#david langlois

[just-a-pole-sir]

[babadork]

[scotianostra]

August 10th 1624 saw the death of Esther Inglis, calligrapher and miniaturist.

Inglis is celebrated for her accomplished and exquisitely illustrated manuscripts, which include tiny self-portraits – the earliest known self-portraits to be made by a female artist working in Britain.

Esther Inglis, daughter of a French immigrant, was a celebrated calligrapher. She produced exquisitely illuminated documents and little books, illustrated with flowers. Her parents, Nicolas Langlois and Marie Presot, were French Huguenots who took refuge in England in about 1569, later settling in Edinburgh. Their daughter Esther seems always to have used the surname ‘Inglis’, the Scottish form of Langlois. In 1596, Esther married Bartholomew Kello, and by 1604 had moved with him to London. They had six children, of whom four lived to adulthood. Kello, a clergyman, held a church living in Essex between 1607 and 1614. In 1615 the family returned to Edinburgh, and Esther died at Leith in August 1624.

Esther Inglis is regarded as one of the finest calligraphers to have worked in England or Scotland during the early modern period. She probably learnt her skills from her mother, who was an accomplished scribe. Fifty-nine of Inglis’s manuscripts are known to survive, most dedicated to contemporary English, Scottish and French dignitaries. She also made dedications to members of the royal family, including Queen Elizabeth, King James, Henry Prince of Wales and the future Charles I. Inglis’s manuscripts typically consist of elaborately penned religious texts, frequently decorated with floral or animal patterns. She was accomplished in the use of many varieties of script, and also practised virtuosic effects such as mirror-writing and small-scale transcription.

It is likely that Inglis’s manuscripts were produced both for financial and religious motives. She does not seem to have worked to commission, but rather presented her work to chosen patrons in hopes of financial reward. Her selection of religious texts - the Bible in the Geneva translation; the French poems Discours de la Foy, Pierre Du Val’s De la Grandeur de Dieu and Pybrac’s Quatrains - was no doubt designed to appeal to her co-religionists both here and in France. Since she died in debt, it seems likely that her patrons were less generous than she had hoped.

First pic is Esther and is in The National Gallery, the next two are of a miniature manuscript, The Psalmes of David is a tiny manuscript of about 3 inches by 2 inches with 16 pages of preliminary material followed by 310 pages of the Psalms. The next is from another miniature held by St Andrews University.

More on The Psalmes of David here

https://collation.folger.edu/.../princely-new-years-gift.../

There is also a lot more info on this web page https://artherstory.net/the-self-fashioning-of-esther.../

[gogmstuff]

It’s the later 1810s (from top to bottom) -

ca. 1815 Apolonia Kamińska née Sokołowska by Józef Reichan (location ?). From tumblr.com/lenkaastrelenkaa/701357046637936640 2048X2735 @72 1.5Mj.

1817 Lady by Jérôme-Martin Langlois (private collection). From tumblr.com/historical-fashion-devotee 1280X1597 @72 401kj.

ca. 1817 Heinrich Theodor Wilhelm and Catharina Jakobina Zanders by Heinrich Christoph Kolbe (private collection). From tumblr.com/fashion-history-germany 827X984 @72 268kj.

1819 Anna Pavlovna, Queen Consort of the Netherlands by Alexandre De Latour (Netherlands Royal Collection). From tumblr.com-historical-fashion-devotee; fixed spots w Pshop 1901X2339 @150 881kj.

1819 Sarah Maria Goodrich Giraud by John Wesley Jarvis (David Owsley Museum of Art - Muncie, Indiana, USA). From tumblr.com/historical-fashion-devotee; fixed spots & a few cracks w Pshop 2011X2241 @72 1.3Mj.

1817 Josefa Doubkova and her son Edward by Antonín Machek (National Gallery, Prague). From tumblr.com/historical-fashion-devotee; fixed spots & ridges w Pshop & enlarged to screen 1069X1400 @72 375kj.

Alexandra Buturlina by Nicolas de Courteille (location ?). From tinterest.com/joellefilori/tableaux-groupes/; blurred darker parts of bckgnd to fix spoys w Pshop 1430X1920 @96 639kj.

[toxioinc]

Top 100 Films

I made this list a few days ago after feeling irritated at the predictability and staleness of the Sight & Sound list, but really I think this a good moment for me to make this list for myself. As you will see from my end of year list in a month, the emergence of a continuous type of filmmaking - Tiktok and Douyin filmmakers posting every day, Youtubers posting every few days - presents a new kind of problem for me who actually wants to make lists that do justice to beautiful filmmaking movements. So this may be the last time to even really want to make an all time list that focuses on the indvidual works rather than the directors filmographies as continuous entities. Although I couldn’t make a normal top 10 poll, and it was better in the end to have a 100 poll as an alternative to the full list, I have put in bold 7 films which I would definitely put in a top 10.

Hypocrites (dir. Lois Weber, 1915)

7th Heaven (dir. Frank Borzage, 1927)

Themes and Variations (dir. Germaine Dulac, 1928)

The Seashell and the Clergyman (dir. Germaine Dulac, 1928)

City Lights (dir. Charlie Chaplin, 1931)

Le métro (dir. Georges Franju & Henri Langlois, 1934)

The Story of the Last Chrysanthemum (dir. Kenji Mizoguchi, 1939)

Bambi (dir. David Hand, 1942)

Now, Voyager (dir. Irving Rapper, 1942)

Meet Me in St. Louis (dir. Vincente Minnelli, 1944)

Spring in a Small Town (dir. Fei Mu, 1948)

Song of Love (dir. Jean Genet, 1950)

Awaara (dir. Raj Kapoor, 1951)

Gate of Hell (dir. Teinosuke Kinugasa, 1953)

Sansho the Bailiff (dir. Kenji Mizoguchi, 1954)

The Night of the Hunter (dir. Charles Laughton, 1955)

Pyaasa (dir. Guru Dutt, 1957)

The Cranes are Flying (dir. Mikhail Kalatozov, 1957)

Vertigo (dir. Alfred Hitchcock, 1958)

Gertrud (dir. Carl Theodor Dreyer, 1964)

The Young Girls of Rochefort (dir. Jacques Demy, 1967)

For My Crushed Right Eye (dir. Toshio Matsumoto, 1969)

Everything Visible is Empty (dir. Toshio Matsumoto, 1975)

Atman (dir. Toshio Matsumoto, 1975)

In the Realm of the Senses (dir. Nagisa Oshima, 1976)

House (dir. Nobuhiko Obayashi, 1977)

¡Que viva México! (dir. Sergei Eisenstein, 1979)

Spacy (dir. Takashi Ito, 1981)

Drill (dir. Takashi Ito, 1983)

Ghost (dir. Takashi Ito, 1984)

Nausicaä of the Valley of the Wind (dir. Hayao Miyazaki, 1984)

Sabishinbou (dir. Nobuhiko Obayashi, 1985)

Alice (dir. Jan Svankmajer, 1988)

Gang of Four (dir. Jacques Rivette, 1989)

The Stranger (dir. Satyajit Ray, 1991)

A Scene at the Sea (dir. Takeshi Kitano, 1991)

Cardiogram (dir. Darezhan Omirbaev, 1995)

The Neon Bible (dir. Terence Davies, 1995)

Kids Return (dir. Takeshi Kitano, 1996)

The River (dir. Tsai Ming-liang, 1997)

Monochrome Head (dir. Takashi Ito, 1997)

April Story (dir. Shunji Iwai, 1998)

The Silence (dir. Mohsen Makhmalbaf, 1998)

Histoire(s) du cinéma (dir. Jean-Luc Godard, 1998)

Star Wars: Episode I - The Phantom Menace (dir. George Lucas, 1999)

OH! Super Milk Chan (dir. Kiyohiro Omori, 2000)

Brother (dir. Takeshi Kitano, 2000)

Spirited Away (dir. Hayao Miyazaki, 2001)

Mulholland Drive (dir. David Lynch, 2001)

Atanarjuat: The Fast Runner (dir. Zacharias Kunuk, 2001)

A.I. Artificial Intelligence (dir. Steven Spielberg, 2001)

Avalon (dir. Mamoru Oshii, 2001)

Dolls (dir. Takeshi Kitano, 2002)

Star Wars: Episode II - Attack of the Clones (dir. George Lucas, 2002)

Father and Son (dir. Aleksandr Sokurov, 2003)

Waiting for Happiness (dir. Abderrahmane Sissako, 2003)

3-iron (dir. Kim Ki-duk, 2004)

Tie Xi Qu: West of the Tracks (dir. Wang Bing, 2004)

Tropical Malady (dir. Apichatpong Weerasethakul, 2004)

Celestial Subway Lines/Salvaging Noise (dir. Ken Jacobs, 2005)

Star Wars: Episode III - Revenge of the Sith (dir. George Lucas, 2005)

Seven Intellectuals in Bamboo Forest, Part III (dir. Yang Fudong, 2006)

Fantascope 'Tylostoma' (dir. Yoshitaka Amano, 2006)

Lady in the Water (dir. M. Night Shyamalan, 2006)

Inland Empire (dir. David Lynch, 2006)

United Red Army (dir. Koji Wakamatsu, 2007)

Paranoid Park (dir. Gus Van Sant, 2007)

City of Ember (dir. Gil Kenan, 2008)

Assault Girls (dir. Mamoru Oshii, 2009)

AKB48 - Heavy Rotation (dir. Mika Ninagawa, 2010)

Jewelpet Twinkle (dir. Takashi Yamamoto, 2011)

Spring Breakers (dir. Harmony Korine, 2013)

'Til Madness Do Us Part (dir. Wang Bing, 2013)

The Tale of the Princess Kaguya (dir. Isao Takahata, 2013)

EXID - UP&DOWN (dir. Digipedi, 2014)

Tokyo Tribe (dir. Sion Sono, 2014)

Garm Wars: The Last Druid (dir. Mamoru Oshii, 2014)

88:88 (dir. Isiah Medina, 2015)

Creepy (dir. Kiyoshi Kurosawa, 2016)

Daguerreotype (dir. Kiyoshi Kurosawa, 2016)

Before We Vanish (dir. Kiyoshi Kurosawa, 2017)

Idizwadidiz (dir. Isiah Medina, 2017)

Ending (dir. Isiah Medina & Philip Hoffman, 2017)

TWICE - LIKEY (dir. NAIVE, 2017)

Blade Runner 2049 (dir. Denis Villeneuve, 2017)

Ready Player One (dir. Steven Spielberg, 2018)

The Grand Bizarre (dir. Jodie Mack, 2018)

Eden is a Cave (dir. Alexandre Galmard, 2019)

OH MY GIRL - The Fifth Season (dir. Yoo Sung-kyun, 2019)

TWICE - FANCY (dir. NAIVE, 2019)

Alita: Battle Angel (dir. Robert Rodriguez, 2019)

OH MY GIRL - Nonstop (dir. Yoo Sung-kyun, 2020)

IZ*ONE - Secret Story of the Swan (dir. Ziyong Kim, 2020)

s01e03 (dir. Kurt Walker, 2020)

The Last of Us Part II (dir. Neil Druckmann, Anthony Newman & Kurt Margenau, 2020)

Eternal Love of Dream (dir. Yang Xuan, 2020)

おはようございます～ (dir. 小柔SeeU, 2020)

bande fucking annonce (dir. Rafael Cavallini, 2021)

高能来袭～准备好了吗？ (dir. 小柔SeeU, 2021)

NewJeans - Hurt (dir. Shin Hee-won, 2022)

[quotesfrommyreading]

The Mesha Stele, a three-foot-tall black basalt monument dating to nearly 3,000 years ago, bears a 34-line inscription in Moabite, a language closely related to ancient Hebrew—the longest such engraving ever found in the area of modern-day Israel and Jordan. In 1868, an amateur archaeologist named Charles Clermont-Ganneau was serving as a translator for the French Consulate in Jerusalem when he heard about this mysterious inscribed monument lying exposed in the sands of Dhiban, east of the Jordan River. No one had yet deciphered its inscription, and Clermont-Ganneau dispatched three Arab emissaries to the site with special instructions. They laid wet paper over the stone and tapped it gently into the engraved letters, which created a mirror-image impression of the markings on the paper, what’s known as a “squeeze” copy.

But Clermont-Ganneau had misread the delicate political balance among rival Bedouin clans, sending members of one tribe into the territory of another—and with designs on a valuable relic no less. The Bedouin grew wary of their visitors’ intentions. Angry words turned threatening. Fearing for his life, the party’s leader made a break for it and was stabbed in the leg with a spear. Another man leaped into the hole where the stone lay and yanked up the wet paper copy, accidentally tearing it to pieces. He shoved the torn fragments into his robe and took off on his horse, finally delivering the shredded squeeze to Clermont-Ganneau.

Afterward, the amateur archaeologist, who would become an eminent scholar and a member of the Institut de France, tried to negotiate with the Bedouin to acquire the stone, but his interest, coupled with offers from other international bidders, further irked the tribesmen; they built a bonfire around the stone and repeatedly doused it with cold water until it broke apart. Then they scattered the pieces. Clermont-Ganneau, relying on the tattered squeeze, did his best to transcribe and translate the stele’s inscription. The result had profound implications for our understanding of biblical history.

The stone, Clermont-Ganneau found, held a victory inscription written in the name of King Mesha of Moab, who ruled in the ninth century B.C. in what is now Jordan. The text describes his blood-soaked victory against the neighboring kingdom of Israel, and the story it told turned out to match parts of the Hebrew Bible, in particular events described in the Book of Kings. It was the first contemporaneous account of a biblical story ever discovered outside the Bible itself—evidence that at least some of the Bible’s stories had actually taken place.

In time, Clermont-Ganneau collected 57 shards from the stele and, returning to France, made plaster casts of each—including the one Langlois now held in his hand—rearranging them like puzzle pieces as he worked out where each of the fragments fit. Then, satisfied he’d solved the puzzle, he “rebuilt” the stele with the original pieces he’d collected and a black filler that he inscribed with his transcription. But large sections of the original monument were still missing or in extremely poor condition. Thus certain mysteries about the text persist to this day—and scholars have been trying to produce an authoritative transcription ever since.

The end of line 31 has proved particularly thorny. Paleographers have proposed various readings for this badly damaged verse. Part of the original inscription remains, and part is Clermont-Ganneau’s reconstruction. What’s visible is the letter bet, then a gap about two letters long, where the stone was destroyed, followed by two more letters, a vav and then, less clearly, a dalet.

In 1992, André Lemaire, Langlois’ mentor at the Sorbonne, suggested that the verse mentioned “Beit David,” the House of David—an apparent reference to the Bible’s most famous monarch. If the reading was correct, the Mesha Stele did not just offer corroborating evidence for events described in the Book of Kings; it also provided perhaps the most compelling evidence yet for King David as a historical figure, whose existence would have been recorded by none other than Israel’s Moabite enemies. The following year, a stele uncovered in Israel also seemed to mention the House of David, lending Lemaire’s theory further credence.

Over the next decade, some scholars adopted Lemaire’s reconstruction, but not everyone was convinced. A few years ago, Langlois, along with a group of American biblical scholars and Lemaire, visited the Louvre, where the reconstructed stele has been on display for more than a century. They took dozens of high-resolution digital photographs of the monument while shining light on certain sections from a wide variety of angles, a technique known as Reflectance Transformation Imaging, or RTI. The Americans were working on a project about the development of the Hebrew alphabet; Langlois thought the images might allow him to weigh in on the King David controversy. But watching the photographs on a computer screen in the moments they were taken, Langlois didn’t see anything of note. “I was not very hopeful, frankly—especially regarding the Beit David line. It was so sad. I thought, ‘The stone is definitively broken, and the inscription is gone.’”

It took several weeks to process the digital images. When they arrived, Langlois began playing with the light settings on his computer, then layered the images on top of each other using a texture-mapping software to create a single, interactive, 3D image—probably the most accurate rendering of the Mesha Stele ever made.

And when he turned his attention to line 31, something tiny jumped off the screen: a small dot. “I’d been looking at this specific part of the stone for days, the image was imprinted in my eyes,” he told me. “If you have this mental image, and then something new shows up that wasn’t there before, there’s some kind of shock—it’s like you don’t believe what you see.”

In some ancient Semitic inscriptions, including elsewhere on the Mesha Stele, a small engraved dot signified the end of a word. “So now these missing letters have to end with vav and dalet,” he told me, naming the last two letters of the Hebrew spelling of “David.”

Langlois reread the scholarly literature to see if anyone had written about the dot—but, he said, no one had. Then, using the pencil on his iPad Pro to imitate the monument’s script, he tested every reconstruction previously proposed for line 31. Taking into account the meaning of the sentences that come before and after this line, as well as traces of other letters visible on RTI renderings the group had made of Clermont-Ganneau’s squeeze copy, Langlois concluded that his teacher was right: The damaged line of the Mesha Stele did, almost certainly, refer to King David. “I really tried hard to come up with another reading,” Langlois told me. “But all of the other readings don’t make any sense.”

In the sometimes contentious world of biblical archaeology, the finding was hailed by some scholars and rejected by others. Short of locating the missing pieces of the stele miraculously intact, there may be no way to definitively prove the reading one way or another. For many people, though, Langlois’ evidence was as close as we might get to resolving the debate. But that hasn’t stopped him from inviting competing interpretations. Last year, Matthieu Richelle, an epigrapher who also studied under Lemaire, wrote a paper arguing, among other things, that Langlois’ dot could just be an anomaly in the stone. He presented his findings at a biblical studies conference in a session organized by Langlois himself. “This says something about how open-minded he is,” Richelle told me.

  —  How an Unorthodox Scholar Uses Technology to Expose Biblical Forgeries

[lamilanomagazine]

Pesaro2024 presenta il nuovo progetto di ISAC-2024: 'In Ascolto: la Sonosfera® da dentro, fuori e oltre'

Pesaro2024 presenta il nuovo progetto di ISAC-2024: 'In Ascolto: la Sonosfera® da dentro, fuori e oltre'. Pesaro 2024 presenta un nuovo progetto di dossier che prende corpo nell'anno da Capitale: si tratta di 'In Ascolto: la Sonosfera® da dentro, fuori e oltre', collocato nella sezione della 'natura vivente' della cultura, attuato dalla Fondazione Centro Arti Visive Pescheria, a cura di David Monacchi. Il progetto nasce all'interno di ISAC-2024 (International Sonosfera® Ambisonics Competition 'Eugenio Giordani'): l'Associazione Culturale Fragments of Extinction implementa la realizzazione operativa della seconda edizione del concorso internazionale di composizione elettroacustica tridimensionale per Sonosfera® ideato da David Monacchi nel 2023 e dedicato al M° Eugenio Giordani docente del Conservatorio Rossini scomparso nel 2020 che ha diretto per 40 anni la storica Scuola di Musica Elettronica del Conservatorio Rossini. Venerdì 15 marzo in Sonosfera®, in programma la premiazione e il concerto dei premiati al termine di una mini-residenza dei vincitori per l'ottimizzazione delle proprie composizioni che si svolge nell'anfiteatro tecnologico per l'ascolto profondo di ecosistemi e musica di Pesaro città creativa Unesco della Musica. Nel segno del dialogo internazionale, ISAC-2024 si avvale di un partner prestigioso: l'IRCAM Centre Pompidou di Parigi. Dopo il grande successo della prima edizione di ISAC che ha visto la partecipazione di 77 candidati provenienti da ben 26 paesi, l'IRCAM – che proprio nel 2024 celebra il 30° anniversario del suo Forum - ha proposto a Pesaro 2024 - Capitale italiana della cultura la collaborazione per il concorso 2024 per creare un premio in sinergia. La confluenza preziosa di ricorrenze rappresenta così un'opportunità unica per i vincitori che avranno il privilegio di viaggiare da Pesaro a Parigi, sperimentando due delle strutture pubbliche di fama mondiale per l'ascolto acusmatico High-Order Ambisonics (HOA): Sonosfera® a Pesaro ed Espace de Projection a Parigi. Alla chiusura della call, i risultati sono straordinari: 149 candidature da 42 paesi, più del doppio rispetto all'edizione ISAC-2023. Il concorso ISAC funge da piattaforma per supportare le pratiche creative nella musica interamente perifonica e nella composizione di paesaggi sonori. Contribuisce alla diffusione di una cultura incentrata sull'ascolto acusmatico tridimensionale, una visione cara ai pionieri della musica elettronica ma che finora non è stata esplorata a fondo, visti i vantaggi dei moderni software e delle tecnologie elettroacustiche. Due le commissioni del concorso:  la steering committee composta da Nicola Casetta, Carmine Emanuele Cella, Tommaso Giunti, David Monacchi, Alessandro Petrolati; la giuria internazionale a cura dell'IRCAM: Núria Giménez Comas, Sivan Eldar, Philippe Langlois, Frank Madlener, David Monacchi, Markus Noisternig (Chair).  In Ascolto: la Sonosfera® da dentro, fuori e oltre ISAC-2024 CALENDARIO Pesaro, Sonosfera® - giovedì 14 marzo  prove dei candidati - venerdì 15 marzo 9-13 prove e ottimizzazioni composizioni dei candidati 16-17 concerto d'ascolto dei finalisti 17.15-18.15 sede in definizione cerimonia di premiazione 18.30-19.30 Concerto dei premiati - sabato 16 marzo 17-18 Concerto dei brani short list 1 18-19 Concerto dei brani short list 2 21-22 Concerto dei premiati - domenica 17 marzo 16.30-17.30 Concerto dei brani short list 2 17.30-18.30 Concerto dei premiati Parigi, Espace de projection - martedì 19- venerdì 22 marzo 2024 Partecipazione dei vincitori ai workshop del Forum IRCAM e al lavoro di remix in situ all'Institut de recherche et coordination acoustique/musique; - venerdì 22 marzo 2024 Evento finale nei workshop del Forum IRCAM 2024 e concerto finale   Alla conferenza stampa erano presenti: in collegamento Daniele Vimini vicesindaco e assessore alla Bellezza del Comune di Pesaro e Agostino Riitano direttore artistico Pesaro 2024; il professore David Monacchi ideatore di Sonosfera®.   Ha aperto Daniele Vimini: questo progetto con due specificità importanti: ovvero quella di dimostrare le potenzialità di Sonosfera® - anfiteatro tecnologico che nasce per raccontare paesaggi sonori ma anche per la composizione digitale - attraverso un concorso mondiale. E poi il concorso nel nome di Eugenio Giordani - fra l'altro la fase finale dei concerti avverrà nei giorni del suo compleanno – è caratterizzato da un forte coinvolgimento internazionale, con un senso di comunità locale e globale. Tutto ciò con un grande lavoro tecnico dietro. Ed è prezioso e unico che ad un concorso che aveva già un credito internazionale si sia unita un'istituzione come l'IRCAM di Parigi. E' chiaro che si tratta di uno degli appuntamenti più qualificanti della Capitale della cultura perché ha anche la caratteristica della riproducibilità della formula negli anni, dunque un progetto che non si esaurisce con il 2024 ma ha la possibilità di sedimentare le esperienze diventando patrimonio consolidato.   Ha continuato Agostino Riitano: oggi con l'avvio del progetto che vede Sonosfera® protagonista per noi è anche l'occasione per ricordare che Sonosfera® è stata sicuramente una delle fonti di ispirazioni centrali per la definizione del tema del nostro dossier di candidatura che ci ha consentito poi di vincere il titolo di Capitale della cultura. All'epoca l'incontro con la Sonosfera® è stata una folgorazione perché al suo interno arte, natura e tecnologia sono straordinariamente legati tra loro e ci hanno dato la possibilità di avere una tangibile presenza nell'ecosistema culturale della città di quella che poteva essere per noi la declinazione della natura della cultura, ovvero la relazione tra arte, natura e tecnologia. Questo è stato un elemento decisivo perché dall'esperienza in Sonosfera® abbiamo iniziato un'interlocuzione molto forte con Monacchi disponibilie fin da subito a condividere tutti i ragionamenti alla base di quella che è una vera e propria invenzione artistica: è importante sottolinearlo, c'è un forte aspetto pioneristico e un cambiamento epocale per la fruizione ma anche per la composizione musicale. Questo è alla base del concorso di cui quest'anno ricorre la seconda edizione con cui alziamo decisamente l'asticella, che ha raggiunto una maturità straordinaria e che ci darà ulteriori opportunità di sperimentazione. Ricordo che sempre legato alla Sonosfera® c'è il progetto Twin Color di cui parleremo più avanti.   Le conclusioni affidate a David Monacchi: ISAC è un concorso che è alla seconda edizione, l'anno scorso eravamo soli, avevamo lanciato questa iniziativa sotto l'idea del Maestro Eugenio Giordani che non c'è più e che ci ha lasciato proprio con la volontà di lanciare un concorso per la Sonosfera® che potenziasse la composizione elettroacustica a livello internazionale proprio per questi spazi tridimensionali. Già l'anno scorso abbiamo avuo grandi risultati, per l'anno in corso abbiamo la collaborazione dell'IRCAM di Parigi. Non è stato facile istituire una collaborazione però è stato grande l'interesse di Parigi a seguire tutte le nostre istanze e impostazioni, si sono miracolosamente accodati a questa iniziativa cui abbiamo dato forma nel segno e nel solco dell'edizione 2023. Quest'anno la call lanciata a livello internazionale ha coinvolto i nostri contatti in ambito accademico ma anche tutto il bacino di utenza del Centre Pompidou. E i numeri sono raddoppiati con tutta l'Europa rappresentata, il Nord America, Cina, Giappone, Corea, Taiwan, Hong Kong con presenza forte dell'Oriente. Quindi il concorso è diventato il più importante al mondo per la composizione musicale acusmatica. Dunque l'adesione così forte ci ha messo nelle condizioni per cui la Capitale della cultura 2024 è diventata anche capitale della musica elettroacustica tridimensionale acusmatica; vuol dire che abbiamo messo in moto un meccanismo virtuoso per far capire al mondo che la musica elettroacustica può essere ascoltata in un modo molto specifico che la Sonosfera® consente: e cioè essere in uno spazio del tutto buio e dove le sorgenti sonore stanno tutte attorno. La metafora del titolo 'In Ascolto: la Sonosfera® da dentro, fuori e oltre', rende bene l'idea di questa compenetrazione.   Il significativo progresso nelle tecnologie del suono tridimensionale negli ultimi anni ha portato alla proliferazione di creazioni artistiche in diversi ambiti della produzione musicale. Generi come la musica elettronica ed elettroacustica, la soundscape composition, i documentari tematici, gli audiodrammi, le registrazioni musicali, ecc., stanno ora adottando tecniche audio spaziali. Ciò consente di modellare il suono all'interno di un dominio sferico, trasformando lo spazio (compresa la posizione, dimensione e prospettiva delle sorgenti sonore) in uno strumento compositivo tangibile. Fondato a Pesaro nel 1971 da Walter Branchi e sotto la direzione di Eugenio Giordani per oltre quattro decenni, il laboratorio elettronico per la musica sperimentale LEMS ha coltivato una tradizione sulla composizione elettronica pionieristica in Italia. Sebbene vi sia ormai un'ampia disponibilità di software e hardware per la sintesi, la manipolazione e la post-produzione del suono in queste creazioni, è evidentemente molto meno comune poter utilizzare teatri e luoghi attrezzati per riprodurre queste opere in perifonia sferica, in particolare per un pubblico di sufficienti dimensioni. Sonosfera® soddisfa entrambe le esigenze: uno standard tecnologico di 6° ordine Ambisonics di altissimo livello qualitativo sonoro, e una capienza di 60 posti.   Sonosfera® E' un anfiteatro tecnologico mobile per l'ascolto profondo degli ecosistemi e della musica, progettato per Pesaro Città Creativa della Musica UNESCO da David Monacchi, inaugurato nel gennaio 2020. Lo spazio è dotato di 45 altoparlanti costruiti appositamente e posizionati in uno spazio sferico isolato acusticamente e con una perfetta acustica interna. Spalti circolari trasparenti al suono sollevano il pubblico sopra un emisfero inferiore acusticamente "attivo", mentre quello superiore è dotato anche di uno schermo di proiezione a 360°. L'ascoltatore si trova così al centro del paesaggio sonoro, nell'oscurità di una stimolante esperienza sensoriale acusmatica, talvolta "illuminata" da analisi visive del suono stesso. Sonosfera® è stato infatti originariamente progettato e costruito per la ricostruzione sferica e la visualizzazione delle registrazioni effettuate negli ecosistemi primari delle foreste pluviali tropicali, come parte del progetto a lungo termine 'Fragments of Extinction".   Espace de Projection Situato all'interno dell'IRCAM di Parigi, l'Espace de Projection è una sala per spettacoli di medie dimensioni con acustica adattabile, che può ospitare circa 400 posti. Costruito negli anni '70, il suo design mirava a offrire un'ampia flessibilità in termini di forma, dimensioni e caratteristiche acustiche. Grazie a questa adattabilità architettonica, diverse caratteristiche acustiche possono essere regolate separatamente. L'impostazione audio risulta coinvolgente e senza precedenti per i nuovi media e le arti performative. Offre inoltre attrezzature all'avanguardia per la ricerca sperimentale nell'audio spaziale ad alta definizione e nella cognizione spaziale uditiva. ISAC-2024 è promosso da Pesaro 2024 - Capitale italiana della cultura e Comune di Pesaro/Assessorato alla Bellezza, prodotto dall'organizzazione no-profit Fragments of Extinction in collaborazione con la Fondazione Centro Arti Visive Pescheria e il Conservatorio Rossini.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[doseprod]

Metalcore 2

Label & Publishers: Justement Music Title: Metalcore 2 Cat Number: JUST 0295 Music composers: Loic Farrouk Ghanem, Aaron David Matt and Terence William Langlois Description: An album of hardcore and violent rock-metal, full-throttle and determined, with powerful guitars and devastating beats. Ideal for the illustration of extreme, dangerous or wild moments Graphics: DOSEprod Design Studio

[docrotten]

THE NEST (1987) – Episode 238 – Decades Of Horror 1980s

“I so admire these nymph cockroaches – their ability to reproduce without the contribution of their male counterpart.” A society where men are incidental? Hmm. Humans could learn from cockroaches. Join your faithful Grue Crew – Chad Hunt, Bill Mulligan, Crystal Cleveland, and Jeff Mohr along with guest host effects artist Julian Ledger – as they experience the creepy, creature effects on display in The Nest (1987).

Decades of Horror 1980s Episode 238 – The Nest (1987)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Decades of Horror 1980s is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of 1980s and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

A biological experiment goes haywire when meat-eating mutant roaches invade an island community, terrorizing a peaceful New England fishing village and hideously butchering its citizens.

  Director: Terence H. Winkless

Writers: Robert King (screenplay by); Eli Cantor (based on the 1980 novel by; under the pseudonym Gregory A. Douglas)

Produced by: Julie Corman (producer), Roger Corman (executive producer) (uncredited)

Special Effects by: 

Special Effects Coordinator: Cary Howe

Effects Artist: Julian Ledger

Special Effects: James M. Navarra 

Puppeteers: Julian Ledger, Ted Lamoureux, Ralph Miller III, Dave Matherly (credited as Paul David Matherly), Christine Papalexis

Pyrotechnics: Roger George (Humanoids from the Deep pyrotechnics stock footage), Frank Ceglia  

Selected Cast:

Robert Lansing as Elias Johnson

Lisa Langlois as Elizabeth Johnson

Franc Luz as Richard Tarbell

Terri Treas as Dr. Morgan Hubbard

Stephen Davies as Homer

Diana Bellamy as Mrs. Pennington

Jack Collins as Shakey Jake

Nancy Morgan as Lillian

Jeff Winkless as Church

Steve Tannen as Mr. Perkins

Heidi Helmer as Jenny

If you have a fear of roaches and pests, you’re gonna love episode 238! Yes, sir, it’s time for … The Nest (1987)! The Grue-Crew are joined by special effects artist Julian Ledger who worked on the film (despite being omitted on IMDb) as a puppeteer (according to the onscreen credits) and monster makeup and effects under the supervision of Cary Howe, providing behind-the-scenes insight into the making and design of the critters, creatures, and goo. There’s lots of entertaining discussion with Julian, Jeff, Crystal, and Bill. And, of course, bugs, baby … bugs.

At the time of this writing, The Nest is available for streaming from Tubi, Plex, and PPV from Amazon. It is also available on physical media as a Blu-ray disc from Shout! Factory. 

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Crystal, will be Dolls (1987), directed by Stuart Gordon and produced by Charles Band and Brian Yuzna. Special effects artist Ralph Miller III, who worked on the film under the supervision of John Carl Beuchler at MMI (Mechanical and Makeup Imageries) will be joining the 80s Grue Crew for this one!

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the Gruesome Magazine Youtube channel, on the Gruesome Magazine website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[espresso-notes]

31 mai. 2023

  C’est à la sortie de l’office le dimanche 28 mai, qu’il a été saisi en pleine Pentecôte, d’une crise de délirium tremens. David Langlois, boucher-charcutier de son état, propriétaire par atavisme de l’établissement portant son nom, Place du Gourdaloup à Auriac-Xaintrie, avait la veille selon l’avis de son médecin traitant cessé de croire autant.

[babadork]

[michel-pierre]

David Langlois barefaced underwater

[mariocki]

Class of 1984 (1982)

"You shouldn't be in here, Andrew!"

"What're you doing?"

"I'm teaching. Can't you see that?"

[nofatclips]

Down on Serpent Street by Poni Hoax from the album A State of War - Réalisé par David Barrouk

[grandmastv]

Murder She Wrote, The Perfect Foil (1986).

[fromthe-point]

The Cape Breton Eagles have announced that 2019 draft picks, defenseman Jérémy Langlois and centre David Doucet, have both signed with the club for the 2019-20 season.

Langlois and Doucet were the first two players chosen by the Eagles in the 2019 entry draft. Langlois was selected 17th overall, in the first round, from Cyclones de Québec of the Québec midget espoir team. Doucet was chosen 25th overall, in the second round, from the Under 16 team of Newbridge Academy prep school in Nova Scotia.

Both players participated in Canada’s national under-17 development camp this summer, an evaluation for the World Under 17 Hockey Challenge. Last season Langlois collected 29 points in 32 games with the Cyclones while Doucet produced nine points in nine games for Newbridge.