#Lynn Electronics

[atariforce]

Atari games I didn't have by Tracey Lynn Tobin

[dustedmagazine]

Signal Quest — Hypermyth (Orange Milk

Hypermyth is audio-only virtual reality. It’s an immersive, open-ended journey through a strange and fascinating world, an environment that beckons exploration. The Signal Quest trio have hewn this uncanny landscape using analog and digital implements, crafting a craggy geology replete with crystalline, multi-hued flora. Their music reflects a fascination with 1990s computer games, specifically the unique mythology of Myst. Unlike the nascent open-world gaming experience of decades past, Signal Quest’s music flows free of technological limitation. There’s no waiting between scenes for the CD-ROM to spin up. Cole Pulice, Lynn Avery and Mitch Stahlmann create a seamless stream of sound, with breathtaking high-resolution imagery limited only by the imagination of your mind’s eye.

Pulice, Avery and Stahlmann are long-time friends and collaborators, coming from Minneapolis but now calling Oakland, California home. They’ve added their unique talents to each others’ records, such as on Avery’s Carpet Cocoon, released under the name Iceblink. That record’s warm new age vibe took on a multitude of dimensions when augmented by the alien ECM stylings of Pulice’s saxophone and Stahlmann’s flute. Equally lush but veering into more abstract territory was Avery and Pulice’s collaborative work To Live & Die in Space & Time. Its moody vibe unfurled delicately but bristled with layers of electronics.  Years before those two records arrived, the trio was finding their footing, experimenting under the name LCM and creating hallucinatory sound worlds that set the stage for even bolder adventures to come.

Hypermyth is indeed Pulice, Avery, and Stahlmann’s most intrepid venture thus far. The textures are deeper, with larger cracks and crevices within which to get lost. Tones often twist and bend in many directions, like light refracting through glass. Musique concrète techniques adhere to the trio’s new age and ambient signifiers, conjuring fractalized patterns that glitch and writhe beneath Pulice and Stahlmann’s breath-modulated melodies. At times these more arcane sonorities lie beneath the surface of the trio’s soundscapes, such as on album opener “Sparkling Node Network.” In other moments, like on the ultra-short piece “moonVR” or the more drawn out “mailer-daemon.exe,” the abstract shapes infect and subsume the more delicate passages, withering and distorting the harmonies.

The musicians often find a delicate balance between pure beauty and sheer experimentation, and gentleness. Pulice, Avery, and Stahlmann have immersed themselves in a unique, unexplored sonic world, but haven’t lost themselves completely in its knotty, rough-textured depths.

Bryon Hayes

[yamirexic]

how Sarah Lynn's album would sound like

[filthyneverdie]

NAMO - Hong Kong Nights

[thursdayisbetterthanfriday]

ALRIGHT

Artist: ENIAC (cover of ELO) Year: 2023 Recorded: Elektroraum 2023

[fanaticsfiction]

Authors Convinced Fanfic is Illegal/Requires Permission

Terry Goodkind: “Copyright law dictates that in order for me to protect my copyright, when I find such things, I must go out and hire lawyers to threaten these people to make them stop, and to sue them if they don’t.”

John Scalzi: “Let's remember one fundamental thing about fanfic: Almost all of it is entirely illegal to begin with. It's the wild and wanton misappropriation of copyrighted material”

Diana Gabaldon: “OK, my position on fan-fic is pretty clear: I think it’s immoral, I know it’s illegal, and it makes me want to barf whenever I’ve inadvertently encountered some of it involving my characters.”

Robin Hobb: “Fan fiction is like any other form of identity theft. It injures the name of the party whose identity is stolen.”

Anne Rice: “I do not allow fan fiction. The characters are copyrighted. It upsets me terribly to even think about fan fiction with my characters. I advise my readers to write your own original stories with your own characters. It is absolutely essential that you respect my wishes.”

Anne McCaffrey: “there can be no adventure/stories set on Pern at all!!!!! That's infringing on my copyright and can bear heavy penalties…indiscriminate usage of our characters, worlds, and concepts on a 'public' media like electronic mail constitute copyright infringement AND, which many fans disregard, is ACTIONABLE!”

Chelsea Quinn Yarbro: “No. Absolutely not. It is also against federal law.”

Lynn Flewelling: “Whether you are writing about Seregil or Fox Mulder or Sherlock Holmes, if you do not have legal permission from the author, their estate, or publisher, then you are violating US copyright law. It is creative piracy. Doesn't matter how many disclaimers you put on, or if you're being paid. It. Is. Illegal.”

Someone Else, elaborated in the notes

[spilladabalia]

Eric Random & The Bedlamites - Second Sight

[kirkklan2]

180 - "Whisper In The Night"

[mod-a-day]

Bjørn Lynne (Dr. Awesome) of Crusaders "12th Warrior" bacteria (1990) Cryptoburners, IT and Visual Arts Party 1990

Note: A remix of this song is also available in the archives. (Didn't have much trouble finding a screenshot this time.)

[complexdistractions]

Lynn Avery & Cole Pulice : To Live & Die In Space & Time

Lynn Avery & Cole Pulice : To Live & Die In Space & Time

There’s a strange and beautiful sort of peace that comes over you listening to Lynn Avery and Cole Pulice’s collaborative album To Live & Die In Space & Time. A kind of middle ground between jazz and experimental electronic. A sound that lays over you as if Sun Ra and Mort Garson put together the sweetest tomes the 70s never saw. Lynn Avery and Cole Pulice are alums of Moon Glyph Records; Avery…

[the-garbanzo-annex-jr]

BY: GILEAD INI

Before looking at specific examples of disinformation by the “critics,” as the Times and NPR calls them, we should address a few broader points.

Despite evidence of rape, those defending Hamas from charges of sexual violence point to a lack of forensic evidence — the kind that might be revealed at the denouement of a television crime show. Indeed, Israel’s frontier with Gaza on and after Oct 7 was less untouched crime scene and more battlefield and disaster zone.

But this is neither exonerating nor unusual. “There is very much what’s known as the CSI effect, where there is a perception that without forensic evidence or DNA, then you don’t have a case,” an expert on sexual violence in conflict zones told NPR. “And that’s just patently not true.”

In this case, the full CSI treatment was impracticable. “As is common in war, collection of physical evidence was hindered by ongoing combat and a large, chaotic crime scene,” NPR reported.

With limited resources and such a large-scale attack, compromises were necessary, journalist Carrie Keller-Lynn explained. “Instead of going through CSI, which would make it possible to produce evidence of crimes, the bodies are being processed through the disaster victim identification (DVI) track, as is common for mass casualty events,” she reported. Or as the UN mission put it, there was a “prioritization of rescue operations and the recovery, identification, and burial of the deceased in accordance with religious practices, over the collection of forensic evidence.” (The mission noted additional factors, too, that hindered the collection of forensic examination. See paragraph 46 of its report.)

The deniers had also pointed to lack of testimony by victims — a puzzling defense in the context of this story, where survivors describe women raped then murdered; where recovery workers noted naked and bound corpses; and where released hostages say those still in captivity had said they were sexually assaulted. Which category of those victims, exactly, would the deniers expect to have heard from? (When a hostage did eventually speak out about being sexually assaulted, the self-appointed investigators were not particularly interested, or worse, dismissed her account.)

None of this means every testimony is beyond reproach. Just as the record of 9/11 was contaminated by multiple false accounts and fake survivors, likewise after 10/7 false accounts were reported by pretenders, and some unfounded atrocity charges were shared, believed, and repeated. The “critics” did not miss the opportunity to capitalize on these inaccurate accounts in order to push the idea, through innuendo or explicit denial, that every witness of rape and every first responder account of sexually abused bodies are fake.

The Critics

NPR’s story about “critics” of a New York Times piece on sexual violence repeatedly cites The Intercept.

Once of many acknowledgements by The Intercept that its claims come from the further fringes.

And across The Intercept’s incessant efforts to discredit those shining a light on Palestinian sexual violence, its reporters cite Mondoweiss, Ali Abunimah of Electronic Intifada, and Max Blumenthal of Grayzone.

It is an echo chamber of Hamas apologia — invariably, one story links to identical accusations by the others, which link back to similar pieces by the rest. The common theme, other then denial, is the extremism of its participants.

Consider, most relevantly, their response to the Oct 7 massacre:

A writer for the Intercept, at least, grants that the attack was “horrifying” — though this was in a post whose argument was that we shouldn’t view it as horrifying.

Others are less subtle. Denier Ali Abunimah, for example, was self-evidently delighted by the slaughter of civilians in Israel. He not only defended the attack, calling it “just”; not only insisted we shouldn’t feel bad about it (this just minutes after he posted video of elderly female hostage paraded and taunted on video); but also viciously attacked those — including critics of Israel — who would dare share any sympathy for the victims of the mass slaughter of Jews.

Mondoweiss summarized the deadliest day in Jewish history since the Holocaust with an announcement that “Gazans have broken out of their open air prison imposed by Israel and launched an elaborate surprise attack on their occupier,” while pooh-poohing the idea that Hamas had started a war. As the extent of the atrocities became apparent, Mondoweiss’s defenses of the assault grew more emphatic. On Oct. 8, its culture editor Muhammed El-Kurd insisted the attack was a cause for “celebration.” On Oct. 9, it published a piece insisting we “must shout our support for the resistance from our rooftops.”

Max Blumenthal minimized Hamas’s slaughter as ”guerrilla bands bursting out of a besieged ghetto with homemade weapons.” In response to a Twitter post noting that at its attack on a music festival Hamas “began shooting those in attendance,” Blumenthal mocked the victims and justified their slaughter.

The motivation for their leap to action at the first accusation of rape, then, is as simple as it seems: It is born of sympathy for Hamas.

[slow-writer]

TMAGP Episodes 7 & 8 Reactions

That was totally my face during both episodes, I swear.

Spoilers below!

Okay, I'm freaking out on a cellular level, it feels like.

Episode 6 had the introduction of new OIAR employee, Celia Ripley, who is voiced by Lowri Ann Davies. Those of us from the TMA fandom recognize her as the voice of Lynne Hammond who later became Celia because her name was taken from her after the Change. There have been speculations on whether she is playing the same Celia (even though this is a separate universe) or if this is just a little wink from Jonny and Alex behind the scenes. But then came the next 2 episodes.

The sheer amount of lore that was dropped in these 2 episodes has the fandom REELING. So, let's get into what we've heard!!

EPISODE 7: Right off the bat, Celia not only references that the dated computer system is basically better than "wrestling with tape recorders and manila folders." This feels like a TARGETED MISSILE at the TMA fandom. But right after that, she asks if any of the spoken cases have anything in common, and if there's a way to search the cases that have common threads, like, "Oh I don’t know. Every case about being buried alive or meat or… whatever." And if that wasn't enough, she recognizes the voice that Alice calls Chester (AKA, John!).

Those statements alone have me thinking with 99.99999999% certainty that this is the SAME Celia from TMA (or at least, she's tapped into her memories in some way).

Apart from Celia, we have Hilltop being referenced in a case, which could very well mean that it's a similar situation from TMA. Very possibly a rift in space-time or whatever. Some nexus of power or something.

Then Sam received a supposedly internal email from someone called "John" that contained an address and a name. Does this mean that John is truly trapped in the computer system like we've all been theorizing? Is this his attempt at making contact and warning Sam not to follow in his footsteps? AGH!

And then we have poor Colin, driven mad by whatever's corrupting the code he's been trying to maintain, taped over his webcam, and full on refusing any electronics to enter his office (that weren't already there, and he must have clearly tampered with them so they cannot spy on him). He even attacks Sam when he pulls out his phone. That man has a lifetime subscription to Paranoia Plus, if you ask me, poor thing.

Lastly, we get confirmation that Lena at least tried to kill Klaus, but may not have succeeded, and Gwen's blackmail of her puts her in a new role of "External Liaison," whatever that may be. (Oh boy, oh boy.)

And if that wasn't enough, we have today's episode....

EPISODE 8: No preamble on this one, just straight into a case. And man, are we having fun with the whole liminal horror plus Stranger vibes in this one! But the GOOD SH*T comes after the case ends.

Poor Colin's been put on Mental Health Leave, so I'm really hoping that wasn't the last we'll 'see' of him. And the banter between Gwen and Alice has much more of an edge now that Gwen's been promoted. But!!!

Sam and Celia went off together after they ended their shifts early (ooooh), and who did they meet?

GERRY EFFING KEAY AND HIS 'GEE-GEE' GERTRUDE!!!!

And I checked, yes, they are 100% voiced by their TMA counterparts, Jon Gracey and Sue Sims (Jonny's mom).

Gertrude calls Gerry her grandson (though I'm curious if this means Gerry's actual mother is dead here too, and when Gertrude stepped in as a surrogate, or if she's actually his grandmother).

When Sam and Celia ask about the Magnus Institute, they both kind of go quiet, like they don't know what they're allowed to say or if they can trust these strangers who randomly showed up to their house. Sam reveals that he was part of their "gifted kids" program (hello, ARG info!) and saw Gerry was also listed and wanted to "swap stories." Gertrude seems to want to push them away, all protective, but Gerry just says he doesn't remember much.

Did Gertrude blow up the Magnus Institute in this universe and adopt Gerry after she found him there?!?

And finally, after Gertrude kind of rushes them out, Celia makes a deal with Sam. They agree to keep track of anything that falls under each other's mystery interests. Because she's "doing a favor for Georgie" (HFGJHFD!), she needs to look into "Weird physics stuff: time travel, other dimensions, teleportation, all that good stuff."

Was Celia sent here from the TMA dimension to do recon?!?

Anyway, there's so much more to dive into, but those are the things that are currently making my brain buzz. How has your Thursday been?

[brokehorrorfan]

Phase IV will be released on 4K Ultra HD + Blu-ray on March 26 via Vinegar Syndrome. Adam Maida designed the new cover art for the 1974 sci-fi horror film are include; the original poster is on the reverse side.

Acclaimed title designer Saul Bass (Psycho, North by Northwest) makes his lone directorial effort from a script by Mayo Simon (Futureworld). Michael Murphy, Nigel Davenport, and Lynne Frederick star.

Phase IV has been newly restored in 4K from its 35mm original camera negative with HDR and mono sound. The 84-minute theatrical cut and an 89-minute preview version are included.

Special features for the three-disc (one 4K UHD, two Blu-ray) set are listed below.

Special features:

84-mintue theatrical version (4K UHD + Blu-ray)

89-minute preview version (Blu-ray)

Theatrical audio commentary by film historian Matthew Asprey Gear

Evolutions: The Making of Phase IV - 48-minute documentary with Jeffrey Bass, actor Michael Murphy, screenwriter Mayo Simon, archivist Sean Savage, and Saul Bass biographer Pat Kirkham (new)

Formicidae Sinfonia: The Music and Sounds of Phase IV - 15-minute featurette with composer Brian Gascoigne and electronic music artist David Vorhaus

Deleted shots and sequences

Raw footage from the original ending montage sequence

Theatrical trailer

Still gallery

Following a mysterious eclipse-like solar event, scientists begin to notice strange and unexplainable behavioral changes in ants. While initially written off as an unconcerning anomaly, it soon becomes apparent that the creatures have developed advanced intelligence along with the ability to work collectively. Scientists Ernest Hubbs and James Lesko have been transferred to a futuristic lab in a remote part of the Arizona desert in which to study these phenomena. However, when the ants begin to attack and kill both wildlife and humans, Hubbs and Lesko realize that the entire human race might now be at a deadly evolutionary disadvantage to the tiny insects...

Pre-order Phase IV.

[kirkklan2]

153 - "Can't Get It out of My Head"