#Synchronicity Triptych

[tomoleary]

Dave Sim & Gerhard “The Synchronicity Triptych” Cerebus #74-76 Original Art (1985) Source, source, source

#dave sim #gerhard #cerebus #swords of cerebus #Synchronicity Triptych #original art

[jestbee]

Do you have any Karlnap fic recs? Already read yours, Jase’s, and To Hell in a Handbasket (and others by that author).

My favourite Karlnap fics are by Printician, by if you've read those then read everything disguisedvictories!

Also

Cornerstone by fictionalparadises

heartbeats in synchronization by anonymous

triptych by cranblackberry

enjoy!

#Mc #Karlnap

[tigerstrikesasteroidnetwork]

PHL / An-arborescent

An-arborescent May 21 - June 18, 2022 Opening Reception: Thursday, June 9th, 6-9 p.m.

“The self is only a threshold, a door, a becoming between two multiplicities” ― Gilles Deleuze, A Thousand Plateaus Does a tree stem from one origin, or is it part of a non-hierarchical network that leads endlessly to different entities? Does history proceed from cause and effect with unilateral movement, or do the the laws of nature have greater dynamic variables, creating a landscape that shimmers with complexity? One thing that the last few years has made clear is that we exist in a network of relationships. Perhaps imagining that other objects, places, and people’s experiences can intersect with our perception of the present can help us see ourselves and beyond in new and refreshing ways. This exhibition brings together two projects of a collaborative nature which emphasize the multi-valent possibilities of our shared existence. In The Possible Present, Amy Lee Ketchum collaborates with filmmaker and choreographer, Stephanie Gumpel in a triptych of moving images shot using digital and analog techniques. By using film and double exposure in conjunction with digital compositing, the work embraces chance, probability, and the materiality of light interacting with surfaces. The resulting layered compositions are not visually resolved in moments, creating odd interactions between figures and cognitive dissonance. Through these experiments the artists visually explore questions about the perception of time, and the deep nature of physical space. The Moon and We is an installation that intertwines stories conceived by Amy Lee Ketchum, Jacintha Kruc, Leigh Werrell, and Ashley Wick. Like The Possible Present this collaboration plays with the connections and synchronicities that result from overlapping narratives; they embrace experimentation and play. The animated moments and objects of this project explore magical realism, family mythology, and asks how our desires, the past, and the unknown intersect and affect one another. Seen together, these disparate projects speak to visible and invisible connections to living creatures and things across time and space.

Amy Lee Ketchum: Amyleeketchum.com Ashley Wick: Ashleynwick.com Jacintha Kruc: Jacinthaclark.com Leigh Werrell: lwerrell.wixsite.com Stephanie Gumpel: Instagram @Move_like_magic

#anarborescent #tigerstrikesasteroid #tiger strikes asteroid

[thanksforthedinosaur]

international year of plant health

hi. i made a playlist of a snapshot of the stuff i’ve listened to this year if you’re looking for some recommendations! xoxo mae

https://open.spotify.com/playlist/0VkfnggwpC1TEj2wsaHyZr?si=4JJd6Z-kRoCHuHypRtWK3g

1. little simz - might bang, might not 2. jean deaux - recipe! 3. logic - open mic\\aquarius iii 4. spittzwell - the lesson 5. ivy sole - kismet 6. vel the wonder - fine art 7. megan thee stallion - shots fired 8. kari faux - look at that 9. rico nasty - own it 10. flo milli - beef flomix 11. kodie shane - 2 many 12. kali uchis - ¡aquí yo mando! 13. tkay maidza - shook 14. bree runway - atm 15. yung baby tate - i am 16. almondmilkhunni - grapefruit 17. princess nokia - soul food y adobo 18. bosco - attention 19. kiana ledé - movin. 20. diamond white - secondhand 21. queen naija - i’m her 22. danileigh - mistreated 23. parisalexa - 2 optimistic 24. qveen herby - farewell 25. jhené aiko - p*$$y fairy (otw) 26. chloe x halle - forgive me 27. kehlani - water 28. umi - pretty girl hi! 29. rimon - i shine, u shine 30. disclosure - birthday 31. phora - cupid's curse 32. roy ayers - synchronize vibration 33. thundercat - unrequited love 34. thelonious coltrane - perfect timing 35. [ k s r ] - passion 36. alina baraz - more than enough 37. alayna - glowing 38. savannah cristina - self love 39. paloma ford - rain 40. nakala - she interlude ii 41. orion sun - lightning 42. jaz karis - hold you 43. cleo sol - when i'm in your arms 44. keiyaa - do yourself a favor 45. alicia keys - me x 7 46. yazmin lacey - morning matters 47. be steadwell - succulent 48. daniela andrade - k.l.f.g. 49. yung lean - dogboy 50. bladee - sun 51. blackwinterwells - algae 52. sullii - moonlight 53. misogi - heart chained 54. aminé - talk 55. tobi lou - lingo starr: drunken master 56. busta rhymes - look over your shoulder 57. 2 chainz - southside hov 58. atmosphere - the future is disgusting 59. meltycanon - moody blues 60. alfred. - sheeshfred 61. love-sadkid - ephemeral 62. jay squared - vision like you! 63. tuamie - you needed time you said 64. oatmello - blue 65. wun two - a noite 66. kuranes - calm 67. omaure - drama 68. dust and moonlight - sleeping or sinking 69. phlocalyst - image 70. ocha - r33 71. sugi.wa - love u 72. palm - memories of winter 73. goosetaf - tripwire 74. bryzone_ybp - the count 75. orancha - smoky banana 76. evil needle - midnight 77. eevee - romance 78. chief. - can't explain 79. ngyn - aerith 80. fujitsu - move on 81. meitei - nami 82. swum - breezy 83. chris mazuera - perspective 84. jinsang - maybe 85. tesk - cascades 86. saib - nautica 87. mf eistee - uprising 88. kaskade - when you’re dreaming 89. tatsuya maruyama - love you - lo-fi remix 90. towerz - before i gave in 91. baechulgi - abyss 92. underbelly - glitchwater 93. notsure - icecoffee 94. yutaka hirasaka - arise 95. akisai - ecossaise 96. nom tunes - missing piece 97. sweet dove - on the viewless wings 98. park bird - new place, same people 99. city girl - ji-eun's favorite 100. katie dey - loving 101. mary lattimore - sometimes he's in my dreams 102. teen daze - peaceful groove 103. pacific coliseum - turquoise 104. tycho - outer sunset 105. [.que] - glimmer 106. lights & motion - separated hearts 107. roger eno - celeste 108. talsounds - opening 109. alva noto - xerrox voyage 110. 36 - stasis sounds for long-distance space travel (stage 2) 111. stan forebee - bedscape 112. daniel avery - illusion of time 113. arbee - 2sum - charlie dreaming remix 114. okada takuro - waterfront (up-01) 115. gabriel ólafs - lóa - bing & ruth rework 116. warmth - the creek - mixed 117. rhucle - rev 118. com truise - surf 119. sarah davachi - still lives 120. gastón arévalo - sur les traces des explorateurs 121. peter bark - ascension 122. kara-lis coverdale - flutter 123. totally enormous extinct dinosaurs - brockley 124. green-house - peperomia seedling 125. four tet - green 126. morimoto naoki - aru 127. kaitlyn aurelia smith - remembering 128. dj python - te conocí 129. ocoeur - glow 130. christina vantzou - snow white 131. alonefold - strange rainbows 132. savoir adore - dancing temples 133. tengger - water 134. suzanne ciani - a sonic womb pt. 3 135. mogwai - major treat 136. this will destroy you - entrance 137. sleepmakeswaves - time wants a skeleton 138. elsa hewitt - rebird 139. ulla - i think my tears have become good 140. aether - she isn't here 141. zoe polanski - the last frontier 142. lyra pramuk - witness 143. ana roxanne - a study in vastness 144. julianna barwick - nod 145. the leaf library - about minerals 146. gia margaret - barely there 147. lucy gooch - my lights kiss your thoughts every moment 148. briana marela - forgiveness 149. loma - homing 150. mree - open arms 151. ellis - saturn return 152. alexia avina - fit into 153. fenne lily - to be a woman pt. 1 154. noble oak - evaporate 155. mint julep - blinded 156. rush week - best laid plans 157. mini trees - slip away 158. winter - bem no fundo 159. yumi zouma - cool for a second 160. laura veirs - burn too bright 161. terry vs. tori - keepsake box 162. castlebeat - shoulder 163. candace - still phase 164. tiny deaths - if i'm dreaming 165. lydia - heavy 166. caspian - nostalgist 167. nova one - lovable 168. corey flood - heaven or 169. hazel english - off my mind 170. bantug - dizzy 171. tops - colder & closer 172. the hidden shelf - miracles 173. ruru - 99 174. widowspeak - even true love 175. cheerleader - providence 176. wild nothing - blue wings 177. deradoorian - corsican shores 178. strfkr - second hand 179. mint field - contingencia 180. ringo deathstarr - god help the one's you love 181. no joy - dream rats 182. white poppy - orchid child 183. keeps - swiggum 184. flung - firstly zested 185. the bilinda butchers - rie 186. sipper - kid 187. radiator hospital - imposter syndrome 188. addy - equinox 189. boyo - dogma 190. alexandra savior - the archer 191. phoebe bridgers - chinese satellite 192. soccer mommy - circle the drain 193. routine - numb enough 194. quarter-life crisis - comfortable 195. madeline kenney - sucker 196. layne - linnea 197. wilsen - align 198. pynkie - you 199. bandanna - ghost home 200. waxahatchee - can’t do much 201. crisman - portrait 202. liza anne - i wanna be there 203. purr - gates of cool 204. honey cutt - hung up on me 205. the beths - out of sight 206. the ophelias - grand canyon 207. sjowgren - flip phones 208. haim - gasoline 209. thanya iyer - i forget to drink water (balance) 210. sad13 - good grief 211. porridge radio - give/take 212. lannds - not in a good way 213. katie von schleicher - wheel 214. hey cowboy! - detective farmer brown 215. tombo crush - pink 216. eliza moon - tell me / why'd you 217. anna mcclellan - raisin 218. this is the kit - this is what you did 219. snarls - walk in the woods 220. blushh - deal with it 221. long neck - cicada 222. chloe moriondo - ghost adventure spirit orb 223. momma - biohazard 224. varsity - runaway 225. land of talk - footnotes 226. bully - stuck in your head 227. diet cig - stare into the sun 228. expert timing - gravity 229. slow pulp - track 230. maddie jay - shakes 231. beabadoobee - together 232. luna aura - crash dive 233. sorry - perfect 234. torres - good grief 235. partner - honey 236. beauty queen - this time around 237. maggie lindemann - knife under my pillow 238. bryde - paper cups 239. mundy's bay - sleep away the summer 240. squirrel flower - red shoulder 241. mourn - stay there 242. dream wife - so when you gonna... 243. illuminati hotties - superiority complex (big noise) 244. l.a. witch - true believers 245. hinds - burn 246. beach bunny - cuffing season 247. suzie true - idk u 248. bacchae - hammer 249. peach kelli pop - stupid girl 250. oceanator - heartbeat 251. pins - read my lips 252. best coast - different light 253. muncie girls - take steps 254. kailee morgue - this is why i'm hot 255. beach slang - let it ride 256. silverstein - take what you give 257. new found glory - scarier than jason voorhees at a campfire 258. the lawrence arms - quiet storm 259. mikey erg - bon voyage 260. pet symmetry - had a name, don't remember it 261. thank you, i'm sorry - backpack life 262. ratboys - alien with a sleep mask on 263. joyce manor - leather jacket 264. jeff rosenstock - scram! 265. the aquabats! - aliens and monsters! 266. the used - the lighthouse 267. hidden hospitals - how amazing 268. dikembe - all got sick 269. time spent driving - trust no 1 270. the casket lottery - more blood 271. record setter - someplace 272. emma ruth rundle - out of existence 273. gulfer - blurry 274. options - don't mind 275. i love your lifestyle - stupid 276. orchards - stealing your sleep 277. no tongues for quiet people - lake house lake house 278. into it. over it. - hollow halos 279. mountains for clouds - full disclosure 280. joan of arc - destiny revision 281. no thank you - saturn return 282. the front bottoms - camouflage 283. ride your bike - make like a tom and cruise 284. dragon inn 3 - yer brothers 285. the goalie’s anxiety at the penalty kick - jars filled with rain 286. mansions - laser beams 287. waveform* - hello goodbye 288. owen - headphoned 289. cassino - tacoma 290. ajj - normalization blues 291. penelope scott - sweet hibiscus tea 292. angel olsen - (new love) cassette 293. trace mountains - fallin' rain 294. johanna warren - part of it 295. frances quinlan - lean 296. tomberlin - hours 297. samia - triptych 298. field medic - better way 299. adrianne lenker - my angel 300. jack m. senff - another day 301. lomelda - polyurethane 302. rosie carney - high and dry 303. brigid mae power - i had to keep my circle small 304. overcoats - new shoes 305. anna burch - not so bad 306. hop along, queen ansleis - the cactus 307. mandy moore - easy target 308. laura marling - held down 309. lisa loeb - doesn't it feel good 310. trixie mattel - gold 311. lilly hiatt - move 312. molly tuttle - sunflower, vol. 6 313. sarah jarosz - pay it no mind 314. katie heckel - help you mend 315. katie pruitt - my mind’s a ship (that’s going down) 316. in love with a ghost - trans rights 317. snail's house - imaginary express 318. isuka hino - dreamin' adventure!! 319. 4s4ki - nexus 320. lapix - loneliness 321. you - painter 322. aice room - dreary planet - yukiyanagi remix 323. zekk - oxygen 324. lu-i - loved happiness 325. synthion - volt switch 326. sanaas - polestar - junk remix 327. mameyudoufu - fluffy 328. awfuless - redemption 329. rejection - around you 330. toriena - getting into a pose 331. cosmo@bousoup - mow*mow*abduction!!! 332. yunosuke - ziqqurat 333. android52 - lovin', scratchin' 334. サクラsakura-lee - nobody else 335. desired - emotions 336. mikazuki bigwave - sakimashita bloomin'!! 337. skule toyama - smooth 338. adrianwave - goodbye 339. macross 82-99 - melt 340. cape coral - 707 hotline 341. 80kidz - heat 342. night tempo - baby 343. yaffle - lng, before 344. greyl - let me be with you 345. serph - palmtop tiger 346. happy kuru kuru - natsu no hi no labyrinth 347. couple n - earmie 348. airuei - magic sign 349. somunia - non player girl - nyankobrq 2p ver. 350. cosmicosmo - those that we once loved 351. maeshima soshi - the terminal 352. kijibato - 1room 353. yuc'e - ghost town 354. neko hacker - erased 355. jam2go - apotrope 356. mizuki ohkawa - cosmic cleft 357. singto conley - flora 358. 2tonedisco - shoelaces 359. cy8er - もしもしじゃぽん 360. nayuta - connect 361. t+pazolite - himitsu cult 362. milkoi - higher, higher, and then... 363. freezer - caramel rain (sanaas remix) 364. kotonohouse - pitter, patter 365. aika - superstar 366. yukiyanagi - love overdose 367. nanahira - twinkle password 368. ducky - hyper bloxxd 369. porter robinson - something comforting 370. moshimo - シンクロ 371. bish - スーパーヒーローミュージック 372. scenarioart - it's all right 373. base ball bear - ポラリス(c3 mix) 374. majiko - エスカルゴ 375. akaiko-en - ジャンキー 376. the peggies - weekend 377. lovely summer chan - more light 378. polkadot stingray - sp813 379. shishamo - フェイバリットボーイ 380. aimer - run riot 381. österreich - i'll take you everywhere 382. sora tob sakana - 夜間飛行 383. the shes gone - ふためぼれ 384. aimyon - marshmallow 385. cö shu nie - supercell 386. kensei ogata - violin case 387. せだい - yellownola 388. yonige - あかるいみらい 389. bearwear - i think 390. hitsujibungaku - ロックスター 391. cidergirl - 飛行船 392. room97 - faq 393. she's - ugly 394. bbhf - tokenai mahou 395. alisa takigawa - 夢 396. satomoka - glints 397. radwimps - shinsekai 398. pinoko - コリドー街 399. helsinki lambda club - you are my gravity 400. lucky kilimanjaro - 君とつづく 401. dish// - sauna song 402. zombie-chang - snooze 403. mizuki ohira - 無重力 404. みゆな - 歌おうよ 405. iri - come back to my city 406. aya a.k.a panda - i miss u 407. chelmico - disco (bad dance doesn't matter) 408. seiko oomori - 絶対彼女 409. yaeji - my imagination 상상 410. daoko - zukizuki 411. eill - night d 412. cifika - déjà vu 413. yeye - step in time 414. saevom - just like i dreamed then 415. cheeze - today's mood 416. stella jang - reality blue 417. younha - one day of twenty 418. jeong eun ji - whoo 419. fromm - aliens 420. crush - tip toe 421. heize - 1/1440 422. femm - level up 423. awich - poison 424. jessi - nunu nana 425. (g)i-dle - luv u 426. summer soul - tinder 427. taeyeon - worry free love 428. boa - l.o.v.e 429. fromis_9 - feel good (secret code) 430. faky - re:chase me 431. monsta x - night view 432. twice - up no more 433. loona - hide & seek 434. wjsn - pantomime 435. iz*one - fiesta 436. exid - ddd jpn ver. 437. gfriend - crème brûlée 438. april - lalalilala 439. weki meki - 100 facts (cool eng. ver.) 440. momoland - starry night 441. steve aoki - play it cool 442. bts - dynamite 443. sakurako ohara - shine on me 444. sumin - zaza♡ 445. onepixcel - lagrima 446. little glee monster - i feel the light 447. celeina ann - purikura 448. アイラヴミー - そのまんま勇者 449. okkyung lee - here we are (once again) 450. luca - lune 451. hakushi hasegawa - hikari no rock 452. haruka nakamura - your sonnet 453. itoko toma - shade 454. rina katahira - hoshizora* 455. ichiko aoba - easter lily 456. satoko shibata - 変な島 457. 角銅真実 - 6月の窓 458. 熊川みゆ - sixteen 459. 眉村ちあき - 緑のハイヒール 460. 竹内アンナ - striking gold 461. saucy dog - film 462. kaede - -ending- night blue 463. aseul - paradise 464. 박혜진 park hye jin - like this 465. charlotte is mine - road movie 466. plastic plastic - ฮัม - (hum) 467. clams - shiny rider 468. seventeen years old and berlin wall - no paradise 469. nuit - nightbirds 470. fulusu - ghost 471. rammells - sennengo 472. stargaze shelter - emulation (mode:totonee) 473. ヨルシカ - 昼鳶 474. nakamuraemi - 大人の言うことを聞け 475. kenshi yonezu - ひまわり 476. tk from ling tosite sigure - reframe 477. penguinrush - 色彩 478. lee jin ah - candy pianist 479. mei ehara - どちらにピントを 480. jizue - because 481. mouse on the keys - room 482. fox capture plan - stand my heroes - groove version 483. ryutist - girls 484. yeti let you notice - bouquet 485. tricot - 真っ黒 486. madison cunningham - giraffe 487. covet - atreyu 488. floral - maybe not one day 489. envy - eternal memories and reincarnation 490. baths - mikaela corridor 491. sufjan stevens - run away with me 492. fractures - feel 493. the 1975 - frail state of mind 494. dan mason ダン·メイソン - everytime i cry 495. brothertiger - cannonball 496. porches - rangerover - bonus track 497. tame impala - instant destiny 498. washed out - paralyzed 499. pink skies - portland 500. so below - bone 501. purity ring - silkspun 502. llll - breathless 503. slow magic - somewhere 504. kasbo - lune 505. cloudnone - let the music in 506. jody wisternoff - blue space 507. drama - hold on 508. satin jackets - meridian getaway 509. direct - opal 510. lane 8 - road 511. baile - jlm 512. yuni wa - starships 513. nora van elken - sakura 514. geotheory - the day i left you 515. yota - hazy paradise 516. spencer brown - chance on us 517. the avener - conscious shadows 518. kalbells - mothertime 519. bella boo - in love 520. kirara magic - neon 521. mija - digressions 522. cuushe - emergence 523. transviolet - rituals 524. keep shelly in athens - steady to go 525. young ejecta - ah ha 526. annie - in heaven 527. lany - good guys 528. dominic pierce - glad xoxo 529. tender - what you're missing 530. alice jemima - binge love you 531. kitty - baby pink 532. faye meana - like honey 533. lunadira - am i gonna die? 534. loony - white lie 535. justine skye - fav 536. wafia - good things 537. victoria monét - jaguar 538. malia civetz - love thing 539. keiynan lonsdale - i confess my love 540. deaton chris anthony - tuethday 541. kallitechnis - body&soul (ish d remix) 542. talitha. - ineedsomeone 543. keke palmer - thick 544. kesha - birthday suit 545. l.e.j - pas l'time 546. selena gomez - rare 547. the aces - daydream 548. jessie ware - mirage (don’t stop) 549. joan - try again 550. melanie c - blame it on me 551. astrid s - dance dance dance 552. little mix - holiday 553. justin bieber - yummy 554. ariana grande - positions 555. bea miller - feel something different 556. lady gaga - rain on me (with ariana grande) 557. raye - regardless 558. the weeknd - hardest to love 559. andrea valle - lovergirl 560. k/da - the baddest 561. allie x - susie save your love 562. terror jr - dinner plate 563. shawn wasabi - halo halo 564. benee - snail 565. sevdaliza - oh my god 566. gupi - modest 567. six impala - sweetsweetsweetlikebubblegum 568. charli xcx - i finally understand 569. golin - hanakotoba 570. shygirl - freak 571. madge - ethanol 572. arca - afterwards 573. kelly lee owens - re-wild 574. ari mason - pangaea 575. gabrielle aplin - dear happy 576. taylor swift - the 1 577. awfultune - buds 578. sneaks - scorpio on your side 579. izzy camina - kill your local indie softboy 580. mxmtoon - ok on your own 581. wens - giant bat 582. billie eilish - my future 583. tash - when you leave 584. fletcher - the one 585. silver sphere - ghosts! 586. tei shi - ok crazy 587. dounia - sucked all the fun 588. tatiana hazel - carmen sandiego 589. magdalena bay - killshot 590. kllo - insomnia 591. leisure suite - closer 592. morgan saint - i dreamt that i knew you 593. ayelle - got love 594. michi - escondida 595. lyrica anderson - lyfted 596. sasha sloan - lie 597. niki - plot twist 598. sarah reeves - heart first 599. salt cathedral - caviar 600. chelsea cutler - sad tonight 601. rituals of mine - heights 602. e^st - flight path 603. sara diamond - great together 604. phem - stfu 605. carlie hanson - daze inn 606. lauren aquilina - latest ghost 607. caroline rose - command z 608. misterwives - oxygen 609. ella vos - turbulence 610. austra - i am not waiting 611. triathalon - you 612. phoebe ryan - icimy 613. katzù oso - kiss u better 614. luwten - control 615. raveena - heartbeat 616. oohyo - 2020 617. oklou - another night 618. jouska - bring you back 619. fleur east - easy to love 620. soft glas - overbite 621. jaden - muted sunrise 622. snny - better to leave it 623. saint mela - alkaseltzer 624. mia gladstone - ego 625. helena deland - truth nugget 626. oh wonder - oceansize 627. steven padin - sashimi 628. kacey johansing - i try 629. treasureseason - spinning plate 630. landshapes - drama 631. tennis - matrimony ii 632. pomplamoose - morning waterbug 633. soko - being sad is not a crime 634. the big moon - barcelona 635. shamir - diet 636. knox fortune - static 637. carly rae jepsen - let's sort the whole thing out 638. real estate - the main thing 639. hayley williams - roses/lotus/violet/iris 640. nada surf - something i should do 641. bombay bicycle club - is it real 642. the seshen - faster than before 643. thao & the get down stay down - how could i 644. marla hansen - path 645. christine and the queens - la vita nuova 646. half waif - siren 647. malena zavala - ritmo de vida 648. bendik - himmelen 649. hanna järver - kalmar slott 650. frida sundemo - anything 651. kate nv - telefon 652. ambar lucid - questioning my mind 653. coco reilly - mirror 654. ghostly kisses - lydian 655. kacy hill - told me 656. lianne la havas - can't fight 657. donna missal - how does it feel 658. felivand - gone 659. jordana - divine 660. empress of - void 661. banoffee - ripe 662. vanessa carlton - i can't stay the same 663. fiona apple - heavy balloon 664. poppy - concrete 665. rina sawayama - stfu!

#mae makes playlists

[supportblackart]

@modupeola.fadugba, “Pink Lake: The One Who Looked Back” 🏊🏾‍♀️ Acrylic, oil, pencil and ink on burned paper 144"× 60" (triptych) 2017 In Synchronized Swimmers, I unite my swimmers as a team, where they cluster into human towers to lift one of their members into the sky. I think people immediately notice the blank faces as a departure from previous works, but the hairstyles and black bathing suits quickly identify them as a team with a common purpose. I've introduced a Millennial Pink as the liquid backdrop for many of the works, referencing the Pink Lake (Lac Rose) in Senegal (whose salt content is so high that it would render these stunts virtually impossible). This limitation adds an element of the unbelievable and fantastical to the work. And I think that the uncommon representation of a group of black women in a pool- together- adds yet another dimension to the work's interpretation. As for the one who looked back, I still wonder what she's looking at/for? . . #supportblackart #modupeolafadugba #pinklake #theonewholookedback #millennialpink #pinklakesenegal #synchronizedswimmers #triptych #artonpaper #womenartists #artvisuals #abstractart #blackgirlmagic #lacrose #fineart ##synchronizedswimmers #artist_features #artonig #artgram #artdaily #artisttowatch #artoninstagram

#artonig #artvisuals #blackgirlmagic #millennialpink #artisttowatch #pinklakesenegal #fineart #artoninstagram #artdaily #supportblackart #theonewholookedback #artist_features #triptych #abstractart #artonpaper #lacrose #pinklake #womenartists #artgram #synchronizedswimmers #modupeolafadugba

[canvaschampnz-blog]

Last Minute Canvas Prints Gift Guide

Holidays are that time of the year where we not only share happy moments, food and laughter but also gifts with each other. You always make it most of the way through every holidays’ gifting list for main people: 

Gift for mom

Gift for dad

Gift for the special one

Gift for siblings

But what about other far away relatives, colleagues, and other people????? Don't worry; we have prepared a list for our fellow procrastinators all across New Zealand. We have rounded up the best last-minute gifts for the people you almost forgot. You can still buy right away from any personalised photo gifts website. And it will even arrive before the time of the holidays. We have come up with a fantastic idea of canvas photo prints as gifts which can be saved with you all year round to gift it to anybody on any holiday! So wrap up a canvas portrait or a landscape and off you go to their party!

Let's look at the choices we have for you to see when and to whom you can gift it:

Landscape canvas - Scenes of greens or deserts are ideal for a living room or family room. They are also pleasant in an office space as well. Great landscape pictures can produce a futuristic window effect in your living room and make a small space seem more significant. Gift this to someone who is a colleague or someone who admires adventurous landscapes.

Beach or Sunset canvas - Canvas prints portraying a beach or sunset would look good in a bedroom. They make ideal canvas photo prints for bedrooms because of the warm colours, yellow and orange, which produce a cozy effect on the viewer. Gift it to someone more personal to you than others.

Flower canvas - These kinds of pictures can cheer up a room, foyer or girl's bedroom. They are also acceptable for the living room of the homeowner who loves flowers. Gift it to female colleagues or female relatives.

Cityscape canvas - These are perfect for a modern and artistic home, apartment, or high-rise condo in an urban city, an office or a home office. Male colleagues or someone you know who is ambitious would love to have rising city skyline in their living space.

Animal canvas - Canvas prints that depict animals are useful wall art items for a child's room or playroom. Especially on any children’s birthday, this gift can brighten up a face. Adult animal lovers might also want to use them as wall art for their home or office. 

Triptych or 3-piece canvas - These are unique prints that come in any colour and also black and white for a more synchronic look. Imagine a picturesque cityscape or a landscape in a 3-piece painting amongst minimalist furniture. Someone who likes to make a remark with their home decor deserves this canvas as a gift.

Vintage canvas - These can be reproductions of old posters, advertisements and promotional pictures from decades ago. They make good looking wall art for cafes, bars, and even modern living rooms. Someone you know who is into aesthetic value would benefit a lot from such a canvas gift in graduation, an anniversary, or sorority or even an inauguration of their restaurant.

Find an extensive collection of cheap canvas prints at CanvasChamp and discover countless choices of canvas gift ideas for any event or occasion.

#canvaschampnz #canvas #canvasprints #personalisedcanvasprints

[riffsstrides]

Jakob Bro

Bay Of Rainbows

ECM, 2018

Jakob Bro: guitar; 

Thomas Morgan: double bass; 

Joey Baron: drums.

Few ECM artists, barring perhaps longtime label stalwart, pianist Keith Jarrett, have been afforded the opportunity of releasing two albums within the same calendar year. That Manfred Eicher has chosen to follow up Jakob Bro's impressive quartet date, Returnings, less than seven months later with Bay of Rainbows clearly speaks to the label head/primary producer's appreciation for the guitarist's work. Bro may not be an overtly virtuosic player (though he's clearly capable of more than he largely lets on), but that's never been what's driven the Danish guitarist. Instead, darkly melancholic lyricism, slowly evolving compositions that are often ethereal— celestial, even—and, also often, an exploration of rubato as an underlying/overlying musical context, have defined Bro's work since almost the beginning: a guitarist more concerned with substance over style, and purity over pyrotechnics. Bro first emerged, early in the new millennium, with the group Beautiful Day, releasing four albums between 2002 and 2007. The quartet's first, self-titled Music Mecca debut led to Bro receiving the 2003 Danish Music Award for New Danish Jazz Artist of the Year. The guitarist has gone on to receive the Danish Music Award five more times since then, including recognition for his first ECM date as a leader, 2015's Gefion. Bro has also received a number of other accolades including, amongst them, the 2016 and 2013 Carl Prize, in recognition of his growing skill as a composer for his work, respectively, on Gefion and Bro/Knak (Loveland), his 2012 collaboration with fellow Dane, electronic musician Thomas Knak. Bro's discography as a leader (largely documented on albums released on his own Loveland Records imprint prior to being recruited by ECM), has continued to build his reputation as guitarist, composer and bandleader/conceptualist—and, increasingly, on the international stage. Internationally, Bro's best-known work, prior to ECM, was his triptych of albums that, with slight shifts in personnel, was consistently predicated on a core trifecta also featuring alto saxophonist Lee Konitz and guitarist Bill Frisell. Balladeering (2009), Time (2011) and December Song (2013) were all glorious explorations of Bro's largely dark-hued and often-times rubato writing, his approach to guitar clearly informed by Frisell but equally, by the time of these recordings, clearly delineated in their work together. Amidst his growing international visibility, Bro also garnered deserved attention for his early ECM work as a sideman. His first ECM date was with the late American drummer Paul Motian, on Garden of Eden (2006). Three years later, Bro contributed an atmospheric presence to (now, also deceased) Polish trumpeter Tomasz Stanko's then-new Polish/Finnish/Danish quintet. First encountered live at the 2009 Molde International Jazz Festival, the quintet was documented later that year on Dark Eyes (ECM), before being caught, one last time, at an even more impressive show the following year, at the TD Ottawa Jazz Festival. It may have taken Bro six more years to receive an invite to record his own project for ECM, but his four records have not only raised his visibility and international popular/critical acclaim, they've afforded the guitarist the opportunity to mine similar but different territory with two trios (with Returnings taking his "other" trio and expanding it to a quartet, with the participation of Danish trumpeter Palle Mikkelborg). Bro's two trios demonstrate just how much changing even one band member can alter a group's complexion. With double bassist Thomas Morgan a constant alongside Bro in both groups, it's the drummers, each with long and varied careers resulting in significantly different personalities and singularities, that render the two albums each that Bro has released with those two core trios so consistent in some ways, but so different in others. Gefion and Returnings both feature the great Norwegian drummer who's been recording for ECM since the early '70s, with artists including Jarrett, Eberhard Weber, Bobo Stenson and Ralph Towner, amongst many others: Jon Christensen. 2016's Streams and, now, Bay of Rainbows are, on the other hand, gently propelled and colored by American drummer Joey Baron, who may be twelve years younger than Christensen, but whose discography is equally large and stylistically broad, including ECM work with artists including pianist Steve Kuhn, bassists Marc Johnson and Gary Peacock, and guitarists Bill Frisell and the recently departed John Abercrombie.

Bro's first live date for the label, Bay of Rainbows was recorded at New York City's Jazz Standard almost exactly a year after the Returnings sessions, in Oslo's heralded Rainbow Studios, from July, 2016. The 47-minute, LP-friendly set draws largely on material from Bro's growing repertoire of original music. Two variations on Bro/Knak's "Mild" bookend the album, both versions adopting a darker complexion than the 2012 original, and both considerably lengthier explorations as well. The almost nine-minute version that opens Bay of Rainbows feels folkloric in approach, with Morgan a strong contrapuntal foil to Bro's arpeggiations, as Baron treads a fine line between texture and time while the trio also explores the subtext of dynamics throughout the piece. As the group moves seamlessly from the composition's theme towards freer interplay, it's more about chemistry and collective spontaneity than individual soloing. Bro and Morgan may be individually featured at times, but the demarcations are largely slight, and more about individual players gently emerging for a time, only to recede again into the communal pool driven by Bro's compositional contexts. The album-closing "Mild (var.)" is longer still at over eleven minutes and, rather than moving into time immediately, approaches the compositional form from a rubato perspective. Brief moments of defined time emerge, but they never last long, as Baron's delicate cymbals and brush-driven kit create a gentle cushion over which Bro layers slowly evolving voicings, while Morgan (a clear torch-carrier for the late Charlie Haden) delivers spare, low-register melodies where, like his trio mates, tonal quality and restrained note choice are key. Even when Bro's arpeggiated chords gradually find their way into more fixed time around the seven-minute mark, Baron and Morgan continue their timeless extrapolations until the three come gently together near its conclusion. This is hypnotic music that refuses to dissolve into either delineated soloing or virtuosic intent. Still, in order to shape Bro's music into its cogent synchronicity of form and freedom, instrumental mastery is a given, as is the ability to intuit when...and, just as important, when not...to play. Dynamics, too, are essential to the overall success of this music, though the gradations are often so subtle that they make each shift feel all the more dramatic and expansive. That's not to suggest there isn't any heat on Bay of Rainbows. The mid-set "Dug" (the album's only new Bro composition) is a maelstrom of heavily effected guitar, as Bro carefully injects and layers delay, reverb, overdrive, looping, ring modulation, reverse attack and more. As densely formed as the guitarist's layers become, they're always of clear (albeit telepathic) intent rather than of reckless or unfettered abandon. Morgan largely anchors the piece with a visceral ostinato, bolstered by Baron's tumultuous temporal underpinnings, but ultimately moves to a brief a cappella solo, with the drummer ultimately joining in with the subtlest of support as the song moves towards its inevitable ending. But this calm conclusion comes only after six minutes of otherworldly textures and turbulent psychedelics, as Bro plays rubato over Morgan and Baron's time-based undercurrent. A nod, perhaps, to guitarist Terje Rypdal's similar exploration of rubato lines over fixed tempo on albums like 1975's Odyssey, but Bro's more extensive use of electronics and confluence of color and melody is entirely his own. Three other compositions are drawn from earlier Bro albums, two from his pre-ECM days. Gefion's "Copenhagen" is close to the original version in both length and approach, though Baron's soft brushwork is a gentler alternative to Christensen's dark cymbals and delicately (occasionally explosively) articulated toms. Another Bro composition that's folkloric in complexion, it again features Morgan, alone with Baron, as the song concludes. Bro culls "Evening Song" from Balladeering and, at almost the same five-minute length as the original, demonstrates not just the contrast of a smaller ensemble versus the original's twin-guitar/saxophone/bass/drums interpretation. Bro acts as the context-setter for the entire piece, picked guitar chords creating a beautiful, melancholically lyrical foundation over which Morgan, again, layers carefully chosen melodic ideas until Bro gradually assumes dominance, albeit still focused on chordal picking with a simple melody emerging from the upper strings of his guitar. Baron briefly opens the trio's look at "Red Hook," from Pearl River (Loveland, 2007), where it was originally titled "Red Hook Railroad." Again, reduced from a dual-saxophone/guitar/bass/drums quintet to a trio, there's more responsibility placed on Bro, who layers looped voicings over and under a slightly oblique melody, this time with Morgan adding rubato lines while Baron injects his busiest playing of the set. Frenetic is, in this context, still a relative term, though the dynamics do ebb and flow as Bro begins to add overdrive to his guitar, creating slightly distorted views of what he played earlier in the eight-and-a-half-minute piece. If anything, and compared to his playing with Stańko nearly a decade ago, Bro's concept has become even less about any kind of instrumental gymnastics and more about movement not unlike a slow-moving river, where shifts are a constant, but rarely emphatic. Instead, and with both of his trios, Bro is developing a reputation almost as a guitar anti-hero, a player whose interest is more in the overall group result than individual spotlighting. Bay of Rainbows makes clear that even in the context of live performance—where ensembles more often than not open up to more expansive dynamics, considerably greater energy and innate virtuosity—Bro and his trio mates may well bring a different kind of energy to the music, but still within the more controlled context that has long defined his work—and even more so since his move ECM where he has, in Manfred Eicher, a simpatico producer who clearly knows how to draw the best from Bro and his groups. This 47-minute set, as astutely sequenced as ever, stands well on its own as a constructed document from Bro's trio in live performance, with Bay of Rainbow's only unfortunate leftover being the wish that there were more of it. But that's not necessarily a bad thing, is it?

JOHN KELMAN in All About Jazz

#Jakob Bro #Bay Of Rainbows #ECM #JOHN KELMAN #All About Jazz #Thomas Morgan #Joey Baron #discos #spotify

[roberthoff]

Danse macabre from Boris Labbé on Vimeo.

Audiovisual installation in loop, triptych with 3 synchronized HD video projections, 5.1 surround sound

Director : Boris Labbé Music : Daniele Ghisi - danieleghisi.com Set up : Cédric Lenhardt - cedriclenhardt.com

Awards :

III postition, Krasnoyarsk International Festival of Media Arts, RUS. Prix spécial NUMERO 23, VIDEOFORMES, Clermont-Ferrand, FRA. Best Video Installation Award, Multivision Festival, Saint Petersburg, RUS. Prize Call4roBot, roBot Festival, Bologna, ITA.

Making of : vimeo.com/71210696 Web page : borislabbe.com/Danse-macabre

[how2to18]

ON JULY 9, 1975, the conceptual artist Bas Jan Ader set sail from Cape Cod, Massachusetts, in a 13-foot sailboat named Ocean Wave, intent on crossing the Atlantic alone. The trip was to be the second part of a greater work, a triptych he called In Search of the Miraculous. Nine months later the Ocean Wave, crusted in barnacles and floating aft-up like a dabbling duck, was discovered by Spanish fishermen 150 nautical miles from the Irish coast. Ader’s body was never recovered. Just four years earlier in 1971, Ader created a video piece called Broken Fall (Organic) in which he can be seen hanging from a branch suspended above a river in the Dutch countryside. He hangs for a fitful two minutes, which are wrought with tension, until, finally (inevitably), he falls into the water.

Ader and his work — his interest in water, falling, and disappearance — shadow Niña Weijers’s brilliant debut novel The Consequences (2014). The book, recently translated by Hester Velmans, opens with its own water-related disappearance: on February 11, 2012, Minnie Panis, the central character of the story, steps out onto the thawing ice of an Amsterdam canal; it quickly gives way and she plunges beneath the surface. This, Weijers tells us, is the third time Minnie has “vanished from her own life.” The relationship between Minnie’s disappearance and Ader’s work won’t be obvious to readers at first, but the connection comes to light later through an insightful and beautifully written critical interlude. The short essay on Ader, which bisects the novel and delays a return to the central character’s story, serves to further enrich the symbolism and philosophical underpinnings of The Consequences.

The question why lurks beneath the surface (the ice in the case of The Consequences) of both Bas Jan Ader’s and Minnie’s disappearances, and Weijers boldly engages this question right from the beginning. At the end of the prologue, she invites the reader to wonder why Minnie, who is a newly minted art star with a blossoming career, would, on a cold winter morning, walk to the middle of a frozen canal. The act either seems completely irrational or, of course, suicidal. Both Ader’s and Minnie’s disappearances are undeniably enigmatic, raising certain inescapable questions: Why did Ader set sail alone on such a dangerous voyage? Why did Minnie step out onto the ice? Why do things happen the way they happen? Why do people do the things they do? These why questions lie unshakably at the heart of both life and literature. Why can also be a strong motivating force, even while it remains an often frustratingly unanswerable question.

Minnie herself is confronted by mystery at the beginning of the novel: “She stared at the dark ice and suddenly it occurred to her that the lake was extremely deep, deeper than the deepest ocean trough, a conduit to all the mysteries that had dwelt in the center of the earth since the beginning of time.” This realization, vast and almost geologic in scope, also informs the personal mystery at the center of the novel, which does not fully reveal itself until Minnie receives a letter from a Dr. Johnstone. Johnstone, as we learn from his letter, is the director of the cryptic CBTH, a treatment center with the enigmatic slogan, “The only thing the fish has to do is to lose itself in the water.” (If it isn’t obvious already, water is an important symbol in the book.) From the letter, we learn that Minnie received some kind of treatment from CBTH when she was young, but Johnstone withholds all information about what conditions this center treats as well as the nature of the treatment Minnie received. Instead the letter alludes to elements of Mayan mythology, drawing parallels between Minnie’s first round of treatment between 1991 and 1992 and the beginning of the last k’atun (a roughly 20-year cycle in the Mayan calendar) of the current b’ak’tun (a cycle of 20 k’atuns), set to end December 21, 2012, the year the main action of the novel takes place. Both the letter and the novel as a whole, hint at a vague cosmic correlation between these ancient cycles and Minnie’s own life without ever stating anything definitively. From this moment in the story, the central question — why did Minnie step out onto thawing ice? — is temporarily supplanted by a new line of intrigue: who is Dr. Johnstone and what happened to Minnie as a child?

Though The Consequences is in no way a genre mystery novel (there is no crime, no one is killed, there is no villain), Weijers often borrows standard cues of suspenseful plotting as the story progresses: clues are gathered and the plot consists of many unexpected twists and turns. And while the novel circles around questions of cosmic correlation, synchronicity, and how they relate to the events of Minnie’s past, the mystery unfolds as an odd journey of self-discovery in which the lead character comes to know herself through a fascination with erasure. The first of Minnie’s artworks we hear about, for example, is called Does Minnie Panis Exist, which is described by one fictional critic as a “self-portrait in the negative.” Weijers gives Minnie’s second project Nothing Personal the following artist statement:

On November 3, 2007, Minnie Panis’ lover left her. He departed for an island sinking into the sea somewhere near the North Pole and she put her sofa up for sale. Five months later all she had left was a bed, a few items of clothing and a toothbrush. As far as she knows her ex is still on that island, perhaps with water up to his ankles, or perhaps not.

For Minnie, erasure seems to function as a means of getting down to the core of things rather than obliterating them: finding the essential while ruthlessly eliminating everything else. This is also a poignant metaphor for the process of writing.

Minnie’s story is almost Sophoclean in its mixture of self-erasure and self-discovery. Both Minnie and Oedipus engage in forms of self-annihilation. Like Oedipus, Minnie is given a riddle: the mysterious note from Dr. Johnstone and the cryptic slogan of the CBTH, which haunts her like a scrap of music playing over and over in her head. Minnie, like Oedipus, can only come to “know herself” by unraveling the mystery of her origin. The alluringly mysterious role of synchronicity — is it fate? or just coincidence? — dominates both of their stories, bringing both characters unwittingly into contact with long-lost parents (though to a much more gruesome end in the case of Oedipus). And in both Oedipus’ and Minnie’s cases, the reader sees the solution to the riddles of the characters’ pasts before the characters do. We are given insight into Minnie’s past in The Consequences through a series of chapters that take place during and before her childhood. Weijers almost seems to tease the reader with details in these chapters. We learn about Minnie’s odd behavior as a baby and the details of her subsequent perplexing treatment at CBTH. We learn about several other unusual childhood experiences in Minnie’s past along with information about her parents’ history. Rather than providing the reader with any sense of answer or resolution, these details only deepen the mystery surrounding Minnie. These details also increase the sense of synchronicity at work in Minnie’s world, making the reader long for some source of ultimate causality.

While Oedipus’ story can be read as a tragic illustration of the impossibility of altering one’s fate, on another level — one perhaps more relevant for The Consequences — the Oedipal story suggests that even without fate, our identity is still ineluctably tied to our past: to “know oneself” is to know one’s origin. Weijers complicates this idea, teasing out its subtle ambiguities. The Consequences is a sensitive and erudite exploration of the tangled relationships between synchronicity, identity, life, and art. To know yourself is, undoubtedly, to understand where you come from. And yet identity is neither discrete nor static. It grows out of a past context that continues to shape us long after we might have forgotten it. Weijers is sensitive to that tension, creating a character whose identity exists both in context and in flux. Weijers frees her protagonist from that ancient sense of immovability, suggesting that our origins do not affix us to an unalterable life path — they do not fully determine our identity. Instead, the novel proposes a more contemporary idea of identity as something that exists between the determination of a forgotten past and near-constant change — a sense of self that slips through our fingers. Minnie consistently showcases this proposition in her art, preoccupied with Pessoa-like questions of identity, existence, and disappearance: “People were always kidding themselves about their own place in the world. In reality, thought Minnie, all you have is bits and pieces continually dying off and never coming back. You keep vanishing from your own life, over and over, without ever saying goodbye to yourself.”

Weijers is also sensitive to the relief that a fatalistic view of the world might offer in the face of difficult questions, like why. Fate can at least give us a sense that things happen as they need to happen. Even without fate, we have a tendency to give our lives tidy narratives. Weijers writes:

[Minnie] was always amazed to hear people giving their lives a more or less logical story. No matter how many turns or detours, no matter how many steep slopes or dead-end paths, there was always some sort of clearly marked course. Even the worst decisions and the greatest coincidences fit into the overall plan. How did people do that? How did they manage to get every cause to flow seamlessly into an effect, as if it wasn’t hard at all but the most normal thing in the world, a law of nature, like water in a river flowing in just one direction?

As The Consequences points out, we tend to read causality and meaning into the events in our lives, connecting them with a thread that looks a lot like fate, even if that term feels somehow ancient or out of date. We might not like to admit it, but we all desperately seek relief from the burden of the why questions of this world. Weijers does offer a tentative answer to one of those questions, which the reader can find tucked away in her poignant analysis of Ader’s Broken Fall (Organic): “When after two long minutes that body falls, it knows at last what Camus knew, as did the Taoists in ancient China, the sadhus of Vaanasi, the first rabbis, the Zen Buddhists, the medieval mystics from Cologne to Antwerp: the one who lets go, understands the universe.” The answer to certain why questions might just be to let them go, even when we most want to hold on.

¤

Rebecca Waldron is a writer based in Los Angeles.

The post Let It Go: Niña Weijers’s Debut Novel and Understanding the Universe appeared first on Los Angeles Review of Books.

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[nofomoartworld]

Hyperallergic: How Can Ecological Artists Move Beyond Aesthetic Gestures?

Image via Peter Leth/Flickr

New evidence of a Southern Pacific Garbage patch has been found. Longtime combatant of oceanic plastic Captain Charles Moore has published new findings that further detail the concentrated amount of plastic in the South Pacific Garbage Patch near Chile and Peru, with his NGO Algalita, which is dedicated to finding solutions to plastic waste choking the oceans. The Southern Pacific Garbage patch is now believed to be larger than Mexico.

Humans are consuming roughly a million plastic bottles every single minute, and an astounding 91 percent of those will never be recycled. Instead, they’re casually discarded as quickly as they’re used, washing into rivers and making their way out to sea. What we are left with are humongous concentrations of microplastics and other jetsam in the oceans. Drifting with the currents, this refuse slowly collects in one of our ocean’s five gyres, spiraling below the surface, nearly invisible. It will continue to do so for centuries to come. At this rate, ocean plastic is set to outweigh fish by 2050.

Image via Brian Sterling/Flickr

News like this forces me to reflect on my place in the world. As both a professional arts writer and someone passionate about biodiversity, finding a relevancy between the two is difficult. Knowing that the US Environmental Protection Agency is currently working to disprove climate change is enough to make one feel utterly helpless. Even still, I still believe that there is value to bringing the tools of art and art criticism to the environment, if done right.

Critics, at our best, help people to look at, understand, criticize, and appreciate complex and abstract cultural products. Why don’t we turn our gaze to the world around us, especially a devastating cultural product like a garbage patch bigger than Texas? Writers and thinkers like Donna Haraway, Lucy Lippard, and Heather Davis are extraordinary examples. They bring the humanities — arts, social theory, cultural criticism — to bear on these issues, and therefore bring them to life for people like me.

Davis’s writings, especially on plastic and petrocapitalism, have forever changed the way I think about the pervasive material. Haraway’s fantastic book, Staying with the Trouble, is the latest in a long practice of exploring and pushing the stories we tell ourselves about what it means to be human on this planet that is full of other life. Lippard’s book, Undermining, brings issues of land use in the western United States to life through creative nonfiction that blends art criticism, personal essay, and cultural theory. 

One of the most famous examples of land art — art existing within and using elements of the land — is Robert Smithson’s “Spiral Jetty” (1970), which has obvious synchronicities with the great garbage gyres. Both are larger-than-life, human-made spirals in water that resist direct viewership through scale and distance. The study and discussion of these monumental trash vortexes could perhaps be moved forward by the language we use to discuss Smithson’s work, some of which he developed himself. However, I am assuredly not proposing that we call the trash gyres artworks, or place them within an art-historical context. That would distract from our reading of them and would complicate how we confront these environmental phenomena with action.        

Looking for years for land art that utilizes the environment as complexly as artists have long done with their subjects through paint (even using paint as a subject), I’ve come up largely disappointed. Land artworks are typically aesthetic interventions forced onto the environment by artists with little to no deep understanding (geologic, ecologic, botanic, etc.) of the materials they are using. Instead, artists who make these works favor aesthetic, surface-level intervention, which documents well for exhibition and (hopefully) sale later, upon return to an art-world setting, be it via a gallery or a coffee table book.

Where is the communion with the land’s complexity? Where are nuanced interventions that explore the amazingly complex qualities of dirt, beyond its color? The biggest fault in land art, to me, is its consistent inability to move beyond that art historical context, thereby turning environments into objects.

Image via Neajjean/Flickr

Smithson wrote well about land art, but not about land; the dirt, geological makeup, flora, fauna, watersheds, etc., that actually defined the sites and materials he activated. Understanding and parsing the nuanced ways humans experience space (phenomenology) is invaluable for thinking about our experience of the environment, but only as far as we extend those thoughts beyond an art context. If art is to be relevant to the environment, it cannot remain only in an art context or in dialogue with art history. The vast majority of writings about land art in the American West is focused entirely on its art-ness, whether through an aesthetic, art-historical, or human interest lens. Where is the geologic activity? Where are the Native Americans? Where are the watersheds? In order to be relevant to the issues plaguing our world today — such as the prevalence of plastics, or climate change — we need writing that contextualizes these artworks within a deep reading of the land itself. Lucy Lippard’s Undermining is a glowing counterexample to this bad trend. Undermining is as much an art book as it is a book on seeing, thinking about, and working within the American West.

Aesthetic interventions on landscapes rarely result in conceptual investigations. Art, it seems, is better at using natural materials as passive objects for aesthetic manipulation, with landscapes as ripe backgrounds. Of course, this is nothing new. Both natural materials and the landscape have long been treated as passive for economic gain, and that is the point.   

But there are artists — perhaps ecological artists is a better term — who are dealing with the complexities of an ecology beyond these types of hollow aesthetic gestures. Artists and doers in the environment such as Agnes Denes, with her tree-planting projects that are protected for hundreds of years and will eventually become old growth forests; Mel Chin’s “Revival Field” (1991), which utilizes sculptural elements to make a field that actually repairs soil toxicity; Ellie Irons, who brings our cultural construction of plants, notably “weeds,” into question; and Mary Mattingly, whose recent floating islands in NYC call into question, and proposes radical, utopian alternatives to, land-use, access to fresh food, and sustainability, even within the context of the largest city in the USA.

What separates these artists from typical land artists is that they deal with the site at various conceptual levels that are more appropriate for an outdoor setting. They are in a more humble dialogue with the land they utilize, thinking ecologically, sustainably, and long-term.

Agnes Denes, “Tree Mountain – A Living Time Capsule – 11,000 Trees, 11,000 People, 400 Years (Triptych),” (1992–96, 2013), type-C print, 36 x 36 inches (copyright Agnes Denes; courtesy Leslie Tonkonow Artworks + Projects)

Take Denes’s living artworks, such as “Tree Mountain – A Living Time Capsule – 11,000 Trees, 11,000 People, 400 Years,” (1992–96): a hill, planted with 11,000 trees, each from one person, which will be protected for 400 years. The piece, which will turn into a virgin forest, employs a conceptual and legal framework that projects and protects its impact hundreds of years into the future. In doing so, “Tree Mountain” literally and conceptually confronts climate change, desertification, deforestation, legal structures of reclamation, and more. 

Denes’s work isn’t propaganda; it’s not a national park. “Tree Mountain” could be viewed as purely sculptural, but it also uses the tools and vocabulary of land preservation and reclamation to not only suggest, but also physically carry us forward, toward actually cleaner air. Like the other ecological artists I mentioned, Denes explores — and often make real steps toward — alternatives to our current disastrous ecological course.   

Image from Karine C./Flickr

Reading these works, like reading the garbage patch itself, which is immensely complicated and difficult to comprehend, requires a phenomenological reading of space, an ecological understanding of how the artworks intersect with the environment, and takes seriously creative and nonlinear implications (either those proposed by the artist, in the case of the artworks, or the garbage patch itself). Through such an approach — which is definitely that of a critic — we can find the words to describe, and therefore start to comprehend, such a gyrating concentration of humanity’s sludge. Situating it phenomenologically, we see how the patches’ tentacles stretch from abstract and invisible research, all the way through our waterways, back to our cities, and onto our tables, our local policies, etc.

We need a clear, factual, historical, but compelling story for these environmental catastrophes on the news. Undoubtedly that requires great creativity, and forward and abstract thinking, as much as description. For all of this to matter, it must be a story that disgusts, places correct blame, and, of course, elicits action. I believe art criticism can, and must, contribute to this end. 

The post How Can Ecological Artists Move Beyond Aesthetic Gestures? appeared first on Hyperallergic.

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[chokudawa]

spectrum elegant mono-tornadic synchronous ceremonial triptych triangle goats ever thankful to themselves and the gorgons of disappointment for becoming infrangible blocks of nomenclature fondled by number storms mixing teal queen professor pawns crackling against the short roar crescendo crust anomalous to her own excoriated spinning thoughts squeezed in double binary lion crux protection commanded somewhere from dusty flutes of fuchsia snooze and freedom rising radishes splashing herself a little more each time to plank in pink heaven while simultaneous perfect puppet gums of electric wisdom suck force through clarity liquid unable to use aeons of unknown patterns appearing scientific in the minimal twinkle and colourless gulch

[thesyncmovie]

Pyramid Art, Synchronicity & Timelessness

Pyramid Art, Synchronicity & Timelessness

Mark Dolamore

By Mark Dolamore

The Pyramid can open your eyes to the force of timelessness.

It’s the most important of three related images, known as a triptych. These are all one piece of systems art that combines and reconfigures ancient and modern binary coded datato reveal meaning that should not be there. This allows it to stand as evidence for the hidden, timeless dimension’s influence on…

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#art #Carl Jung #pyramid #Quantum Field #synchronicity #time

[missholson]

Abel Gance: Napoléon (1927)

“On 3 June 2000, the British Film Institute presented a premiere screening of Kevin Brownlow’s third major restoration of Abel Gance’s mammoth biographical epic Napoléon (1927).

The June 3 presentation stood by Gance’s original theatrical intent, shunning modern anamorphic composite-image film prints, by showing the famous triptych finale as three side-by-side images projected by three synchronized 35mm film projectors onto a 69-foot triple-wide screen. Paolo Cherchi Usai, curator of the George Eastman Museum film archive, said, “My heart stopped when the triptych started.”

The 2000 restoration of Napoléon includes the most-complete edition of the film seen by audiences since the late 1920s. It includes improved image quality from the ‘superior’ Cinémathèque française footage, and all-new authentic process dye bath color tints and toning by Joao Oliveira of the National Film and Television Archive of the British Film Institute, who painstakingly reproduced the original Pathé tint and toning processes in equipment he built himself. More than half of the 2000 restoration has been color tinted and toned, with the balance of the footage presented in black & white. The English-language intertitles were entirely redone for the new edition. English intertitles were corrected and retranslated from the French. The new intertitles were typographically-matched to the original French intertitles, reset by computer in the matching typefont, and then imaged to filmstock.” [X]

The film was released on Blu-ray and DVD with a new digital restoration by Photoplay Productions and the BFI National Archive, on 21 November 2016. [X][X]

Pictures: Albert Dieudonné as Napolèon and various film screenings including the triptych scene, original tinting and toning, and colour combinations.

#napoleon #abel gance #albert dieudonné #bfi #kevin brown #polyvision #triptych scene #this is brilliant #this is interesting #good god #own post

[voodoochili]

My Year in Music - Albums

You guys know how 2016 was an atrocious year that everybody hated and wanted to end months before it was over? Let’s revisit it so I can talk about some music I liked!

Thanks to the magic of Spotify Premium and the horror of the outside world, I listened to more new albums in 2016 than I ever have before in a single year. I was able to rank 50 albums worthy on putting of a best list, and I left out a ton that either did not make the cut or I haven’t spent enough time with. Yet it was such a fantastic year for music that I am sure there are plenty of excellent albums that I missed. While 2016 did not boast a singularly transcendent album like 2015′s To Pimp a Butterfly or 2014′s Black Messiah, it boasted a deep bench of excellent albums--an onslaught so overwhelming that my Spotify listening list nearly collapsed under its own digital weight. Anyway, enough jibber-jabber, here are the albums that stuck out to me as the cream of the crop (Yes, I left off Blonde on purpose).

Check ‘em out after the jump:

THE TOP 20:

20. Radiohead – A Moon Shaped Pool: A typically beautiful record from the world’s foremost paranoid androids, A Moon Shaped Pool is the first Radiohead album to fully integrate the arranging powers of guitarist Jonny Greenwood into the group’s sound. After spending much of the past decade as Paul Thomas Anderson’s go-to film scorer, Greenwood’s orchestral mastery nearly overtakes Thom Yorke’s falsetto as the record’s focal point. Marrying the glitchy electronics of the band’s early ‘00s output with soaring strings and minimalist piano, highlights like “Glass Eyes,” “Present Tense,” and “Daydreaming” stand up to the best material of the group’s career. The best moment of the record for me: finally hearing the impossibly sad studio version of “True Love Waits,” after spending nearly a decade obsessing over the live recording.

19. Beyoncé – Lemonade: In which pop culture’s most infallible figure opens up about her marital woes, enlisting the full power of some of the biggest names in the music industry to affirm her greatness. Lemonade is an album with towering singles (“Formation,” “Sorry”), but also a collection of spectacular moments, from the New Orleans-style horn rave-up at the beginning of “Daddy Lessons,” to the moment Jack White comes in at the chorus of “Don’t Hurt Yourself,” to her pained vocal runs towards the end of my favorite track, “All Night.” An audacious follow-up to the artistic and strategic brilliance of BEYONCÉ, Lemonade proves that Beyoncé will never simply rest in the limelight, but that she will forever use her station to empower, experiment and push music forward.

18. Isaiah Rashad – The Sun’s Tirade: “I got the music for the vibers,” chants Isaiah Rashad on “Rope/Rosegold,” and he’s not kidding. But it’s such a unique vibe, simultaneously laid-back and aggressive, with liquid, jazzy production that evokes the Dungeon Family at its most introspective. Isaiah invites us into his head, and whether he’s fighting off fans impatient with his long break between albums, reflecting on his nearly fatal battle with drugs and alcohol, or simply talking shit, his evocative pen and pronounced drawl bring out the best in each instrumental.

17. Kanye West – The Life of Pablo: Enough people have written enough about Kanye West in 2016, but here I go anyway. Whether or not the man has completely lost his rocker, he remains one of our greatest sonic architects. Each track on TLOP flows seamlessly into the next, building an exhilarating sense of forward momentum hurdling toward the tragic triptych of “FML.” “Real Friends,” and “Wolves” (keep Frank, I can take or leave Vic and Sia). If Kanye could just rein in his grossest impulses (I don’t need to hear about bleached anything, thank you very much), the album would place much higher on my list. Then again, if Kanye had any impulse control, he wouldn’t be Kanye, would he?

16. YG – Still Brazy: When YG emerged several years ago with “Toot It and Boot It,” who could have predicted that the charismatic, but seemingly- dunderheaded rapper from Compton could become one of our most reliable purveyors of political rage? A paranoid masterpiece of modern G-Funk with 4K production value, Still Brazy is a worthy follow up to My Krazy Life, my second favorite album of 2014. Still Brazy lacks the narrative cohesion of its predecessor, making up for it with a seething anger against the police, haters, the people who shot him outside his studio, and especially Donald Trump. We live in brazy times, and we’re lucky to have YG to give voice to our fear, confusion, and righteous fury.

15. Maxwell – blackSUMMERS’night: In a hype-driven, fast paced music industry that churns through artists as fast as it produces them, Maxwell works at his own pace. Released seven years after the confusingly titled BLACKsummers’night, Maxwell’s latest is a blissful oasis, a “Lake By The Ocean” if you will (you will!), tucked away from trends in mainstream urban music. Forever concerned with matters of the heart, Maxwell eschews the neo-soul of his early work. He refracts the sound grown-and-sexy icons from Seal to Sade, masterfully flexing his divine falsetto over liquid future-funk on “All The Ways Love Can Feel,” wallowing in bluesy murk on the epic “Lost,” and lamenting his devotion to an unfaithful lover on “Gods.” It’s been over two decades since Maxwell first introduced us to his Urban Hang Suite, yet Maxwell remains a unique and mysterious presence—one who lets his considerable talent speak for himself.

14. Shearwater – Jet Plane & Oxbow: Shearwater’s Jonathan Meiburg uses his intricately-crafted songs as bedrock for orchestral, ornate arrangements. Jet Plane & Oxbow finds Meiburg enlisting the services of composer Brian Reitzall (the man behind the original scores for Lost in Translation and the Friday Night Lights movie, among others) to create a tapestry of arresting synthetic sounds. Together, Meiburg, Reitzall and the band create a modern near-masterpiece of synth rock. Standout tracks include the gurgling, slowly-building “Backchannels,” the menacing bassline and disorienting orchestra of sound effects on “Filaments,” the Unforgettable Fire-style bombast of “Radio Silence,” and especially the gorgeous, generational power-ballad “Wildlife in America,” a soaring rumination on the seeming impossibility of the American dream.

13. Young Thug – JEFFERY: Possibly the most eccentric and enigmatic figure in the world of modern Hip-Hop (which is saying a lot), Young Thug’s decision to name his latest “mixtape” after his government name seemed to indicate a more personal approach to his art. Turns out, it didn’t really happen that way, with JEFFERY bringing the same gonzo melodies and glorious non-sequiturs of his previous releases. What’s new?: the dude levels the fuck up when it comes to his rhyming, especially on the opening and closing tracks. JEFFERY is a revealing look into Thugger’s mind and possibly into his artistic process. Each track on the tape is named after an influence or personal hero (and one named for “Harambe” because in order to be a meme, you have to be aware of memes I guess), and many of them consciously ape and inhabit the styles of the namesake. “Future Swag” imitates Future’s clipped, rhythmic cadence over a bouncing 808 Mafia production. “Wyclef Jean” is steeped in the music of the Caribbean, creating a thrilling hybrid of trap music and roots reggae. My favorite track on the project changes every day, but right now it’s probably “RiRi,” which boasts Jeffery’s most affecting, impassioned vocal to date. “IF YOU WANT IT YOU GOTTA EAAAAARN IT,” Thug barks (like a goddamn seal), and by God I think he’s earned it.

12. Field Music – Commontime: The long-standing project of brothers Peter and David Brewis, Field Music performs angular, fractured pop songs that often buck standard songwriting conventions. They have melodies for days, buried under addictive herky-jerk rhythms and droning keys. The result is a disorienting but addictive swirl of distinctly British art rock, echoing the dueling songwriter avant-pop of XTC, the fanciful working-class heroics of Roxy Music, and the pop adventurism of the Synchronicity-era Police. Commontime features some of the catchiest guitar-based music I heard all year, with the choruses from “The Noisy Days Are Over,” “Disappointed,” and “It’s a Good Thing” occupying a disproportionate amount of real estate in my cerebral cortex since January.

11. Danny Brown – Atrocity Exhibition: The dominant story in much of Hip-Hop is a rags-to-riches narrative, a triumphant tale from bricks to Billboards, from grams to Grammies, etcetera. Nobody in Hip-Hop, however, makes you feel the rags part of the story as deeply as Danny Brown. To Danny Brown, extreme poverty is not merely a life stage to overcome, but a trauma with aftershocks that never go away. “Some people think I think to much/I don’t think I think enough,” raps on “Rolling Stone.” His third straight classic since 2011’s XXX, Atrocity Exhibition, named after the discordant opening track to Joy Division’s notoriously bleak Closer, is a typically gritty expedition into Danny Brown’s consciousness, with outrageous punchlines counterweighting visceral depictions of debauchery and dark observations about his rough early life. Teaming up with production partner Paul White for 10 of the 15 tracks, Atrocity Exhibition finds Danny weaving his rhymes through an appealing industrial murk, equally reminiscent of RZA’s production on Liquid Swords and This Heat’s darkest sound collages. He soberly recalls his life as a low-level crack dealer on “Tell Me What I Don’t Know,” seethes a quiet despair on “Downward Spiral,” and frenetically proclaims his rhyming supremacy on “When It Rain.”

10. Chance The Rapper – Coloring Book: In 2016, Chance The Rapper finally shunted his label as the Next Big Thing to embrace his destiny as one of the Current Big Things. Few artists of any age, genre, or era can match his contagious exuberance, charisma, and skill. All of these attributes come out in full-force on Coloring Book, his third mixtape. Supercharged with gospel choirs, heavenly brass, and an assist from an assortment of music superstars and talented local friends, Coloring Book was a ray of light in a dark year. Coloring Book lacks much of the impish charm of Acid Rap, and trades much of that album’s social consciousness for earnest biblical pronouncements, but it radiates a special type of warmth and instills a sense of hope that I could not find elsewhere this year. I do not have the same relationship with God that Chance The Rapper does, but I can appreciate the way his spirituality informs his intense, infectious love for his friends, his family, and his infant daughter. The world is a better place for having Chance in it, and, remarkably, this is still just the beginning.

9. Cymbals Eat Guitars – Pretty Years: The best band to spring from Staten Island since the dawn of the Wu-Tang Clan, Pretty Years is the fourth and best album from Cymbals Eat Guitars. Long-time purveyors of surround sound shoegaze pop, this album finds the group demonstrating their songwriting chops, ranging from the hardcore stylings of “Beam,” to the Explosions in the Sky meets jangle-rock of “Have a Heart,” to the “Spirit in the Night”-esque saxophone stomp of “Wish”, to the titanic slow build of closer “Shrine.” On Pretty Years, the band embraces a more personal style of lyricism, writing songs about specific days and events. With producer John Congleton collecting the band’s ringing guitars and stampeding drums into a formidable explosion of sound, the epic expanse of the instrumentals combines with the specific and personal lyrics to illustrate the divine beauty of everyday life.

8. Kendrick Lamar – untitled unmastered: Though the songs that comprise untitled unmastered emerged from the To Pimp a Butterfly sessions, it does them a disservice to call them outtakes. They have no names, just numbers and dates, and they do not quite fit into the intricate TPAB narrative; but these songs, especially the four in the record’s incredible back half, are among his most musically adventurous and sharply written tracks to date. Less frenetic and more laid back than much of its parent album (the Thundercat basslines have more room to breathe, the strings and horns are sparing, but effective), untitled unmastered is a thought-provoking and often humorous reflection on Kendrick Lamar’s career and a meditation on a young black man’s position in society today. My favorite track: the swirling, gorgeously odd, Cee-Lo Green-assisted “untitled 06,” a triumphant ode to the artistic spirit.

7. Noname – Telefone: Noname is an inspiration, an old soul trapped in the body of a 25-year old rapper from the South Side. She rocks a conversational, poetic flow, rhyming about grief, violence in Chicago, and abortion with an earned wisdom and a feather-light touch, illuminating a perspective too often ignored in the media today. Produced by a cadre of fellow Chicago prodigies, including Saba, Phoelix, Cam O’bi, and Monte Booker, Telefone is one of the most beautiful albums I heard all year; warm, jazzy, and forward-thinking. Chiming bells and schoolyard xylophones intersect with steel drums, handclaps and sine waves, providing an ideal bedrock for Noname’s plainspoken wisdom: “When the sun is going down/and the dark is here to stay/I picture your smile/like it was Yesterday.”

6. Anderson .Paak – Malibu: After building his name the L.A. rap underground and finally breaking through on Dr. Dre’s Compton, Anderson .Paak introduced himself to a rapt national audience in 2016 with countless guest spots and two excellent albums. Anderson .Paak was probably my favorite live act of the year; a charismatic combination of James Brown and Clyde Stubblefield. I saw him in front of a good-sized crowd at a side stage Austin City Limits, leading his crackerjack group of Free Nationals as an energetic frontman and a virtuosic drummer. With Malibu, .Paak proves to be the rare superlative live act to fully translate his talent and energy to the recorded realm. Malibu is a summery slice of Anderson’s Southern California, blending funk, Hip-Hop, and R&B into a signature style, complete with an infectious half-sung/half-rapped delivery and a pro’s sense of songwriting classicism. The cascading chorus on “Heart Don’t Stand a Chance” is one of the soaring musical moments of the year, and Brian Cockerham’s bassline on “Come Down” transforms Hi-Tek’s unlikely sample of the Israeli national anthem into a funk monster. Joyful and endlessly replayable, Malibu is the ideal soundtrack to L.A.’s everlasting summer.

5. David Bowie – Blackstar: It is impossible to discuss Blackstar without mentioning this, so here it goes:

Blackstar is the final album from one of the most original and iconic artists of the past century, a goodbye letter to his fans that he recorded knowing full well that he might not live to see its release.

Bowie littered his lyrics with abstruse references to his impending demise, making an already haunting album even more profound. However, even if Bowie survived the year, the unapologetically strange and experimental Blackstar would rank among his greatest releases. The epic, atonal title track is one of Bowie’s masterstrokes, twisting through effortless tempo and mood shifts, accompanied by terrifying, yet often darkly funny lyrics. Bowie’s pitch black sense of humor also elevates “Lazarus” from maudlin to essential, as Donny McCaslin’s saxophone mournfully accents the artist’s depiction of his final days. Bowie’s final transmission to ground control is “I Can’t Give Everything Away,” a poignant, discordant ballad that illuminates Bowie’s single regret: that he will not be able to gift the world anymore art.

4. Schoolboy Q – Blank Face LP: 2016 was an amazing year for L.A. rap, and while Anderson .Paak, Kendrick, and YG released some of the year’s most exciting music, Schoolboy Q surpassed them all with the epic Blank Face LP. Working with many of the game’s brest producers (The Alchemist, DJ Dahi, Cardo, Tyler, The Creator, etc.) on this expansive, cohesive sound collage, Schoolboy Q snarls his way through 72 near-flawless (sorry “Overtime) minutes of straight gangster shit. Still a master of declarative, rhythmic hooks, Q refines his stream-of-consciousness verses, painting a gritty, and often terrifying, picture of Figueroa Street and South Central with humor, viciousness, and pathos. Blank Face boasts one of the year’s best basslines on the title track, two of the year’s broadest and best guest verses of the year in E-40’s “Dope Dealer” spot and Kanye’s batshit takeover of “THat Part,” and a convincing rap/rock hybrid on opener “TorcH.”

3. KING – We Are King: Bolstered by songwriting brilliance and gorgeous vocal harmonies, Los Angeles trio KING makes velvety, 1800-threadcount R&B. Comprised of sisters Paris and Amber Strother and “musical soulmate” Anita Bias, KING compiled extended mixes for five years worth of singles, plus some stellar original tracks, into We Are King, a powerful introductory statement. Theirs is a special brand of dreamlike soul, with genius-level chord progressions and angelic vocal harmonies, finished with a sumptuous production value. With its gentle groove and inviting lushness, We Are King is the perfect balm to melt away stress at the end of the day (it’s also a pretty decent hangover cure).

2. A Tribe Called Quest – We Got It From Here, Thank You For Your Service: When Phife died in March 2016, it seemed like a particularly cruel way for the story of A Tribe Called Quest to end. Little did we know that Q-Tip, Phife, and Ali Shaheed Muhammad had another trick up their sleeves. The fact that this album is exists--and is this amazing--is a miracle. The key, as always, is the interplay between Q-Tip and Phife. The two genius emcees bounce phrases off one another, finishing each other’s thoughts with witticisms and profound statements of truth. Jarobi White, formerly a glorified hypeman, makes us wonder why he didn’t rhyme on more tracks to begin with. The group dynamic extends to the guests such as Busta Rhymes, Consequence, Kendrick Lamar, and more, who seamlessly join Tip and Phife’s mindmeld for some of the best work of their careers. We Got It From Here… is the apotheosis of Tribe’s career, as the collective shows righteous anger towards racism and authoritarianism (“We The People,” “Conrad Tokyo”), sees hope in the future of music (“Dis Generation”), and, most touchingly, mourns the loss of their brother Phife Dawg (”Lost Somebody”). Despite the shadow of loss that hangs over the album, it’s a remarkably fun, engaging, and thought-provoking listen, and it was my most played album in the aftermath of the election.

1. Pinegrove – Cardinal:

“I’ll be sitting on the outskirts if you wanna talk about it/Things in there are getting so loud”

In a year when nearly every major pop and rap star released an album and some of the greatest artists of all time said goodbye, the album that hit me the hardest was a 30-minute debut by a modest band from my dad’s hometown of Montclair, NJ. The group, led by frontman/songwriter Evan Stephens Hall, mines a homespun blend of 00’s indie rock, emo, and alt-country—a nostalgic, yet novel approach, which when coupled with Hall’s voice creates a frisson that I felt from no other band this year. The eight songs on Cardinal twist and turn, avoiding traditional verse-chorus structure, instead building emotional peaks and valleys around Hall’s stories, dotted with pearls of matter-of-fact wit and wisdom. The centerpiece is “Aphasia,” a jaw-dropping feat of songwriting about the struggle to put feelings into words—it gradually builds up steam until it reaches a brilliant little song-within-a-song (!) and culminates with a cathartic guitar solo. “Aphasia,” and much of the rest of Cardinal, is so casually brilliant that it almost angers me, but hopefully there are many more moments like that in this young band’s future.

THE REST:

21. Kaytranada – 99.9% 22. The Avalanches – Wildflower 23. Terrace Martin – Velvet Portraits 24. BJ The Chicago Kid – In My Mind 25. Big Thief – Masterpiece 26. Ultimate Painting - Dusk 27. Skepta – Konnichiwa 28. Solange – A Seat at the Table 29. School of Seven Bells – SVIIB 30. Kevin Gates – Islah 31. Cass McCombs – Mangy Love 32. Jessy Lanza – Oh No 33. Underworld – Barbara Barbara We Face a Shining Future 34. Kaitlyn Aurelia Smith – Ears 35. Badbadnotgood - IV 36. Sturgill Simpson – A Sailor’s Guide to Earth 37. ANOHNI – Hopelessness 38. Leonard Cohen – You Want It Darker 39. King Gizzard & The Lizard Wizard – Nonagon Infinity 40. Crying – Beyond The Fleeting Gales 41. Leon Vynehall – Rojus 42. Mitski – Puberty 2 43. Saba – Bucket List Project 44. Joyce Manor – Cody 45. Black Mountain - IV 46. Kornel Kovacs – The Bells 47. Lambchop – FLOTUS 48. Japanese Breakfast – Psychopomp 49. Nao – For All We Know 50. D.R.A.M. – Big Baby D.R.A.M.

[tim--32-blog]

About Radiotrilogy

Raditrilogy consists of three story about different radio signals.

The first one - "Alone in Space" - it's my view on the launching of first Earth artificial satellite. At the moment when it has been raised up in the infinite Sky no one was there yet. This event takes place in 1957.

The second one - "DEFCON 2" - tells us about dark and disturbed times in the 1962 when Cuban Missile Crisis panic and hysteria captured radio frequencies all over the world.

The third and the last one in that triptych - "BSF LF Station" - could also being called "The Signals of Our Time". To be specific - it's time synchronization signals, which are transmitted by special stations. In the year 2016 there are many extremely important technologies that based on a time synchronization and BSF LF Station is a part of that. One day its signal came to me through the net and that's how this track appeared. https://tim32.bandcamp.com/album/radiotrilogy

#ambient #space #music #radiotrilogy