#archeo-futurism

[xasha777]

In the year 2484, the Duchy of Aquitaine had long since been reborn, not as a territorial estate of old Earth, but as a sprawling stellar dominion, its planets like jewels strung across the velvet black of the Aquitaine Nebula. At its heart was the planet Eleanor, named after an ancient Duchess renowned for her prowess and beauty.

The Duchy was known for melding the past with the future, where chivalric codes met advanced technology. It was a realm where noble houses clad their knights not in mere metal but in armor augmented with nanoweaves and energy fields, the designs echoing the tales of Arthur and the knights of yore, yet their capabilities belonged firmly in the realm of the stars.

One such knight was Lady Seraphina de Ardent, whose image was captured in the twilight of a forested moon orbiting Eleanor. Clad in her resplendent armor, crafted by the forges that orbited the suns of Aquitaine, it shimmered with a life of its own, an alloy sentient and adaptive, etched with symbols that spoke of her house and her honor.

Seraphina's quest was of paramount importance. A rift had opened within the Nebula, a gate to what scholars believed could be an alternate dimension. Strange energies pulsed through it, and fears grew that something malevolent might find its way through. The High Council had sealed it with a force shield, but the readings suggested it would not hold forever.

The legends of Aquitaine spoke of a key, a device created by the ancient Duchess herself, capable of sealing any gateway. It had been lost to time, but recent archeo-astronomical discoveries pointed to its last known location on a forgotten world on the fringes of the Duchy, enshrouded in the mists of the past and technology so advanced it appeared almost magical.

Seraphina had volunteered to retrieve the key. Her journey led her through ancient forests, over moonscapes haunted by the ghosts of battles long past, and through the hollowed-out ruins of titanic starships from the early days of the Duchy’s expansion. She had fought rogue AIs, brokered peace with sentient nebulae, and even parleyed with the enigmatic Mirror Beings who existed on the edge of reality itself.

The picture captured her on the last leg of her quest, a moment of calm before she plunged into the unknown. It was said that the key was guarded by a protector, a construct of the Duchess' making, a challenge for any who would claim its power.

With the destiny of Aquitaine and possibly the known universe at stake, Seraphina steeled herself. Her armor, sensing her resolve, hummed with a brighter light, its engravings aglow with ancient runes.

Whether she would find the key or become part of the legend herself, no one could tell, but one thing was certain — Lady Seraphina de Ardent’s name would be etched in the annals of the Duchy of Aquitaine, a tale of bravery and exploration that would inspire generations to come.

[lilbluntworld]

“The Epoch of Reionization” Abu Yahya Zakariya’ ibn Muhammad al-Qazwini, 13th century

[cross-border-communications]

Get to know an ancient Roman monumental Nymphaeum in Segni, Italy.

Opening of The Nymphaeum of Quintus Mutius to the public in the town of Segni. Considerations and preservation for future research. This monumental fountain has played a pivotal role since its discovery and first publication in 1995. Due to an excavation, restoration and conservation project, between the British School at Rome in partnership with the Comune di Segni, much has happened.  

The nymphaeum is located within an area of ca. 3,800 square meters. The archaeological site is now part of the cultural heritage to visit in the town of Segni, the Porta Saracena, the Temple complex of Juno Moneta and the monumental polygonal walls.   

  To get to know about this Roman monument reads on the full article here:   >  The Segni’s Archaeological Project   

[peevishpants]

So,

for your wonderful Hyrule University AU, do you have any ideas about the four champions in BotW or Sidon?

(maybe Sidon could be that coffee barista that the gang bump into like twice IDK!)

I'm curious XD

(I'm sorry if you've already addressed inclusion of these characters and I haven't seen, hopefully this isn't too annoying!)

also I love your art and the AU is such a fun idea, and your design for link is just amazing!

Hiya! Idk how you formatted your ask to have a bar on the left, but it looks very cool!

Also in my mind (haven't properly made a comic about it or anything yet), I have the four champions as historical figures that Link will learn about through his archaeology courses, as legendary pilots of the divine beasts (whose ruins are the subject of Link's archeo thesis project). For Sidon, I'm not sure. Coffee barista Sidon would be so cute though! Maybe he has insight to offer for Link's research, since he looks suspiciously related to one of the four champions...

Also no worries! I appreciate you asking, I've definitely had a bunch of people ask about the champions and sidon but it's not annoying at all! If anything it goes into my secret mental tally on whether or not I should actually make a comic or something about them in the future haha (Pipit joined the AU only because I got multiple people asking about him so, there's that!)

[cienie-isengardu]

Just a bit of update: for the last three weeks my computer was dead so was my activity. I'm still in the process of assessing the damage, but I can already say that due to hardware issues, I lost a lot of my data (especially my folders from One Piece, Star Wars and my own creations) and I will have to gather all the source materials again almost from scratch. Fortunately, the main blog had a queue set up for about three months ahead, unfortunately archeo-starwars suffered the most (and I apologize for the drop in quality, I will make up for it with the new research in nearest future or so I hope).

In short, I was dead but came backto life. Sort of.

[journey-to-the-goddess]

What are you top 10 must reads for understanding the divine feminine/Goddesses? Much love~

Hi there!

I love this question! And such a difficult one to answer simply because there are so many great books. I am going to answer your question in two ways: first, by providing a general reading list, and second, by providing a select reading list by goddess.

There are inevitably some setbacks to my recommendations--specifically because I have a limited background in many areas—but I intend to update this list in the future. To that point—thank you 🌺 to the person who asked me this question! You have inspired me to put together a “living” Goddess Recommended Reading list on my website. I will continue to update there in the future.

Worth mentioning: Many of the books I recommend are to some degree scholastic. But, all of which are readable and enjoyable to anyone inside or outside of academia.

Finally, right now I'm building my Journey to the Goddess YouTube channel where you can find my in-depth Interviews with scholars and artists about the Sacred Feminine. If you journey over to YouTube and enjoy what you see, please hit the “subscribe” button on my channel. Like the videos? Hit “like” as it will help my content show up for other like-minded souls.

General Goddess book recommendations:

1)    “Goddess: Mysteries of the Feminine Divine” by Joseph Campbell

This book is a collection of his lectures on the Goddess. It was, essentially, my introduction into the Goddess. It is also a book that I return to from time to time for inspiration. I greatly appreciate JC’s unique way of emphasizing cross-cultural patterns and the psychological-spiritual meaning behind myths and mythic figures. Though not without a bit of controversy, JC was a brilliant comparative mythologist who truly believed that human beings could transform themselves through the wisdom of myth.

2)    “The Living Goddess” by Marija Gimbutas

Marija Gimbutas was an archeo-mythologist who dared to theorize that the people of Neolithic Old Europe and Anatolia were egalitarian and worshipped a Great Goddess. This GG was likely a prototype for the later goddess figures that we know today. She had, and still has, many critics in mainstream archeology, but I find her theories fascinating, plausible, and liberating!

3)    “Encyclopedia of Goddesses and Heroines” by Patricia Monaghan, PhD

Just a great all-around resource. She organizes by tradition, but you can use the index to find a goddess by attribute (i.e. sun goddess) or simply by name. I would trust any work written by her.

4)   “The Creation of Patriarchy” by Gerda Lerner

This book is been monumental in creating a solid theoretical framework for the development of patriarchy in the West and how it has impacted the lives of women and the role of the Great Goddess in culture.

5, 6 , & 7) 

“The Politics of Women’s Spirituality” Edited by Charlene Spretnak

“Weaving the Visions” Edited by Judith Plaskow and Carol P. Christ

“Womanspirit Rising” Edited by Carol P. Christ and Judith Plaskow

These three books feature a variety of essays, poems, and visions by the “Founding Mothers” of Goddess Spirituality. These books offer context, including an historical understanding of the Goddess; how to make meaning of the Goddess and why that is important for modern women; and most important, they present the voices and experiences of women from many different traditions—not simply those of from the Judeo-Christian world. With these books, you can learn from multiple lineages and lineage holders such as Paula Allen Gunn, Gloria Anzaldúa, and Luisah Teish.

Four books I have not yet read but have been recommended to me by grad school collogues:

8)    “The Myth of the Goddess: Evolution of an Image” by Jules Cashford and Anne Baring.

9)    “The Chalice and the Blade” by Raine Eisler. A classic.

10) “The Spiral Dance” by Starhawk. An ecofeminist, permaculturist and Earth-based spirituality practitioner.

11)  “Dancing in the Flames” by Marion Woodman. She was a deeply treasured Jungian analyst and teacher who taught on the subject of feminine consciousness.

Goddess recommendations by tradition and goddess:

1)    Mary Magdalene

Okay, it’s no secret that I am a Mary Magdalene devotee and I could recommend book after book after book. But, knowing what I know now, here are three books that I would recommend people start with:

      “The Woman with the Alabaster Jar” by Margaret Starbird for a well-researched approach to Mary Magdalene as bride to Christ.

      “The Meaning of Mary Magdalene” by Cynthia Bourgeault for a mystical Christian approach.

      “The Gospel of Mary of Magdala” by Karen L. King for a thorough academic approach.

       I have a full list of recommendations here: https://www.sheislove.com/mary-magdalene-celebration

2)    Inanna & Ereshkigal

“Inanna, Queen of Heaven and Earth” by Diane Wolkenstein and Samuel Noah Kramer. A beautiful collaboration between folklorist and Assyriologist. Poetic, historical, and psycho-spiritual.

“Descent to the Goddess: A Way of Initiation for Women” by Sylvia Breton Perera. A feminist Jungian approach to meeting the unconscious feminine, or “underworld” goddess within. Mostly psychological, but also spiritual and historical.  

 “Uncursing the Dark” by Betty DeShong Meador. A reclamation of the wisdom of the goddess of death as well as the repressed aspect of women’s psyches and archetypal expressions; that which has been labeled “dangerous” by patriarchy.

3)    Greek Goddesses

“The Goddess” by Christine Downing. Full disclosure, she is a professor at my graduate institution.

4)    Pele

“Pele, Goddess of Hawai’i’s Volcanoes” by Herb Kawainui Kane

5)    Hinduism

“Awakening Shakti” by Sally Kempton. Love this book.

“The Goddess in India” by Devdutt Pattanaik

“Hindu Goddesses” by David R. Kinsley

6)    Buddhism

“Wisdom Rising” by Lama Tsultrim Allione

“Dakini’s Warm Breath” by Judith Simmer Brown

“Buddhist Goddesses of India” by Miranda Shaw

7)    Black Madonnas

“Black Madonnas: Feminism, religion, and politics in Italy” by Lucia Chiavola Birnbaum

8)    Yoruba Diaspora

“The Divine Horsemen: Living Gods of Haiti” by Maya Deren. A slightly dated book but very good introduction to Haitian Vodun.

9)    Ecofeminism – If you want to understand the connection between the treatment of the planet and women under patriarchy. Timely in terms of understanding the psychological components behind climate change

“Gaia and God” by Rosemary Radford Ruether

 “Ecofeminism” by Vandana Shiva and Maria Mies

“Reweaving the World” edited by Irene Diamond and Gloria Feman Orenstein

“Mary Magdalene” by Pieter Leerman

[ms-mau]

A Future Perfect – Befejezett jövő átfogó igénnyel és friss munkákkal kiegészítve mutatja be Fridvalszki Márk elmúlt években készített, utópikus korszakokat feltáró archeo-futurológiai alkotásait. A kiállításon először láthatóak együtt a hatvannyolcas és a nyolcvankilences évek jövő-romjaira fókuszáló művek, mintegy kijelölve a brit kultúrakutató, Mark Fisher által populáris modernizmusnak nevezett korszak kezdő- és végpontját

[thesunlounge]

Reviews 356: Fulvio Maras, Alfredo Posillipo, Luca Proietti

In 1991, during Italy’s yearly Ferragosto holiday, the city of Rome was utterly empty, so much so that “you could die and not be noticed in the deserted streets.” Thus a trio of sympathetic and exploratory musicians named Fulvio Maras, Alfredo Posillipo, and Luca Proietti, who for their own varied reasons stayed behind, had full reign of a professional studio, which allowed them total freedom to create the music of their wildest fantasies. At this time, Maras was already a world traveller and veteran player, with credits extending at least back to the 70s and encompassing jazz, pop, theater, ballet, TV, film, and much more besides. Posillipo and Proietti, however, were newer to the scene…the former a horn player and producer who had worked with artists such as Jim Porto and Eddy Palermo and was in the group Gli Io Vorrei La Pelle Nera, the latter a guitarist, synthesist, and sound designer who, among many other achievements, eventually became the chief professor of music technology and sound engineering at the Saint Louis College of Music. And during that fateful summer holiday in Rome, with a studio overfilled with world instruments and futuristic gadgets, the trio combined their diverse backgrounds and myriad interests into a compelling and impossibly eclectic adventure called Sfumature, one which has just been reissued and lovingly expanded by Archeo Recordings, with the label including a remix, an unreleased track, translated liner notes, and remastered sonics.

Across the album, organic and machine rhythms blur together through fourth world rainforest rituals and broken beat funk and fusion groovers as colorful assortments of synthesizers and samplers merge together, equally reveling in textures of orchestral romance, filmic mystery, futuristic kosmische, and crystalline new age. Posillipo’s trumpet weaves solo songs of spiritual jazz over muted and equatorial hypno-jams while sometimes darting and dashing between an array of virtual woodwinds…all while synthesized basslines walk like a bebop stand up, slap like fusion funk, or squelch playfully towards acid. Angel voices presumably sourced from Maras’ ballet and theater performance archives sing through the mix, sometimes droning together with dark industrial synthesizer ceremonials while at other times alighting on operatic flights of wordless fantasy, which wrap the heart around with glowing threads of melancholic beauty as idiophones both real and imagined sparkle in the light of a setting sun. And the entire experience is awash in celebratory vibes born of creative freedom and imaginative spontaneity, with some the trio’s happy studio accidents even being detailed in the included liner notes, as Posillipo recalls his inspired choice to switch from trombone to trumpet and Proietti details the potential catastrophe of a forgotten a click track, only to have Maras perfectly nail the timing (a fact which is hilariously attributed to his lack of alcohol for that day).

Fulvia Maras, Alfredo Posillipo, Luca Proietti - Sfumature (Archeo Recordings, 2020) In “Gomma,” Maras’ marimba splashes through glowing tide pools while hand drums beat gently. Squelching basslines underly descending island melodies that see the marimbas merging with sampled steel pans…the whole thing radiating an irrestible Caribbean warmth. From here, the track ambles back and forth between instrumental choruses where idiophonic clouds alight on equatorial themes of sunshine joy, and more minimal stretches where Maras’ marimba wanders solo through worlds of seaside jazz tropicalia while hand percussions bop around acidic basslines. And at some point, shakers enter to guide the lackadaisical dance of island life fantasy. Splashing cymbals and cascades of metal begin “Panica iniziale” and timpanis roll like thunder beneath violent shaker motions. Dissonant swells of horror film drone surround militant drum rolls before everything recedes into a storm of cymbals, snake tails, and echo clicks. Cyborg choirs sing from the void and execute magisterial chord changes evoking Klaus Schulze’s Irrlicht…all while splattered symphonic percussion moves maniacally underneath. Choral layers recede to reveal pounding bass synthesizers that flub like rubber bands while martial drums and hissing shakers work the body. Then, towards the end, the layers of sci-fi dissonance return, as mysterious chord changes evoke terrifying landscapes of mist and shadow over a physical and ever-shifting panorama of bass sequencing and timpani terrorism. Then comes “Deserto” with metalloids bending and synthesizers blowing spectral clouds of darkness. Mysterious keyboard solos evoke slow motion explorations of mythical desert landscapes and clattering percussions surround tick-tock bass sequencing while melting wavefronts of sliding subsonic weirdness subsume the spirit. The mix is periodically disrupted by whip-crack bursts of sinister bass and machines moan in desperation as Latin percussion accents are subverted into an industrial drone jam…all until the rhythms disperse entirely, leaving resonant bass vibrations to coalesce with glacial themes of cosmic melancholia…as if dark and shadowy colorations are pooling together into an unsettled miasma.

For much of the remix of “Sotto la cascata,” you’d be forgiven for thinking it was the original version, for though this is a rather radical reworking, it doesn’t reveal its true magic until well into the song. Indeed, we start with the original’s throbbing contrabass motions and echo-soaked jazz filigree, with brushed snares working against sizzling cymbals. Berlin school sequences wash through aquatic fx hazes and a glorious voice sings wordless songs of mermaid majesty…the effect not unlike the work of María Villa or MJ Lallo. But whereas the original version ends on a stoned outro of contrabass and trapkit ghost notes, the remix brilliantly drops a boom bap breakbeat while arpeggiated synthesizers percolate through kosmische energy swells. At some point the haunting voice cuts away, with kick drums locking into a four-four heartbeat while ascending prog electronics evoke Pink Floyd. But we eventually drop back into the low slung drum groove, where the vocals are now a shadow of themselves as they swim around g-funk synth accents, future jazz basslines, and orchestral layers of space foam. Then in “Alla Casba.” zany pianos dance around forest flutes until a fat pounding basslines drops amidst smatters of equatorial hand percussion. After riding a tropical sunshine groove out, snaker chamer synth melodies start raining over the mix…their tones sitting somewhere between psaltery and crystal. Hand drums roll and hi-hats and tambourines lead a sensual island sway as fourth world melodies and cinematic ivories join together with exotic flute fantasias, resulting in a strain of magical Italo-balearica that encompasses vibes of esoteric darkness and romantic adventure. The crystallized string arps of “Dura Lex” follow, which execute an elven dance over a tribal ceremonial of wooden bass synthesis. Melodies of fairy fantasy intermingle with airs of classical grandiosity and solar swells of subsonic warmth float the soul while shakers sketch out airy rainforest rhythms. And as gemstone sequences and spiritual woodwind leads play off one another, their threads of paradise magic weave tightly around a joyous ethno-ambient percussion drift.

In “Trombe di Alfredo,” ticking tones of crystal overlay a manic string synth and percussion ritual as we sweep straight away towards a mysterious oasis of Arabian desert magic. Posillipo’s trumps is carried on a warming breeze as Maras and Proietti lock into a shamanic tribal trance, wherein hand drums from various cultures beat wildly, fourth world synthesizers drift towards the clouds, and tapped crystals hypnotize the mind. Bleary-eyed themes of cinematic romance swim deep in the background ether as drums continue their manic dance and occasionally, the string synthesizers rise to the surface to replace the exploratory trumpet solos with flowing songs of symphonic grandiosity and sorrowful desert mystery. “Amori,” which was inspired by Maras’ breakup at the time, sees harmonious waves of synthesizer billowing in…like a sea of neon pink crashing against a white sand shore. Cymbals sparkle and hand drums pound wildly alongside rimshot snaps while Posillipo paints cinematic trumpet leads over fusion-tinged fretless bass serenades. Enigmatic key changes plunge the mind into underwater landscapes and abandoned mermaid kingdoms, with the melding of exotic ambient and exploratory jazz bass reminding me of Motohiko Hamase. Swells of seaside ethereality wrap around the body as the basslines continue dancing alongside tapped cymbals and crazed percussions and all the while, Posillipo weaves in and out with warming wavefronts of bebop trumpet. A synthesized orchestra sways strangely in “Aura due”…as if swimming through an alien ocean while warming brass melodies swirl overhead. Sampled french horns play themes for a mist-shrouded dawn and oboes, bassoons, and clarinets weave together a tapestry of Italian 70s cinema romance, with the vibe like relaxing in a field of flowers and watching clouds drift across the great blue sky. Sprightly flute harmonies enter at some point as the virtual string orchestrations continue their drunken dream dance and as the reed instruments and aerophones intertwine, a summer shower of marimba begins falling…gentle at first…but then coming down like an overwhelming storm of hyperspeed chaos.

Violins saw through glowing reverberations in “Ballo accorto,” with the hypnagogic atmospheres interspersed by cymbal taps and hand drums. The track continues swelling with solar strength and emotional warmth as grandiose horn and flute themes flow down from the heavens, resulting in a dreamspace dance of tapped metals, rainforest drumming, and orchestral wonderment. At some point the strings recede, leaving space for tambourines jangles and tribal drum percolations, and once they return, the vibe is somehow even more epic than before, with Posillipo’s trumpet melding with currents of cloudland magic to lift the spirit towards a paradise sky. The original press of Sfumature ends with “Alfredo Fantasy” and its electronic and world percussion locking together for an exotica fusion jam, with chord stabs sitting somewhere between fusion and reggae floating overhead as the rhythms eventually settle into a stuttering and off-kilter funk break, which almost falls over itself each time it loops around. Snares and cymbals splash alongside the dubby melodics while distorto-basslines growl just out focus…their effect felt more than heard. And towards the end, the reggae riffs recede, leaving drums to work through an extended jam’n’slam, with touches of library funk, electro, and hip-hop merging while the basslines erupt towards jazz fusion slapping. Final track “Vertigini (Ambient Remix)” is exclusive to this Archeo Recordings reissue, and sees windchimes fluttering on an asymmetrical breeze and crystals conversing in cavernous spaces as a voice grows from pale mist into an all-consuming drone. Bubble clouds of inky synthesis billow up from seafloor vents, computronic diamond clusters rain down from an unsettled sky, and plucked string harmonics refract rainbow light through the rippling liquid atmospheres…as if a harp is being played in the middle of some celestial ocean. And later, mystical voices transmute towards angel opera flamboyance, ambient house chords incandesce in strange colorations, and metallic droplets fall into pools of liquified glass while pads modulate through resonating bodies of sonic shimmer as they move forwards and backwards in time.

(images from my personal copy)

[djemerald]

My ‘sweetest’ Favorite 2019

もはやただのメモ！だけど、今年もやっぱりやっておこう。 ということで、2019年のスウィートな音楽をずらりと。 画像はアルバム・LP・EPのみの分をコレクションしてみました。 去年書いた「過去最高のスピードで世界中の音楽が聴けるようになった」のは、今年も継続中。 ただ、画面の中で自動的にレコメンドされるよりも、周りの友達に「これよかったよ〜」とか、「これ好きそう」とか教えてもらう方が、断然、うれしい。 ジャンルは相変わらずいろいろだけど、ジャズ的な要素が増えた気がする。（dublab.jpの影響か、原雅明さんの影響かしら、どうかしら） あと、今年はアルバム通して聴く機会が多かった、というか、その方がフィットしてた。もともとCDを買っていたときの感覚に戻ったようで、なんだかしみじみしちゃう。 そして、11月あたりからじんわりとミニマルハウス〜テクノに惹かれ中。シンプルがゆえに、好みを見つけるのがむずかしい、でも楽しい。新しい境地。 DJ MIXはほとんど聴かなかったなぁ。音楽の聴き方って、1年の間にこんなにも変わるものなのね。 dublab.jpでラジオ番組をはじめたことも大きいかな。 ありがとう、グッドバイ2019年。 2020年は、審美眼を磨きつつ、軽快に。生身の肌で感じたい。 *アルファベット順です *今年リリース以外のものも多くあります *Vanessa Paradis、Marlene Dietrichは常時アイコンなのではぶきます ＊ - My ‘sweetest’ Favorite 2019 - ▽▼▽ ALBUM / LP / EP ▽▼▽ AFK & Bludwork / Loyalty N Service [100% Silk] Akira Rabelais / CXVI [Boomkat Editions] Alexis Le-Tan & Jess present / Space Oddities [Permanent Vacation] Amazondotcom / Mirror River [SUBREAL] Ambien Baby / En Transito [FATi Records] Ana Roxanne / ~~~ [Leaving Records] Anna Homler ‎/ Deliquium In C [Präsens Editionen] Archie Shepp, Jasper Van't Hof ‎/ Mama Rose [SteepleChase] Bartosz Kruczynski, Poly Chain / Pulses [Into The Light Records] Basil Kirchin / I Start Counting [Trunk Records] Basil Kirchin / Primitive London [Trunk Records] Black Boboi / Agate [BINDIVIDUAL] C.Tappin / Ashes to Ashes [Melting Pot Music] Charlie Haden & Pat Metheny / Beyond The Missouri Sky [Verve Records] Chihei Hatakeyama(畠山地平) / Void XIX [White Paddy Mountain] Chocolate Lips / Chocolate Lips [Sony Music] Derric Gobourne Jr. / Supremacy [P-Vine Records] Deweekend / Deweekend [OutOfStock] Dome / Dome 2 [Editions Mego] Eberhard Weber / Encore [ECM Records] Eleventeen Eston / Delta Horizon [Growing Bin Records] Emahoy Tsegué-Maryam Guèbrou / Ethiopiques, Vol. 21 [Buda Musique] Eric Serra ‎/ Le Grand Bleu (Bande Originale Du Film) [Virgin] G.S. Schray / First Appearance [Last Resort] Giovanni Guidi / Avec Le Temps [ECM Records] h hunt / Playing Piano for Dad [Tasty Morsels] Helena Deland ‎– Altogether Unaccompanied Vol. III [Luminelle Recordings] Holdie Gawn｜Micawber ‎/ Gleech Huis｜Parsec Telemetry [Sylphe] infinite bisous / Period [Tasty Morsels] Ion Ludwig / A Better Future To Long [Metereze] J!N /pink stm & wite ptl [Hizz] JAB / Erg Herbe [Shelter Press] Jacqueline Humbert & David Rosenboom / Daytime Viewing [Unseen Worlds] Jai Paul / Do You Love Her Now｜He [XL Recordings] jan and naomi / Fracture [cutting edge] Jan Jelinek / Loop-Finding-Jazz-Records [~scape] Jeff Majors / Yoka Boka (For Us All) [Invisible City Editions] Joao Gilberto / Amoroso [Warner Bros. Records] Joe Tossini and Friends / Lady of Mine [Joe Tossini Music] Joseph Shabason / Anne, EP [Western Vinyl] Juan Hidalgo / Rrose Sélavy [Discos Transgénero] Kali Malone / The Sacrificial Code [iDEAL Recordings] Khotin / Beautiful You [Ghostly International] Kit Sebastian / Mantra Moderne [Mr Bongo] Leech / Data Horde [Peak Oil] Leonardo Marques / Early Bird [180g x Disk Union] Leonore Boulanger / Practice Chanter [Le Saule] Les Yeux Orange / Ghost Dog [Good Plus] Lifted / 2 [PAN] Liv.e / ::hoopdreams:: [Not On Label] Lloyd Miller / A Lifetime In Oriental Jazz [Jazzman] Loren Connors / Evangeline [Recital] Loving / Lately In Another Time [Last Gang Records] Lucas Arruda / Onda Nova [Favorite Recordings] Lunz / Lunz 3 [Curious Music] Mary Lattimore / Hundreds Of Days [Ghostly International] Mega Bog / Dolphine [Paradise Of Bachelors] Meitei(冥丁) / Komachi [Métron Records] melodiesinfonie / A Journey to You [JAKARTA] Molinaro / What The Future Was [Apron Records] Nadia Reid / Preservation [Basin Rock] Neu Balance / In My Life, I've Loved Them All [Budget Cuts] Nia Andrews / No Place Is Safe [rings] Nico Rico / Primitive Thinking EP [Not On Label] Nina Keith / MARANASATI 19111 [Grind Select] Nitai Hershkovits / Lemon the Moon [AGATE / Inpartmaint] Normal Brain / Lady Maid [Vanity Records] Olsen / Dream Operator [100%Silk] Operating Theatre / Miss Mauger [Allchival] Pejzaż / Pejzaż Remiksy [The Very Polish Cut-Outs] Powder / Powder In Space [Beats In Space Records] Priori & RAMZi / Jumanjí [FATi Records] Profit Prison ‎/ Six Strange Passions [Avant!] RAMZi / Multiquest Niveau 1: Camouflé [FATi Records] Regularfantasy /Sunsets & Sublets [Total Stasis] Repetentes 2008 / Galaxia Fini [Superconscious Records] Repetentes 2008 / Gelo Gerônimo [Gop Tun] RIP Swirl / 9TEEN90 [Public Possession] Robert Minden Ensemble / Long Journey Home [Otter Bay Recordings] Robert Minden Ensemble / The Boy Who Wanted To Talk To Whales [Otter Bay Recordings] Robert Minden Ensemble / Whisper in My Ear [Otter Bay Recordings] Robert Wyatt / Shleep [Domino] Rupert Clervaux / After Masterpieces [Whities] Santilli / Surface [Into The Light Records] Sarah Davachi / Pale Bloom [W.25th] Sebastian Gandera / Le Raccourci [Efficient Space] Simone De Kunovich / Mondo Nuovo Vol. 1 [Superconscious Records] Sipprell / I Could Be Loved [Sipprell] Sonia Sanchez / Full Moon Of Sonia [VIA International Artists] Sonny Sharrock / Black Woman [Vortex Records] Soundwalk Collective / What We Leave Behind | Jean-Luc Godard Archives [mAtter] Sparrows / Berries [flau] St. Joseph / Player Nr. 1 EP [Dokutoku Records] Stephen Steinbrink ‎/ Utopia Teased [Western Vinyl/Melodic Records] Takayuki Shiraishi / Missing Link [Studio Mule] Tamaryn / Dreaming The Dark [Dero Arcade] Teebs / Anicca [Brainfeeder] Teiji Ito / Music For Maya [Tzadik] The Caretaker / An empty bliss beyond this World [History Always Favours The Winners] Tim Hecker / Anoyo [Kranky] Tujiko Noriko / Kuro(OST) [PAN] Unknown Mobile / Daucile Moon [Pacific Rhythm] Vanishing Twin / The Age of Immunology [Fire Records] Various ‎/ I Am The Center (Private Issue New Age Music In America, 1950-1990) [Light In The Attic] Various / Visible & Invisible Persons Distributed In Space [Numero Group] Various / Wys! V&a Ep [WYS! Recordings] Various / زمان يا سكر = Zamaan Ya Sukkar - Exotic Love Songs And Instrumentals From The Egyptian 60’s [Radio Martiko] Various Artists / 4 Down [Deek Recordings] Various Artists / Turkish Hamam House Disco [Arsivplak] Viola Klein / A Passport And A Visa Stamped By The Holy Ghost [Meakusma] Violet / Togetherness [Togetherness] Voices In Latin / Voices In Latin [Morgan] Wilson Tanner / II [Efficient Space] Yasuaki Shimizu / Music For Commercials [Crammed Discs] Yohuna / Mirroring [fear of missing out records] Yoshiharu Takeda / Aspiration [METANESOS Records] Yoshinori Hayashi / γ [Smalltown Supersound] Zenit / Straight Ahead [P-Vine Records] 元ちとせ / 元唄 幽玄 ～元ちとせ 奄美シマ唄REMIX～ (Remixes) [Au(g)tunes] 孔雀眼 JADE EYES / 渴望 [香港商黑市音樂股份有限公司台灣分公司] ∞σ / DG Hadi [Hizz] ⣎⡇ꉺლ༽இ•̛)ྀ◞ ༎ຶ ༽ৣৢ؞ৢ؞ؖ ꉺლ / ⣎⡇ꉺლ༽இ•̛)ྀ◞ ༎ຶ ༽ৣৢ؞ৢ؞ؖ ꉺლのʅ͡͡͡͡͡͡͡͡͡͡͡(ƟӨ)ʃ͡͡͡͡͡͡͡͡͡͡ ꐑ(ཀ ඊູ ఠీੂ೧ູ࿃ूੂ✧ළඕั࿃ूੂ࿃ूੂੂ࿃ूੂළඕั✧ı̴̴̡ ̡̡͡|̲̲̲͡ ̲̲̲͡͡π̲̲͡͡ ɵੂ≢࿃ूੂ೧ູఠీੂ ඊູཀ ꐑ(ʅ͡͡͡͡͡͡͡͡͡͡͡(ƟӨ)ʃ͡͡͡͡͡͡͡͡͡͡ [༈೧ູ≢)ꐑʅ(Ɵↂↂ. l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ ̡̡͡| ̲̲͡ π̲̲͡͡.̸̸̨̨ ఠీੂ)༼ू༈೧ູ࿃ूੂ༽(ଳծູ l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ ̡̡͡| ̲̲͡ π̲̲͡͡ ɵੂ≢)_̴ı ̡͌ ̲|̡̡̡ ̡ ̴̡ı̴̡̡ ̡͌l̡̡̡ꐑ*:･✧(ཽ๑ඕัළඕั)ꐑʅ(Ɵↂ๑)✧*:･ı̴̴̡ ̡̡͡| ̲̲͡ π̲̲͡͡.̸̸̨̨ ఠీੂ)༼ू༈೧ູʅ(ƟӨ)ʃ ꐑ(ཀ ඊູ ఠీੂ)༼ू༈೧ູ࿃ूੂ༽(ଳծູɵੂ≢ↂ. l̡̡̡ ̡͌l̡*̡̡ ̴̡.]

▽▼▽ SONG ▽▼▽ Akis / New Age Rising (Part VIII) [Into The Light Records] Anatolian Weapons / Ofiodaimon (Tolouse Low Trax vs Anatolian Weapons Remix) [Beats In Space Records] Anna Karina / Pierrot Le Fou-Jamais Je Ne T'Ai Dit Que Je T'Aimerai Toujours (いつまでも愛するとは言わなかった) [Barclay] Baba Stiltz / Showtime [XL Recordings] Bartosz Kruczyński / Pastoral Sequences [Growing Bin Records] Beatrice Dillon / Workaround Two [PAN] Bee Gees / How Deep Is Your Love [RSO] Bell Biv DeVoe ‎/ Poison [MCA Records] Betonkust, Palmbomen II / Rejected Demo Tape [Dekmantel] Blue Gas / Shadows From Nowhere [Archeo / Best Record] Bobby Hutcherson / Tranquillity [Blue Note] Bohren & und Club of Gore - Karin [[PIAS] Recordings] Cécile McLorin Salvant / One Step Ahead [Mack Avenue Records] Cigarettes After Sex / Heavenly [Partisan Records] Cleaners From Venus / Corridor of Dreams [Man At The Off Licence] De Beren Gieren / Broensgebuzze 8.2 [Sdban Ultra] Dolphins Into The Future & Lieven Marten Moana / Lava (Long Version) [Edições Cn] DOS / Need U [Nerang Recordings] Dove, Le Makeup / Angel Diaries [Pure Voyage] Duval Timothy / DYE [NTS Radio] Eliza Dickson, Braxton Cook, Lauren Desberg / Gold [Tokyo Dawn Records] Emilie Levienaise-Farrouch / End Scene [130701 (FatCat Records)] Empress Of / When I’m With Him (Perfume Genius Cover) [Terrible Records] Fafá de Belém / Aconteceu Você [Som Livre] Gary Burton / Las Vegas Tango [Atlantic] Hanne Mjøen / Sounds Good To Me [Spinnin' Deep] Haruomi Hosono (細野晴臣) / 薔薇と野獣(New ver.) [Speedstar] Jay Som / Superbike [Lucky Number] John Cameron / Half-Forgotten Daydreams [KPM Music] John McLaughlin, Mahavishnu Orchestra / You Know, You Know [Columbia] Joni Mitchell / Shine [Hear Music] Karen Gwyer / Ian on Fire [Don't Be Afraid] Kelsey Lu / I’m Not In Love [Columbia] Klein Zage / Womanhood (DJ Python Remix) [Orphan Records] Kllo - Back To You [PLANCHA] Laurie Anderson, Tenzin Choegyal, Jesse Paris Smith / Lotus Born, No Need to Fear [Smithsonian Folkways] Laurie Spiegel / The Unquestioned Answer [Unseen Worlds] Leon Vynehall / I, Cavallo [Ninja Tune] Lucrecia Dalt / Tar (Jan Jelinek Remix) [Rvng Intl.] mabanua / Call on Me feat. Chara (Knxwledge Remix) [Lawson Entertainment] Madeline Kenney / Nick of Time [Not On Label] Marc Johnson, Eliane Elias / Swept Away [ECM Records] Marcella Bella / Nell'aria [CBS] Mary Lou Williams / It Ain’t Necessarily So [Jazzman] Matthew Halsall, The Gondwana Orchestra, Josephine Oniyama / Into Forever (feat. Josephine Oniyama) [Gondwana Records] Mehmet Aslan / Beat Two Chase [Highlife] Mehmet Aslan / Lobster Is Coincidence [Planisphere Music] Men I Trust / I Hope to Be Around [Men i Trust] Michael Andrews / I’m Not Following You [Everloving] millennium parade / Plankton [PERIMETRON] Murlo / Ferment (Yamaneko’s Flashback) [Coil Records] Noname / Self [Not On Label] Nusrat Fateh Ali Khan / Mustt Mustt (Massive Attack Remix) [‎Real World Records] O Terno / volta e meia [Risco] Octo Octa / I Need You [Technicolour] Ralph Tresvant / Sensitivity [MCA Records] Ratna Das / Rajuan Bulan [Rice Records] Roberto Musci / The Advent of Rose + Croix [Les Disques Victo] Ronald Langestraat / Lowdown [South of North] Salami Rose Joe Louis / Nostalgic Montage [Brainfeeder] Simon Hinter / Makros [Purveyor Underground] SKRS / Dub Shoulda Known [Ancient Monarchy] Smoke Trees / Man in the Moon [Urban Waves Records] Steve Hauschildt ‎/ Strands [Kranky] Tash Sultana / Salvation [Mom + Pop] Tei Shi / Even If It Hurts (feat. Blood Orange) [Downtown] The Golden Filter / Autonomy [4GN3S] Tyme./Tatsuya Yamada / Catch A Fire [astrollage] Unknown Mortal Orchestra / Hanoi 6 [Jagjaguwar] Will Saul / Room 9 [Aus Music] WONK / Sweeter, More Bitter [EPISTROPH] Yo La Tengo / Eight Candles [Verve Forecast] ギターウルフ / バッテラ惑星 [GuitarWolf Records] ちあきなおみ / 泣かせるぜ [TEICHIKU ENTERTAINMENT] んoon / Gum [Flake Sounds] 近田春夫 / 超冗談だから [Victor Entertainment] 佐藤千亜妃 / Lovin' You [EMI Records] 小沢健二 / 彗星 [Universal Music] 大貫妙子 / タンタンの冒険 [Dear Heart] 中原理恵 / ヒーローはあなた [CBS/Sony] 優河 / June [P-Vine Records] (Sandy) Alex G / So [Lucky Number] ▽▼▽ DJ / LIVE ▽▼▽ Sapphire Slows at SUPER DOMMUNE [28 Nov] Nia Andrews at Blue Note Tokyo [31 Oct] Julianna Barwick / Mary Lattimore / DJ Shhhhh at Shibuya WWW ［1 Jul］ Meakusma X dublab.jp at Shimokitazawa Cage LỒNG VÀ QUÁN [28 Apr] 東京楽所第12回定期公演「奉祝の雅楽」 at サントリーホール［2 Feb］ 12月25日のdublab.jpの番組《In Every Second Dream》内で、一部楽曲をON AIRしたのでそちらも是非◎ アーカイヴはこちらから↓

愛を込めてxxx DJ Emerald

[obscurewatch]

Widowmaker’s Côte d’Azur’s Sunglasses found on Ilios Lighthouse. Talon's interest in the Ilios Ruins

In Ilios Lighthouse you can see the sunglasses Widowmaker wears on her Côte d’Azur skin. This was added in 2017, likely with the Summer Games update.

As I searched online to see if anyone else had noticed, I found an instragram post of someone who noticed the sunglasses too. Sadly I can’t find the link anymore. But yeah, this is NOT new, it’s 1 year old.

The newspaper on the rest chair, by the sunglasses (texture file from the gamefiles, this is the highest resolution available :/ )

Top part is, I assume, the old newspaper. The one on the chair is the bottom half, with the greek text. The bottom half likely replaced the top one (not that I recall seeing a newspaper on Ilios before) with the Summer Games update. 1 month or so after Doomfist and the Masquerade comic came out.

The greek text says

“ Ο ΑγγελιοΦόρος Ήλιος

Πολλοί Φόνοι κατά Ιη διάρκεια επιθέοεων οτο Καρναβάλι  

-----------------

The Angel of the Sun

Many Fears During Carnival Attacks “

(bad translation, would need a native speaker to translate it properly)

The picture in the bottom right corner is from the Masquerade comic

Yep, perfect match.

So, the newspaper is covering the events we see happening during the Masquerade comic. We can assume this newspaper is from the day after those events, at max a few days later. 

Widowmaker, (taking pleasure in) reading about her murders in the news. She’s never felt as alive as when she killed Mondatta, so she claims. So this is apparently a thing that she does, she’s low key self obsessed. That ain’t healthy, my poor Amélie, nothing moves her anymore besides killing :(

In Masquerade, Doomfist assembled some sort of Talon High Council and the comic ends with him stating that they have a war to start.

The sunglasses and the newspaper prove that Widowmaker was in Ilios a few days after the Carnival murders, it seems to be the very first mission she is being assigned now that Doomfist has escaped from his cell and taken back control of Talon. Doomfist is setting in motion the events that’ll eventually lead to this “war” that he wants to start. Widowmaker seems to be Reaper’s right hand. Her credentials are not high enough for her to be in the Council but she’s still a very important asset. I think it’s safe to assume they didn’t send Widowmaker on a vacation.

When you go towards the Orca Ship’s cockpit while on Ilios, Athena says 

"Over the past week Talon activity has been detected in the area. It is my belief that they are attempting to steal the unearthed artifacts that are excavated in the temple above Ilios." 

Until the 2017 Summer Games and the addition of those glasses on Ilios Lighthouse, we had no way of knowing what exactly Athena meant by “Talon activity” but now we do. Talon sent Widowmaker to pose as a tourist (so, her Côte d’Azur skin is canon). No way they’d allow Widowmaker to go on a break right after Doomfist told everyone they had a war to start. No way she’d want to go on a break either anyway x)

She’s on Ilios for a mission. She could be posing as a tourist while she gathers information. You’d think she’s the WORST person to send on an infiltration mission with her blue skin making her easy to spot, but hey, this is 207X, there are robots walking around, blue skin ain’t so weird.

The thing with Widowmaker is that she’s good at one thing and (as far as we’ve seen) one thing only : assassination. Who is/are her target/s on Ilios? On Petra, we learn that the nameless organization of archeologists is in charge of the ONGOING excavations on Ilios Ruins. Ioannidis is a name that pops up on the one of the map’s screens, we can assume he’s the one in charge of the Ilios excavation, Ioannidis being a greek name (meaning son of Ioannis, Ioannis being the greek equivalent of “John”, the man is basically a greek Johnson...possible Indiana Jones reference? Son of John...Jones, close enough?).

It seems he’s reporting about his progress on the ruins of Ilios to this Hamid Faisal person who could be the “boss”.

The question is : how do the statues, the temple, the excavation site and the archeologists fit within Talon’s war scheme? Why sending a highly trained assassin to a digging site? Why is Talon after those ancient greek artifacts?

The obvious explanation is that they want to steal then sell those artifacts to a client. But how would that start a war? Does Talon even need money? There has to be something more to those statues and artifacts that we’re not seeing right now. How would killing a bunch of archeologists help start a war? This makes no sense. Yet.

Would Talon have an asset as important as Widowmaker waste her talents on an errand like stealing a few statues? Maybe this is not about the money, maybe it’s about sending a message. What is an archeological site like Ilios but a testimony to mankind’s greatness, ingenuity, culture and ultimately, a beautiful heritage from the past.

Who’d want to destroy that? The obvious candidate is Null Sector. We don’t know much, if anything, about their motivations, but if I was a robot bent on destroying humanity, I’d focus on the mass murder aspect of the entreprise, of course, but I wouldn’t forget to make sure the symbols they value the most are turned to ashes. Maybe Talon wants to start a war by killing some archeologists, destroying precious heritage and making it look like Omnic extremists did it.

That would start a war.

But why sending Widowmaker, the highly trained assassin? She’s gotta be there because there’s a high priority target to kill, someone no one but her can get, maybe someone important who’ll come take a look at the statues, someone from the United Nations? The ruins are an internationally protected heritage site after all, it would make sense for some VIP to show up eventually, once the artifacts are all unearthed, perfect time to strike then. Maybe Athena is wrong, maybe Talon is not after the artifacts but after whatever big shot will come out to Ilios to pose for photos with the statues as the entire world watches while Widowmaker aims for their head. I think Widowmaker will be linked to the future greek hero’s background story. Hell, I’m certain she will.

This clue is 1 year old. Nothing new happened regarding Ilios (other than the Petra archeo-faction, but it’s still really vague, we just got a namedrop and that’s it). I guess, like with most clues, we just have to wait.

That’s all I have for you on this topic right now !

If you’re open minded and if you enjoy wasting time hunting for the many obscure things the devs have put in the world of Overwatch, I have an all new discord server :D

https://discord.gg/Eg8pZdn

[a-god-in-ruins-rises]

🔮, ✨

🔮Any advice you would have given 10 y/o you?

honestly? not really. except maybe just tell him to take football more seriously and maybe just warn him that things are gonna get really bad but assure him that they will also get better in time. also spend more time with my dog. and also tell him to read certain books sooner. and tell him to buy bitcoin and amazon stock and other shit like that. ✨Favourite aesthetic?

not sure tbh. i’m not sure. whatever my aesthetic is. some mixture of like.....american hypernationalism, american civil religion cult, lovecraftian cosmic horror, classical greco-roman/hellenistic aesthetic, civic virtue, (archeo)futurism, cyber/techno-fascist, cyberpunk/solarpunk, folkish, schizophrenia, minimalism, space exploration (conquest), brutalism, art deco, beach culture, rational mysticism, revolutionary, radical/extremist, regicidal, republicanism, decadence, dionysian, etc, etc, etc, etc. just kinda throw all that together and you’ll get an idea.

[righteoustuff]

A Brief History of Japanese Chillout & Downtempo

                                                                                                                                                                                                                                                                It’s no secret that Japan has produced some of the finest meditative sounds. From the environmental music of Hiroshi Yoshimura to the warm synths of Haruomi Hosono, blissed-out electronics have been surfacing since the 1980s and have continued to evolve through to the present day.

Ken Hidaka, Max Essa and Dr. Rob are three friends and deep digging collectors who’ve been immersed in these sounds for years, be that through writing, DJing or throwing their long-running monthly listening party at Bar Bonobo in Harajuku.

In 2017, whilst in Copenhagen on tour with Midori Takada, Ken visited the home of Kenneth Bagger – the boss behind Copenhagen-based imprint Music For Dreams – who asked him if he’d lead the charge for an instalment of their Collectors Series. Enlisting the help of Max and Dr. Rob, the trio spent the next three years charting the history of Japanese chillout and downtempo music from the 80s through to 2018. Titled Oto No Wa: Selected Sounds of Japan 1988 – 2018, each track is the result of friendships and physical connections, mapping out the development of chilled sounds, from ambient to electro-acoustics, post-house and balearic.

Alongside a mix of Japanese chillout and downtempo from Dr.Rob, we asked him, Ken and Max to discuss some of their personal favourites.

Oto No Wa is out now on Music For Dreams.

Where does your love for Japanese Chillout stem from?

Ken Hidaka: For me, it was when I heard the Silent Poets: Moment Scale (Dubmaster X Remix), the first track on Jose Padilla compiled Cafe Del Mar- Volumen Dos. Not sure where I bought this compilation as I was in between living in London and in Tokyo around the time of when this compilation was released in 1995. At the time, to be honest with you, I was way more into western club music and really not much into Japanese music at all so this Silent Poets’ track in this compilation surprised me a lot!

Although my tastes for music were still leaned towards mostly western club music, after coming back to Japan, I slowly started to discover a few Japanese music that caught my interest. Artists that released music out of Bellissima Records at the time such as Nobukazu Takemura’s Child’s View, Reflection out of Lollop (their debut album, The Errornormous World was also released out of Clear in the UK), Major Force crew, etc. You could say that my roots for Japanese down tempo/ chill-out music stem from Jose Padilla and his Balearic aesthetics, Club Jazz sounds and electronic music that was emerging from Japan.

What Japanese Chillout record has left the biggest impression on you as a DJ, and why?

Rob Harris: As a DJ, I don’t know, but as someone passionate about recorded music, a student of sound, I can give you two Japanese, downtempo / chill out records that made a big impression on me.

The first is Haruomi Hosono’s Paraiso. When I lived in Tokyo, which is about ten years ago now, I spent a lot of time digging for vinyl. Using the second-hand stores as an excuse to get to know the city, and searching for stuff, both for my own collection and to sell. Paraiso was one of the things on my “wants list”. It was on there because Jose Padilla, the former DJ at Ibiza’s Cafe Del Mar, had mentioned it in a radio interview. Even back then this album wasn’t so easy to find. It wasn’t expensive because the boom in Japanese music was still off on the horizon but there didn’t seem to be that many copies around. Produced in 1978, maybe it hadn’t been issued on CD, and those folks with were hanging onto their copies.

Anyhow when I did find one I didn’t know what to make of it – why was it in Jose’s favourites? I’d already hoover-ed up most of the Yellow Magic Orchestras output – the band Hosono founded with Yukihiro Takahashi and Ryuichi Sakamoto – for its chugging electronic afro / cosmic crossovers, but this was acoustic guitar-driven, softly strummed singer-songwriter stuff. But then bumping the needle, scanning from track to track, I hit the title number and understood – as Hosono-san used studio effects to deconstruct the song – send it into the stratosphere. Mid-way through it just dissolved into sonic shimmer, like a passing comet’s tail. Creating an extra-terrestrial exotica – an easy-listening muzak with its sights set not on Hawaii but the stars.

The second record is Sth. Notional’s ‘Yawn Yawn Yawn’. For me this is a defining Japanese downtempo / chill out release. Again it was a favourite of Jose’s – but I only learned that in hindsight. It was Mancunian balearic guru, Richard “Moonboots” Bithell who tasked me with finding a copy. His London-based counterpart, Phil Mison, had one and he didn’t. This record was and still is super rare, since it was made in the early-90s, and kinda opposite to Paraiso, was far more abundant on CD. But then the CD didn’t have all the mixes. Jose and Phil had both championed the break-driven G-Tar Canyon Mix at the Cafe Del Mar, but it was Moonboots who picked up on the Dream… Another Reality version – which is an eight and a half minute meditation of sampled shore-line, piano and poetry. A hippie ode to Mother Nature – which to the West might sound cheesy – but captures a spirituality that exists in everyday Japan – something you only really appreciate, learn to respect, and hopefully come to understand, by living here. These are largely islands of gentle souls.

Moonboots later put this mix on his Originals compilation – co-selected with “Balearic” Mike Smith – for Claremont 56. I can’t tell you how ecstatic I was when I came across the record’s sea-blue sleeve in a rack labelled “Major Force & Friends” in Shibuya`s Recofan. I was seriously in double-take shock. To date I’ve only ever found three copies of the OG. Yawn Yawn Yawn was however reissued by Italy’s Archeo Recordings in 2018. The package expanded by a host of new remixes, and spread across six sides of vinyl. Reworks by Max Essa, Chee Shimizu, and Kuniyuki Takahashi. The update by Tadashi Yabe – ex of Untied Future Organization – is truly amazing. It’ll catch you off-guard. A fucked-up funky, psychedelic collage that – I’ll stick my neck out here – is the best Japanese “balearic” track of modern times. In my opinion if you only own one Japanese downtempo / chill out record then this Archeo reissue of Sth. National’s Yawn Yawn Yawn should be it.

What Japanese Chillout record has made the biggest impact on your sound as a producer, and why?

Max Essa: It’s difficult to single out one particular record, but I’m going to go with ‘Julia’ by Seigen Ono from the Comme Des Garçons Volume Two LP (1989). I got my first break making records in the early 90s through house music. Dance music genres/sub-genres are very rigid stylistically. When one is making those kind of records you can’t just make something that exists purely because it’s a beautiful, emotive, powerful piece of music, it ‘has to be’ a certain tempo, it has to have a 4/4 kick drum etc etc. This is the way I ended up thinking when I approached making music and I thought like that for many years!

I remember hearing ‘Julia’ for the first and being utterly charmed by it. It’s a very elegant piece that combines a calming tranquility with an ever so slightly mysterious, emotional undertow. The effect it had on my own approach to making music was to make me place far more value on the music for it’s own sake. I wanted to start creating music, moments, combinations of sounds that appealed beyond dance floors, DJs, beat-mixing.

[aneddoticamagazinestuff]

Demo of Lampo with Richard Stallman

New Post has been published on https://www.aneddoticamagazine.com/demo-lampo-richard-stallman/

Demo of Lampo with Richard Stallman

High Efficiency Lamp (“Lampo”) : This Lamp was a finalist in the ’10 Great Idea’ competition from IIT Bombay “as an Idea of today that may shape the reality of the future”. The Lampo is more than two times better in energy efficiency as compared to white LED based lamps.

  Richard Stallman, founder of GNU foundation and considered to be the ‘father’ of the free software movement, witnessing the lampo and having discussions at Treelabs.

TreeLabs is an ‘inventions factory’ to nurture and encourage inventors and innovations, leading to entrepreneurship.

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[melaniefloodprojects]

Thinking Through Photography with Maria Antelman

Carlin Brown interviews Maria Antelman on the occasion of her solo exhibition My Touch, Your Command, Your Touch, My Command.

Maria Antelman makes videos, photographs, sound installations, and sculptures using both new and traditional technologies. Conceptually, her art practice points to our interaction with machines and the complicated systems they weave around us. Her themes come from disparate sources like space exploration, crash test facilities, artificial intelligence experiences, and utopian possibilities. Recent shows include On the Exactitude of Rain at Ryan Lee Gallery (NY), A Nonexistent Event at Melanie Flood Projects (Portland, OR), Notes from the Field at the University of Melbourne, Soft Machines at Impakt Festival (Utrecht), Private Matters at Apexart (NY), Stigmergy at 247365 (Brooklyn), The Amateurs at the Agency (London), …But the Clouds… at Room East (NY), and Capsule Spaces at the Eugenides Foundation (Athens). Antelman received her MFA from Columbia University.

—-

CB: There are a few repeating motifs in your work; a hand collaged over footage, explicit references to science and science-fiction, and of course the machine. The title of your exhibition at Melanie Flood Projects, My Touch, Your Command, Your Touch, My Command suggests back to some of that same imagery. I think of voice command systems, tactile technologies, and Artificial Intelligence — the difference between the “touch” (whether physical or psychological) of a human hand or that of a machine becomes blurred. Technology and the machine is an extension of us. This is something you’ve addressed before, like in the sound piece The World of Blocks (2015). Can you speak to that?

MA: We used to handle machines. Now we command technology with a sound, a voice, a touch, a gesture, a motion. There is a relationship of power and a feeling of control attached to how we use it, and it’s intelligent. With the machines, the master and slave component was clear. Digital technologies are kind of sneaky. We create tools and then these tools transform us. We become extensions of the technologies we use. Objects are turning into information technologies and are entering our personal territories. An example is prosthetics: your bionic hearing aid is smart, and thus accessible by a third party (hackable). There is a vulnerability inside its intelligence. Also, on a larger scale, we become dependent to smart technologies serving us. We are losing the ability of doing certain things by our selves. There is always the underlying question: who is in control?

CB: There are also intimate and sexual connotations behind the title. What is the correlation between human intimacy and our computers? If machines are not an extension of us, how might you otherwise describe human-technology relationships?

MA: “We are gathered around the altar of high technology, transforming our loneliness into some kind of community”, a quote from a forgotten source.

CB: You grew up in Greece and studied history in Spain, but relocated to Silicon Valley during the dot-com boom, bust, and rebound of hi-tech. Starting from a place so rich in its own history and moving to a hub of fast-paced technology, your artistic practice seems to act as a bridge between these two worlds. How does the parallel of past and future exist in your work?

MA: Rich history can become a burden, while the hub of fast-paced technology can feel extremely empty. The poet says that thinking about the past connects us to our mortality and thinking about the future connects us to the idea of utopia. What conjures past and future is our imagination. My father was a political cartoonist, and I grew up looking at all these sophisticated comments on politics, economics, society. I loved how they were sad and intense but always made you laugh. Their effect lasted for a second, but that second was amazing. I really admire this quality: being comic and tragic at the same time. Maybe the past is tragedy and the future is a comedy, or vice versa.

CB: You’ve often made work that sits somewhere between video and still image by animating sequences to an audio track. The Repeater (2016) superposes slides of side-by-side photographs with the soft, echoing voiceover of a hired actor. How did you come to this process? Given that your new exhibition is a part of the series Thinking Through Photography, can you describe your relationship with photo as medium?

MA: “Death is a photograph, life is a movie”, wrote Susan Sontag. A photograph makes you wonder what happened, while a movie is an anticipating experience. The viewer is expecting to see what is going to happen next. So, I make movies with photographs, because I am interested in the contrasting feeling of these two reading responses. I started taking pictures very young and later as a cinephile, I felt great admiration for filmmakers. Years later, I came across a video editing program in a box with a user manual, and I started making videos using my photographs. I make these compositions, or rather juxtapositions of different elements (images, sounds, voices, texts, motion, etc), which question the sanity of our society.

CB: “If there is a copy of you, while you are still alive, then the real you ceases to exist at that moment. You can never know if you are the very same person, for fear of an unknown double running around somewhere else.” There is a really powerful message here — it makes me think about the way our virtual presences can succeed our “real lives” and in a way have a separate existence. Can you elaborate on this quote from The Repeater?

MA: This is part of a philosophical argument, also known as the duplication objection. It has been used in the film Total Recall with Schwarzenegger, a technophobic film from 1990. Arnold, the man-machine has had his memories duplicated in multiples. He ends up losing his sense of who he is. The best moment in the film is when Arnold watches a video recording of his original self talking to him, his physical duplicate. It is very nicely confusing. It makes me think of the way we are dealing with our multiple digital personas, which we curate and update constantly. These copies or representations inhabit multiple platforms and data banks. In the Repeater, the images transport us to a natural setting, on an island, with a bunch of amateur radio operators, far away from a dark machinist urbanscape. The radio operation is low key, a couple of stations set on the sand, surrounded by stray dogs, antennas facing the sea and a few careless tourists taking selfies. It feels harmless, and innocent, but the slight possibility of such duplication absurdity creates an intense feeling.

CB: In 2015 you showed in Portland for the first time with your exhibition A Non-Existent Event at Melanie Flood Projects. There are some clear aesthetic differences between the work you presented at that time to the work in MTYC, YTMC. How would you say your practice has shifted since your last exhibition?

MA: Then, I presented a photomontage series inspired by the J.G. Ballard’s novel The Drowned World. The novel takes place in a post-apocalyptic tropical London with high-saturated color descriptions. I loved the feel of the story, the characters and the landscapes. I had shot these black and white negatives inside a metal shop at a NASA center, there where satellites and rockets are built. Again, I was thinking about the interrelation of the mechanical with the digital world. My photographs were shot with a mechanical camera and were about mechanical tools, but I was using digital tools to manipulate them. The result was an amalgam of these two technologies, dipped into the color palette of the Ballards descriptions. Then, I played a sound piece about one of the first inspiring AI intelligent program created at MIT. Two voices were reenacting the human machine interaction, highlighting tensions of knowledge and nonknowledge. Now, that I think about it, I could have used the same title for that show as well.

CB: The work produced for A Non-Existent Event includes photographs you captured during your visit to NASA centers in Mountain View, California and Hampton, Virginia. Can you describe your experiences visiting the NASA centers and how else those visits informed your practice?

MA: I have visited three NASA centers, Ames, Langton and Glenn. All of them were initially Aeronautical Centers, and have wind tunnels built in the first stage of space exploration. Walking inside these humongous architectural monuments, was an incredible experience. The feeling was very archeo-futuristic. The most fascinating part was how they stood there, immense and empty, as proofs to ideas that don’t exist anymore. After the space exploration funding ended, all the space technology was applied to global networks and economies. Satellites now orbit earth, support the communications systems and mirror back to us all our posts, selfies, locations, data, etc. Digital culture technically flourished, using the technological infrastructure of the cold war. During those years people’s vision was directed outwards; now we are looking at each other. It is strange how the culture we are experiencing is a byproduct of another process.

[thothproductions]

The Last Days (a piece from a work in progress)

The young priest flushes and knocks his link off the table as he gets to his feet. As he bends over to pick it up, Izani makes a low noise in the back of her throat. Under the cover of lifting her bowl to take a sip of tea, Laara glances over to the offworld woman, pitches her voice just for Izani’s ears. “Really?”

Izani reaches for a shrimp roll, dips it. Matches Laara’s tone. “Am tourist. Enjoying local sights.”

As the young man fumbles to collect himself, Laara takes another sip. “Be sure to check our local laws regarding vandalism.” She enjoys the banter. First bit of humor she’s felt in a long long time. Makes her feel hopeful about her future aboard away from Qichao. She smiles benevolently at 2Knife and gestures for him to begin.

 He starts talking a little too fast and a little too loud. But he soon settles down. “The Order is under attack, in both physical and virtual space. For the physical attacks, I’ve collated any available cam footage, spidered any communications related to each attack, as well as any after action reports. I’ve created and posted a database for each attack, sortable by location and several other keywords. I’ve done the same for attacks made against the Order in DataSpace.”

Laara nods approvingly. “And your first approximation analysis, Brother?”

He clears his throat and looks directly at her. There’s something in the set of his face, something in his eyes, that jars with the youth and beauty of his face Laara braces herself for bad news. “First approx is that the attacks are opportunistic. We’re a target, pure and simple. The Order is old and rich with over two millenia of archeo-tech in our vaults.” He pauses. Takes a deep breath. “Losses.”

At that word, Laara has a hard time swallowing her mouthful of tea. She carefully sets her bowl down on the table, as if the cheap, mass produced dish is fragile. Huh. I guess 25 years of indoctrination aren’t so easily left behind.

“Our losses are extensive. All our major temples, offices, manufactories, and schools have sustained damage ranging from severe to total. All Saints Temple is completely gone, along with the surrounding neighborhood for 500 meters. From the footage, best guess is a raid krewe got all the way into the vaults and triggered something.” He pauses. Everyone in the room is silent. Even the kid, Abacha, is shocked out of his self-involved detachment. The wheezing air conditioner sounds so very loud against the building fear and shock. Laara can see the tremors in 2Knife’s fingers as he flicks up another holo-map. Zooms out from a map of the city, speckled red, a rah with a bad prognosis. Map freezes at planetary scale. All the population centers show some red dots. 2Knife swallows hard and continues his report. “Current casualty counts are a full 3% dead. Another 5% wounded.” He stops talking. Brings his hands up before his face. Forms the gesture that accompanies the worst news. Oh, ash grey and cold, this is going to be bad. 2Knife speaks from behind the mask of his fingers. “I have hard confirmation. In the attacks on Temple St ShuJen and on Temple Akawendo, the Ancestral Reliquaries were breached. The Uploaded Family Elders in each Temple suffered terminal shutdown.”

It’s a frozen moment. Almost as if even the machines, even the wheezing cancerous air conditioner, stopped with the weight of the news. Then everyone breathes in and reacts.

Abacha snaps upright in his chair. He mouths a prayer, fumbles a DNA rosary made from bone from a pocket, fingers begin to count off prayers as tears start to roll down his face. Prijaya begins to pray aloud, loudly, the Enveloping Flame. Ky joins in, softer. 

And Laara just sits there. Swamped and frozen by conflicting feelings. Primal feelings of grief and outrage. Strong flash of happiness because the Order has been hurt. She allows herself two seconds of feelings, then pulls herself together. Three deep breaths, held in the lungs for a count of four, then slowly released. Distancing techniques developed from life as a junkie. Do not process, whatever you do. Meaningless words of comfort, you can do this, you’re a professional salvation specialist. This is an opportunity to cement your power as a Priestess. Remember that seminar on grief manipulation.

She exhales and stands up. Her gestures emphasize resolve. Her tones evoke compassion and grief. She weaves her words in and out of the rhythm of the other’s prayers, gradually overpowering them. “We mourn. We have lost the irreplaceable knowledge of our Ancestors. With this loss, our knowledge of the Past has become less. The Flame flickers and dims.” Her tones build and change to exhortation. “But we are Engineers. We are the knowledge discoverers and builders!” The words start to leave her mouth without consideration. She steps back from the table to gain space, kicks her chair out of the way in time with her words and gestures. Her body starts to sway in the first movements of the Measures of Invocation. “Things are broken all around us! Things are breaking all around us! But are we afraid? No! But do we despair? No! But do we surrender? No! We are Engineers!” The people before her, she has almost forgotten them, they stare at her, words of prayer forgotten in their mouths. “We fix the broken!” Second Posture. “We make the lights come back on!” Fifth Posture. “We build the New!” Posture of Culmination. She drops her voice to registers of inclusion. Her hands curve out to gather in her listeners. “We can do it together. This is not the end. This is a beginning. But it is only possible if we work together.” Another voice drop and tone shift. “Will you work with me?” She doesn’t drop into the full kneeling posture that this specific sermon demands, she doesn’t want to confuse the semiotics she just dumped on them. She limits herself to head bowed for two beats over her crossed arms. What the fuck did I just say? Why the fuck did I say it? Fuck them, fuck their problems, fuck this planet, I am gone.  

[coloradohistoryblog]

Things To Consider When Exploring Real Estate Investments

When you are considering making real estate investments, there are a lot of things that you should be considering. In this article, we will be going over some of the top things to consider when making them.

Things To Consider When Exploring Real Estate Investments:

1. Location.

One of the main things that you should be considering when you are looking to make real estate investments is location. Location is absolutely crucial when you are looking to make real estate investments because it can dictate the overall value of the investment. You want to find real estate that is located in an area that will experience future growth. That way, you will be able to purchase the property for a good value and it will increase in the future. Obviously, this is easier said than done. However, by doing the right research, you should be able to find a property that meets this criterion.

2. Price.

Another factor that you should consider when you are looking to find the right investment is the price. You want to look at the price of the property because it will allow you to determine whether or not it offers a good amount of value and whether or not it fits in your budget. You want to look at all of the factors because it can help you make better investment decisions based on pricing.

3. Your Individual Needs.

Another thing that you should consider when you are making these kinds of investments is your own individual needs. You want to figure out whether it is purely an investment that you are not going to use or if you are going to be using the investment in the meantime. If you are going to be using it, you will want to consider your own needs.

4. Total Amount Of Risk.

Another major thing that should consider when you are trying to find the right property to invest in would be the risk factor. You want to consider the level of risk that you are willing and able to take on when you are investing in property. If you are using money that you can afford to lose, you might be able to take on much more of a risk. However, if you are unable to lose the money you are looking to invest, you are going to want to take on something that has much less of a risk associated with it.

Overall, there is a lot that you will want to consider when you are attempting to find the right investment to make. You want to look at the location of the property, the price of the property, the needs you have for your investment, and the overall level of risk that you are willing and able to take. Making an investment in real estate can be a very good financial decision as long as you consider all of the factors mentioned above. By considering everything above, you should be able to make better investment decisions. To learn more check out best real estate agents near you.

The post Things To Consider When Exploring Real Estate Investments appeared first on Colorado Archeo & History Blog.

source http://www.coloradohistory-oahp.org/things-to-consider-when-exploring-real-estate-investments/