#aaron nace

[photographyartgallery]

Aaron Nace

[ouija-bo-oui]

Aaron Nace

[rosetta-j-stone]

The return of the Kris hair colour discourse got me like:

"And she's not really blonde, her natural colour...is dark blonde"

[persistentvisionz]

June 15, 2024

Aaron Dilloway & Bill Nace - Mr. Smalls Theater - Pittsburgh PA

[pinupvintagepulp4]

Lots to read. Model is Anya; photography by Aaron Nace.

[beeradvertisements]

Heineken Ad by Aaron Nace and Phlearn by Aaron Nace Via Flickr: Strobist Info: 2x Einstein left and right into strip box @f/8. WL800 front and back into 7" reflector gridded 20 degress. All fired via Pocketwizard. Today we shot this image for Phlearn.com, where we show the complete setup of all the lights and how we got the shot! We will be posting a FREE tutorial on how to bring everything together in Photoshop and make this awesome image come to life.

[agendaculturaldelima]

    #FeriasyFestivales #FotografiaPeru

📣 “FIESTA DE LOS DEGENERADXS” 👊📷💡🎉🥳🎈

💥 Celebrando la inauguración oficial de La Casa de Mamus, un espacio que nace con la finalidad de mostrar proyectos de las artes con mucho amor y fuego: Concierto, Exposición Colectiva, Vídeo Instalaciones, Performance, Recital de Poesía, Proyecciones Audiovisuales, Talleres, Venta de Comida y Bebidas, trucos y sorpresas.📜🖼❤️‍🔥🎨🖌️🖼📖📕🎶📚📸🎁✨

📜 Programación: 

🖼Inauguración de la Exposición Colectiva: "DEGENERADXS"😍

🗯 La degeneración es un proceso cíclico de deterioro funcional que acaba en la muerte de todos los seres vivos. Sin embargo, ante la creciente putrefacción que amenaza nuestro tiempo limitado en el mundo, representado en el ascenso de gobiernos de ultraderecha fascista, genocidios y borrados históricos de corporalidades ilegales, disidentes, subversivas y no registradas, la degeneración se presenta como una alternativa para mantenernos vivxs – ser vistxs y escuchadxs. ¿Estamos dispuestxs a vivir en degeneración?🤣😱🙈🌈

📅 Viernes 25 de abril

🕗 8:00pm.

👥 Artistas: Ana Zaldívar / Aaron Medina / Azul Laboratorio / Christina O’Higgins Horna / Dante Isenrich / Felipe Rivas San Martín / Isaac Ernesto / Kmi / Lenny Ochoa / Lía Machuca / MacaoticX / Marfemia / Nada Colectivo / Pájaro Azzul / Tita Sol Hidalgo / Valeria Vento

🔎 Curaduría: Lía Machuca y Francis Canales

🎶 Música: “CONCIERTO” a cargo de Will Rip, Dafne Castañeda, Ele, Árboles, Urbe Rap & Presto en el Beat, Rodrigo Flores Yamasato, Los Muerdekeso, Enrique de los Ríos y Okami Creator.🎤🥁🎸🎹

🎹 Intervención Sonora: K4renology🎧

🗣 POESÍA: Sailor Planta / Ángel Valero / Dedée📜✒

💃 PERFORMANCE: Gloria María & Ignacio Vivas🕺

© Producción / Gestión: @opticalpoem @otro.mes @dante.isenrich @renatojimeno @valeriarcn @franis_ct @carlac961 @criaturamuriel @violetadegenciana @lumerinorbegoso @arietis.__ @elfilmestamuerto

📌 JORNADAS:

📆 Del 25 al 27 de Abril

🕕 6:00pm. a  10:00pm. 🏘 Casa Mamus (calle Manco Cápac 236, cruce con jr. Porta - Miraflores)

🎯 Entradas:

🎟 Adultos: S/.8

🎫 Estudiantes: S/.5

📧 Reservas al DM: @lacasademamus

[retrocompmx]

U día como hoy (8 de noviembre) en la computación

El 8 de noviembre de 1986 nace el programador informático estadounidense Aaron Hillel Swartz, que además fue empresario, escritor, organizador político y hacktivista. Como programador ayudó a desarrollar el web feed del RSS, la arquitectura de las licencias Creative Commons, e involucrado en el desarrollo del sitio Reddit. Falleció el 11 de enero de 2013 a los 26 años ahorcándose, aunque no se encontró nota de suicidio. #retrocomputingmx #AaronSwartz

[swtwthr]

Brandon Jones.

Nombre: Brandon Jones.

Apodos: Brandin / Brand / Don.

Edad: 22 años.

Nacionalidad: Coreano-americano.

Profesión: Estudiante de biología marina y baterista.

Familia: Aaron Jones (padre) y Skyler Jones (madre).

Historia:

Brandon nace y se cría dentro de una familia religiosa y arraigada a una comuna en un pueblo pequeño a los adentros de la ciudad de Indiana, Estados Unidos.

Su infancia fue tranquila y apaciguada, con una madre adolescente y un padre adulto, su cercanía con su madre era evidente: más que verla como una figura maternal, que también, la veía como una mejor amiga o inclusive, una hermana mayor a lo sumo. Su diferencia era de 16 años, pero a sus ojos, apenas habían unos 10 años de diferencia. El muchacho veía siempre a su madre con ojos de amor, iba detrás de ella, acotaba sus órdenes sin problema, y se ponía rebelde cuando no obtenía lo que quería: su atención.

Fue llamado "mimado" e "hijo de mamá" millones de veces, por sus familiares quejándose de los métodos de educación, por sus compañeros de clases en el colegio, o por las personas de la iglesia donde iban. Inclusive, alguna vez fue oyente de cómo su padre se quejaba de cómo era un chaval mimado que iba a crecer en un adolescente incapaz de hacer nada por sí mismo. Eso, justo eso, le dolió: para él su madre solo estaba siendo eso, una madre que apoya a su propio hijo, y le quiere. Tanto era así, que sentía un enorme amor hacia ella, inexplicable inclusive.

Los años pasaron y con ellos los problemas llegaron: Brandon se metía en peleas en el instituto cuando algunos chavales se metían o abusaban físicamente de él, otras veces no iba a clases, o no prestaba atención a las teorías que daban en la escuela. Muchas veces se impuso contra profesores que le trataban diferente por el pueblo de dónde venía, sabiendo algo que el pequeño aún no: el incesto estaba permitido siempre que fuera de madres con hijos. Y de padres con hijas en caso de fallecimiento de la esposa. Pero, ¿qué culpa tenía él de que en su iglesia del pueblo fueran así? ¿Acaso él había decidido nacer ahí? No.

Aunque, no sabía cuánto de eso iba a ser clave para el futuro desarrollo del más joven: con los años pasando y la llegada de los 16 años, el muchacho empezó a despertar su apetito sexual: el porno llegó a su vida, con este los deseos y fantasías, y de esta manera, sumado a los conocimientos que ahora sí tenía sobre la iglesia y práctica que ejercían sus padres, las búsquedas sobre incestos de madres e hijos aumentó en sus resultados del navegador. Se había obsesionado. Era un gran secreto, pero a veces, sin que nadie se diera cuenta, se masturbaba pensando en su madre: el cuerpo de ella le parecía hermoso, estaba volviéndose loco, y creía que podía ser una forma de vida óptima para ellos, al final: vivían en esa comunidad por algo ¿no?

Y es que, a pesar de los años y de que por un tiempo creyó que era solo cosa del azar o de la necesidad imperiosa de tener relaciones aunque no lo hiciera con tanta asiduidad, no cesó: sus fantasías hacia su madre sólo crecían y crecían, deseaba tanto poseerla, tener y ocupar el lugar de su padre, librarse de él, y proclamarse como esposo de ella. Sí, estaba loco posiblemente, pero ya lo decían los demás: el demonio estaba dentro de él.

[photographyartgallery]

Aaron Nace

[thephoblographer]

Five Easy Composition Tips for Stunning Black and White Photography

These tips will allow you to practice composition that makes for stunning black and white photography.

Practice makes perfect, especially for black and white photography. So, here are some quick tips you can do to improve your composition today!

We’ve said it once and we’ll say it again: black and white photographyisn’t as simple as shooting using your camera’s monochrome mode. If only it were that easy! Because black and white photography has the inherent ability to make compositions stand out,…

[gonzalo-obes]

AARON NACE 4 Galería de imágenes del fotógrafo Aaron Nace. Cuarta parte. La galería con muchas más imágenes y a más calidad está en http://obesia.com/index.php/fotografia/fotografos/4805-aaron-nace-4

[pinupvintagepulp4]

Lots to read. Model is Anya; photography by Aaron Nace. #pinup #pinupphotography

[eraseer]

Listen/purchase: Secret Cuts by Body/Dilloway/Head

[goodbysunball]

In-strew-mental error

Long removed from the dominance of post-rock in instrumental music, and pleased to bring you four (mostly) vocal-less albums from the year. These'll melt, massage and mangle in equal measure, and ya know, we need all three food groups.

Lea Bertucci, A Visible Length of Light (Cibachrome Editions)

Been following Lea Bertucci's work for a while, since the 7" on I Dischi Del Barone I guess, and everything I've heard so far appears on this LP in some form, but nothing previous approaches the way things are pared back to the nerve-tingling essentials. The music itself is stunning, moving gracefully from droning notes to squirming tape loops, or field recordings to modern classical. It's a miniature still life of contemporary life, ever-so-lightly lifting the existential dread of the everyday and instead offering a snapshot of empty streets and open, unburdened wilderness. The title track makes me equal parts thankful and depressed, the former because it is an aural scalp massage and the latter because I know that this version of America that is documented (inferred from the liner notes) cannot exist for much longer. I don't think the intention was to get all The Air Conditioned Nightmare on the listener, but the effect is there, though A Visible Length of Light gives some hope that this is a country for artists at least. The three and a half minutes of "The Beacon" whips wind past your head while the creaking, groaning architecture looms, no bodies in sight. "An Arc of the Horizon" has a hopeful, trilling saxophone emerging from the horizon, and "Grasslands" conjures the spirit of Arthur Doyle's "Market Street to Make My Money," letting the woodwind softly stand alone in a quiet moment. I could go on and on but this record's been a balm and a steady arm during this turbulent year, and I'm still trying to find the words to say why eight months later. Amazing stuff, and one of the year's finest. Buy yourself a copy and try to find a time of day where it doesn't fit.

Body/Dilloway/Head, s/t (Three Lobed)

There's an extensive writeup for this record by Matt Krefting that dives deeper than I can and will, but suffice it to say that Aaron Dilloway did a pretty good job slicing up Kim Gordon and Bill Nace's recordings. There are a lot of worthy blink-and-miss-it moments on the very subdued Body/Dilloway/Head, and on "Goin' Down," there's a truly stunning and surprising six minutes of shimmering guitar and celestial loops that oughta have Tom Carter and Bill Orcutt steamin'. I'm certainly enamored with Dilloway's work, especially recently, and he's particularly adept at picking out weird noises and looping them to accent, overwhelm or prod at the proceedings, and this record's no exception. The way things wheeze into winding, whirring action on the sidelong opener "Body/Erase" is a pretty stellar example, something you could imagine on a future Dilloway album, but on such a subtle, quiet track, volume is paramount. "Secret Cuts" follows a similar path, and I love the looping with Kim's vocals on top, starting around the 5:40 mark. But the clunky way the "big" guitar slices into the action (you'll know) leaves me a little cold; it should be a stunning entry but it's only a bit jarring the first time around. I felt/feel similarly satisfied and wanting about Dilloway's collaboration with Lucrecia Dalt, so maybe I'm just pining for the follow-up to The Gag File. Baby boy stomps and pouts.

Jean-Luc Guionnet & Will Guthrie, Electric Rag (Ali Buh Baeh/Editions Memoire)

Did you hear Both Will Escape five years ago and get sucked into a vortex of collaborative improvisational records and get spit out feeling let down and underwhelmed? The moment I immersed myself in that world felt like a revelation, but I quickly became overwhelmed and everything started to sound the same. Improvisation can be life-affirming live, but on a recording it often feels like a reinforcement of you weren't there, bro. Luckily Jean-Luc Guionnet and Will Guthrie have the antidote, and that's to play as hot as possible for nearly 40 minutes. This is a pretty ugly, scraping version of free improv, and with no easy entry point the duo just dive right in on "Bounce" with a shit-eating grin. Kinda sounds like Lightning Bolt if they hated riffs, like on "Diggers," but the lack of recognizable sounds from Guionnet makes this hard to pin down and especially easy to take in on multiple listens. Guthrie plays the drums like a maniac throughout; if you need proof skip to "Glassed Mirror." His contributions help things lurch forward and reach perfectly damaged peaks, but more often churn satisfyingly into the muck. Body music for people who thought they could never dance again; shake and seizure to these negative grooves. Zero bad tracks, straight heat, please buy a copy for you and your loved ones ASAP.

Emily Robb, How To Moonwalk (Petty Bunco)

Of course this is on Petty Bunco, home of King Blood and Robb's Astute Palate, but this solo guitar outing is probably better than both of 'em. There's a Bo Diddley and bloozy bent to the guitar damage on How To Moonwalk, both familiar and genuinely surprising with how high it hits on the Scoville scale. On the two best and longest tracks, things get red hot. The steady riff on "Live at Friendship Speedwell" gives a semblance of sure footing, and everything else shoots forth like a volcano explosion, steady but unpredictable, something you can't look away from. "Arrows of Fortune" is even more damaged, an insistent bassline jackhammering down while the sparks fly free. Be careful where you tread. This ain't no one-trick pony, though; "News From a Fog" sounds like the title says, bleary eyes taking in the day as a gentle haze, and the disjointed "Where Is the Foot of the Bed" sounds like the stumbling glory days of Wormwood Grasshopper and Breakdance the Dawn. Sounds like it might be same old same old, but you try and square the angles and you'll find yourself flummoxed by the density of Emily Robb's guitar. This record sounds like Emily Robb would be a solo guitarist that I'd actually love to go see live, so raw and damaged that I can't deny it's power. Sick silkscreened covers, sold out from the source, happy hunting.

[dustedmagazine]

Body / Dilloway / Head — Body / Dilloway / Head (Three Lobed)

Illustration by Joey Maloinkey

Body/Dilloway/Head by Body/Dilloway/Head

Eric Dolphy once said, “When you hear music, after it’s over, it’s gone in the air. You can never capture it again.” While that’s a beautifully poetic assertion, evidence suggests otherwise; that first moment is only the beginning. Besides the obvious phenomenon of recorded music, which can continually re-launch representations of a single performance into the air, music can be captured and transformed. What Dolphy thought was the end was only the beginning. 

Body / Head, the duo of Kim Gordon (voice, guitar) and Bill Nace (guitar), embraces the illusion of Dolphy-esque immediacy. Although it sometimes manifests in song form, their music is mainly improvisational; the songs you hear on their records represent something that happened, as well as prompts for things they might play in the future. Aaron Dilloway is a kindred spirit, inasmuch as his performances are unpredictable things, as bottleable as smoke. One of his favorite materials is recording tape, which has proved to be an unreliable means of preservation. Dilloway and Nace are fellow travelers from North America’s noise scene, with one duo EP, Band, to their name. That prior association led to the collaboration under consideration here, which might, if the participants were casting about for other names, could truthfully be called Unband.

Or maybe Surrender would be a better name. Nace and Gordon sent Dilloway some studio recordings and let him have his way with them. According to a recent Wire article, he turned their playing into tape loops of varying sizes. After spending some time processing the sounds on those loops, Dilloway asked for more of Gordon’s voice. She sang some old tunes into her cell phone, which he transferred to tape. “Body / Erase” begins quietly, with little squelches of tape noise bubbling up from a low bass pulse and then subsiding like gas bubbles escaping a distant pool of thermally heated mud. As the side-long piece proceeds, those squelches elongate and accumulate, until fragments of feedback and electricity bob in and out synch with each other. 

On the flip side, identifiable guitar sounds emerge, with tones sufficiently intact that a sharp-eared listener might be able to tell that Gordon and Nace played them. “Goin’ Down” is more overtly additive, accumulating looped layers of lyrical picking and inside-out vocalizing. On the final track, “Secret Cuts,” almost-words and lunging guitar leads emerge, shatter, and coalesce into something that almost sounds like Body / Head. When the record’s done, one has to admit that Dolphy wasn’t totally wrong. Sure, those sounds can come back, but they’ll never be the same again.

Bill Meyer