, Plus 80 Silver, and Plus 80 Gold (you can find out more here). Plus 80 PSUs can dole out power as needed by detecting power needs and adjusting. These variable power PSUs can run at (you guessed it) a constant 80% percent efficiency. They can really help with the longevity of your system plus cut down on the power bill.

One quick note: Motherboard manufacturers that comply with the European ban on harmful substances in electronics are certified ROHS. Look for that if you’d like to help mommy earth.

Workstation wrap up

So, what did I end up with you ask? I’ll tell you friend:

• CPU
  Intel Core 2 Quad Q8200 2.33GHz, 1333mhz FSB, 4mb L2 cache
• Motherboard
  ASUS P5N7A-VM LGA 775 NVIDIA GeForce 9300/nForce 730i Micro ATX (bus speed 1333mhz, 800mhz RAM, RAM max 16gb, 4 RAM slos 240 pin, 5 SATA 3Gb/s connections, 8 channel Realtek high definition audio, hdmi, dvi, d-sub ) - I read in several places that this board’s north bridge can get extremely hot, but that’s ok, I’ll just replace the heatsink for it if need be.
• GPU
  NVIDIA GeForce 9300 chipset
• RAM
  G. Skill PC 6400 RAM 800mhz, 1.8v, 240 pin, 4 x 2gb
• Hard Drive
  Western Digital Caviar Blue WD800JD 80GB 7200 RPM SATA 3.0Gb/s 3.5″ Internal Hard Drive - didn’t need a very large drive since I have a big external
• Case
  Thermaltake LANBOX Lite VF6000BNS Black - a microATX form factor case

Final final final thoughts

The rest of the parts I already have. I decided to go with the lowest speed 45nm quad core because this computer is intended to work with a program optimized to use quad cores and 64 bit processors. I might even under clock the CPU a bit to lower power consumption and increase longevity even further.

I’m disappointed that these early 9300/9400 motherboards are plagued with problems. It seems like this board is the least problematic out of the microATX category.

I may end up returning this motherboard for the Asus P5N-VM WS which has an integrated Quadro FX 470 chipset. Since it’s workstation grade, it ought to have been more thoroughly tested before being released into the wild. We’ll see I guess. I will update again when the station is finished.

Long live the puter.

Nodal is a generative midi sequencer, or if you prefer, time vampire. It may be the funnest piece of software I’ve ever used.

Why is Nodal so amazing? Well Sir (or Madam) that’s simple. It allows one to create music visually. That is, it represents time, connections, and decisions in a visual way. As you can see in the above video, the program lays out notes as ‘nodes’ on a grid. Nodes have different states, like sequential, random, and parallel. These states are more like gateways for paths that the notes can follow to their destination nodes (or, and, or logical). Nodes can also be configured to send custom midi messages.

Nodal needs a friend to help it generate sound, like a software synthesizer. I’m currently a Windows user so I use a virtual driver called Midi Yoke to send midi from the Nodal sequencer to my software synth of choice, ZynnAddSubFx. For those that want to know more, I’ve provided links to these progs below.

Links

• ZynAddSubFx 2.20 executable file (Zyn was originally Linux only but now there’s a couple Windows ports and an experimental mac port. There’s also a VST version but the Windows port of it is shaky at best)
• Midi Yoke installers (Windows only)
• Nodal installer (Mac and Windows)

This will be a very short post. I just wanted to share a short animated film by Yuriy Norshteyn, one of my favorite animators.

His technique is quite unique. He and his wife paint all of the elements that will make the film on celluloid, and cut them out. They then created characters much the same way one would make a paper doll. Norshteyn has drawers and drawers filled with cut out mouths and eyes, arms and legs. All the elements for a frame are composited, using multiple layers of glass, each layer containing different celluloid cut-outs. Every glass layer can move towards or away from the camera creating photographic depth.

If you like this short film, then check out Tale of Tales, a true masterpiece.

I found out about Michel Ocelot, the French animator, by pure chance. While looking at the Studio Ghibli Wikipeadia entry, I happened to see a section titled “Distrobution,” and there I saw a list of more than a few French films and decided to take a look–see. To my surprise, and delight, Michel Ocelot is an amazing director of animation. If you enjoy animation (especially Russian animation like that of Yuriy Norshteyn) then you won’t want to pass this up!

Kirikou and the Sorceress (2000) is based on the popular African folktale of the same name. Here is a bit of the provided synopsis that came with the DVD:

“African folktales that have been handed down through the generations are the crux of this animated story about a remarkably gifted child, Kirikou, imbued with physical strength, superior intelligence and the ability to talk from an amazingly early age. When an evil sorceress places a curse on the local village, Kirikou finds his talents co—opted by the townsfolk in their desperate attempt to lift the spell.”

I thought about delivering a pretty thorough break—down of the scenes but I think I’ll leave that for another day. It’s such a delight to be surprised by unexpected talent, I think anyone who’s interested should just snag the DVD, pop it in, relax, and enjoy. This film really inspired and uplifted me. Just go see it!

Why are these faux Japanese folktales awesome? Well, for several reasons. For one, a lot of the kids named their characters after those from the Television series Pokemon. And for two, even though there was obviously some coaching from their teacher, you can tell some of the kids really got into it. Reading those stories it reminds me of the inhibition I exhibited at the same age. Here is one I really liked called Vapreon and Tangela -the Strawberry Twins written by Calin, age 8.

Once there was an old couple. They did have children but they grew up and moved away. One day, the old woman went to feed the chickens and right in the middle of a bush was an enormous strawberry! She licked her lips and brought the strawberry inside as quick as she could. When the old man saw the strawberry he almost fainted.

“You wash it and I’ll cut it,” he said.

But just as he was going to get a knife the strawberry split in half. Then the couple saw two babies, a boy and a girl. They named the boy Vapreon and the girl Tangela.

Three years later the twins were looking for something to do and when Tangela thought she saw something. On the ground was a flute. She picked it up and played a little song.

“Are you coming sis?” yelled Vapreon.

“Coming!” she yelled back. She dropped the flute and ran back home. When she got home she said, “Hello, ” to her turkey.

“Hello, he said back to her.”

“Oh, my gosh,” she said. “I can talk to animals!”

Vapreon heard her and was amazed but he didn’t tell her.

When the twins were fifteen they decided that Tengela would stay and take care of the old couple and Vapreon would fight the greedy Oni.

After three days, he returned with five baskets of gold and diamonds and after that nobody ever saw another Oni, but Tangela lost her powers.

I’ve long been a fan of Surrealist artists and Surrealism itself. I even consider myself a Surrealist (or at least part of the fam). Reading folktales as a child always seemed to stir up things underground; ideas I didn’t understand and things seen but noncomprehending. What disturbed me most of all, were stories about parents who consumed their children or that birthed monsters.

Link to original video »

Link to original video »

Above I’ve posted two clips. The first is from Jan Švankmajer’s feature film Little Otik or Otesánek (2000) which deals with a couple who desperately want a child but are barren. The other is a David Lynch short called Grandmother (1970), a student film he made while at the American Film Institute. Both films deal with conception and loneliness, the themes of many folktales. Much like the story written by Calin, Lynch’s boy creates a surrogate grandmother from a seed. In Otesánek the child originates from a stump (but unlike the others, Švankmajer’s child is crafted by a main character into the form of a child).

I used to worry that I was really adopted. I think children realize their position in society from an early age, at least on an unspoken level. This fuels their anxiety and irrationality (of course when you haven’t learned to be rational how can you not be irrational?). I know that it was true for me. I used to dream I was a doll and my father would rip the stuffing out of me as I pleaded for him to stop. I don’t think that there’s any deep meaning to be gained from things like that, but what it does provide, is a mine for symbols. Even if one is not a Surrealist, as an artist one needs to develop a personal language; no matter what medium they work in. Obviously these abstractions don’t need to be taken from the subconscious and dreams, but I find it a compelling place to start.

I think folktales intrigue me mostly because of their subversion of reality and rationality. People experience life first through their emotions. Folktales and Surrealism speak to your guts. It’s funny when one thinks of the connections between Surrealism, Freud, and propaganda. The Surrealists were largely influenced by Freud and his associate Carl Jung. What’s funny about that is Freud’s nephew, Edward Bernay, birthed the 20th century’s spin on propaganda, the U.S. public relations industry (using Freud as a kind of chocolate coating). Maybe that’s not weird, when we consider what each is after, and that what they have in common, is just the vehicle for those goals.

With the footage I acquired by means of stealth (taken with the world’s worst camcorder circa 1992), I made experiments using Adobe AfterEffects. Bellow are the results (sans audio).

My friend Alex was gracious enough to let me film him.

And here I am kicking back on a filthy couch.

This is some more active footage of the Civic Center parking lot. That place really creeps me out.

This will be the first in a series of written observations and analysis, covering past and present film. I will begin with Time of the Wolf (Le Temps du loup), a French film created by Austrian director Michael Haneke in 2003. Haneke has been involved in filmmaking since the early 1970s. In the 90s he began to produce his films in France. I’m not sure the reasons for this, but my guess is that he enjoys creating within the open-minded French cinema. He started first in television. His first film was The Seventh Continent made in 1989. The film was about escaping urban decay. I should say, ‘human decay’ in an urban setting. Here is a quote by Haneke taken from Wikipedia.

“My films are intended as polemical statements against the American ‘barrel down’ cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.”

That quote reminds me of another by Herzog in the documentary Werner Herzog Eats His Shoe. Herzog is kind of ranting in one scene and he says that people should make real war on television and advertising. I think perhaps Haneke is a soldier in that war. The war against cultural decay. But I suppose what he’s really fighting is globalization. That reminds me of another Herzog sound bite.

“I don’t want to live in a world without lions.”

Haneke’s films are very painful to watch. They deal with violence, alienation, and manipulation, popular themes in modern film. He has no mercy for his audience. Or for his characters. His films aren’t cold though. I find them almost too empathetic. That is his great cruelty. His characters have realistic emotions because they are well understood, consequently so is their pain. And, in a Haneke film there will most assuredly be pain.

I would like to point out, that as of this moment, I have only seen Funny Games and Time of the Wolf, and that some of these observations I’m making may be premature. Time will tell I suppose. For now it is safe to say that he’s a mature filmmaker and as my friend put it, a master of indication.

Time of the Wolf is a film that at it’s core is about the loss of modern civilization. We begin to experience this loss very early in the film, when the principle family, having fled their home in the city, arrive at their country cabin only to find a strange man and his family already occupying it. There are some brief interactions and pleading and then the father is shot and killed. The killer throws the remaining wife, daughter, and son out of the cabin and they are forced out into the cold foreboding countryside.

Haneke utilizes the environment as an agent of illusion. Fog, smoke, distance, or flickering shadows often obscure our view of things. What would normally be a friendly even peaceful landscape becomes threatening and claustrophobic. The camera is often shot with close framing cutting out the area of action so that we only see the results of actions but not the actions themselves. This is an alien world and one that won’t be easily understood.

Slowly as the film progresses, it is revealed through periphery, that some kind of natural disaster or manmade catastrophe has happened. The people in the countryside are cut off from supplies, such as gasoline and water. This is a place of growing desperation. At first the mother and her children go door to door asking for food or shelter, but after being repeatedly turned away, they learn to accept that no one will help them.

Eventually they meet a boy who has learned to survive in the wilderness. He has a cruel and distant demeanor. He cannot understand how the mother and children can be so ignorant.

As the story progresses this picture of ineptitude becomes all the more clear. The family members become hollow and traumatized, like war victims. Haneke painstakingly documents there slow loss of humanity. Their sorrow, however, is not theirs alone, as is heart–achingly described in a scene with a Polish couple, who’s baby dies of dehydration.

The whole scene is shot from the waist down. Perhaps it is the view from that of a child (or ghost child). In the background you hear the penetrating screams of the mother, who’s soul is has been destroyed by the loss of her child. The funeral party then leaves. The grave site remains and we are left with the image of an empty field beyond, and in the fading cries of unendurable truth. In the distance something like a torch–lit caravan, passes by in the night. This image is reminiscent of the ending in Ayn Rand’s Atlas Shrugged where mankind has degenerated to the point of using wagon trains instead of steam trains.

As you can see, this is a very dark film, both literally and figuratively. And, it only gets darker.

Upon arriving at a train station, the family meets a group of people that have been taking shelter in the station. They have a plan to barricade the rails and force the next train to stop. The group is lead by a man name Kowalski, who trades protection for sex, something many of the women have been reduced to accepting. A story then begins to circulate about a group of extremists called the Just who have taken to stripping naked and then leaping into fires to appease the force they perceive are causing this disaster, hopping to appease it/them. One night, the boy wakes up, after one of his many nose bleeds, and decides to follow in their footsteps.

It’s fascinating how Haneke composes this image of human degradation. This is not a prose film. Many scenes are carried with only the low sounds of desperate hunger and grinding teeth. When people talk they don’t seem like speaking humans, more like crazed animals ready to kill to survive.

At some point, the family runs across the murderer that killed their father/husband. They begin to shout at him. They try to force the train station community to give them justice. But the realization is, in this world without police procedure or courts, there is no way to do this. All decisions have become survival decisions; no one gives anything away for free.

The film ends with scenes of the French countryside, as seen from a passing train.

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To hear the files you will need the Adobe Flash 9 browser plug–in. The files are released under the Creative Commons Attribution-Noncomercial-Share Alike 3.0 License for the United States.