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dw066 - oVdk & Bunk Data - Discourse of the Other

Disquiet - Marc Weidenbaum (c) 2010
Dread is rarely as efficient, as sacrosanct, and as suggestive as it is on Discourse of the Other, a collaborative seven-cut album by oVdk and Bunk Data. The record is a sequence of stark gray audio, tracks of manipulated voices (along with other sonic material) that strain to be comprehended. In “Feel Thier Präcoxgefuhl,” the constricted neigh of a horse is more understandable than anything uttered by the muffled minions heard throughout; the hushed voices sound like rough, chaotic crowds — bringing to mind the rushing mall-like prisons of THX-1138, or the nightmarish totalitarian society of 1984. By contrast, “Flight of the Yameil Jyuravli” has a serenity to it, but it’s a serenity whose prevailing mode is that of resoluteness — it’s the serene in stark contrast to the prevailing world; the tones are attenuated, the feeling that of ritual atonement, but it’s shot through with tension and a feeling of foreboding.

Usyukuro Sound Space (c) 2010
It seems The Discourse always belong to only the power such as Hittler ,stalin,Rockefeller,recently Google, microsoft, etc. As We recognize when We had Discourse with author(or no author? ) Ryuta.k (Ovdk). He said i have no Discourse with Big the other during long time. Artwork seems created through neo-dada technique with various famous motif such as malevich,bacon,etc.

Track 01 - Distant Refraction &Track 02 - Feel thier Pracoxgefuhl ; Soon we recognise profound Dark drone of bunkdata style..Then 2019 L.A. motely crowds must breakup with thier Pracoxgefuhl like its cinema . Track 03 - Syntactic Incoherence (Butsumetsu) Sinister male voice with twist ambintal sonic might made us psyco-mentally ill . Track 04 - Why Not Sneeze Kangrinboqe? ; It remember us Why Not Sneeze Rose Selavy? 1921. But you can hear sanct tibetan monks pay thier respect to Mt.Kangrinboqe Nobody can succeed in reaching top. Track 05 - Flight of the Yameil Jyuravli (russian Sick crane) is most musical one,we got eno style with xoomei. Track 06 - Viscous Self Found in a Vacant Space -starts with subtle long black dark drone into totalitalian address and female Vacant twitter and last finish with preseque rien /old female lullaby. Track 07 - Un stazion Centaur (On the Night of the Kentauru Fesitval) starts with calm conversation between Giovanni & kanpanerula on the Train through universe and with moderate ocean-like glitch . The latter stuff seems like realtime raptop live perfomance, very subtle dense.
Andansite (あんだんして)
아티스트명 (류)
장르 Ambient
앨범타입 정규
발매일 2006-06-01



앨범 Ghosts Lacan Marxists (Single)
아티스트 (류)
발매일 2006-12-15
대표곡 (うしゅくろ)

앨범 These Are Not Muziq
아티스트 (류)
발매일 2006-10-01
대표곡 (うしゅくろ)

앨범 Andansite
아티스트 (류)
발매일 2006-06-01
대표곡 (うしゅくろ)

Here are all Arnaldo Roman's videos on Vimeo. You can see both the videos this user has uploaded, as well as any other users' videos they appear in.

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It is now said that Yates founded a paradigm, or gave out a grand narrative. In those terms, a so-called Yates paradigm (sometimes Yates Thesis), her work is contested freely. This is a view that Wouter Hanegraaff has put forth, starting with Yates as the scholar first to treat Renaissance hermeticism, integrated with Rosicrucianism, as a coherent aspect of European culture. He has stated it as an attractive paradox, the autonomous esotericism helping give birth to the scientific mentality that will be dismissive of its parent. But, it is now said, there was no unitary esoteric tradition and that view is only tenable on a selective reading of the evidence. The arguments surrounding this questioning of Yates include Lodovico Lazzarelli as not included; and the rival views of Antoine Faivre, who has proposed a clearer definition of esotericism.[7]

Hanegraaff has further argued that the reception of the work of Yates was coloured by the Zeitgeist. An extra assumption, that the magus had a point of view that could be recovered, was fashionably added. Further he argues that essentialist rather than nominalist use of the very term "esotericism" has vitiated succeeding work. The "Yates paradigm", in his view, dominated in the 1970s but fell by the wayside in the 1980s, for scholars.[8] Hints on the "Yates thesis" were left as sketches in works of Yates herself (Francis Bacon in relation to hermeticism, and the Hartlib circle, in particular). These related to paths, and how actual influence on science was effected.

Such theories were developed by others, and then later largely rejected by scholars.[9] Brian Vickers identifies Rattansi, A. G. Debus and Peter J. French as on the side of the Yates thesis, with M. B. Hesse, Edward Rosen, Paolo Rossi, and Charles Trinkhaus on the other side. He notes that the debate (up to 1984) was not conducted by close reading of texts and evidence; he himself is entirely unconvinced by the thesis.[10]
Nach zahlreichen Kompositionen für Theater und Film begann er Mitte der 1980er Jahre „Hörstücke“, meist nach Texten von Heiner Müller, zu komponieren. Mehrfach wurde er dafür mit internationalen Hörspielpreisen ausgezeichnet (Prix Italia 1986, 1992, 1996, Karl Sczuka Preis 1984, 1990, 1992, World Silvermedal of the New York Festival, Radio Ostankino Prize Moscow etc.).

Seit Ende der 1980er Jahre folgten Kompositionen für Ensemble und „szenische Konzerte“ (z. B. Der Mann im Fahrstuhl, Die Befreiung des Prometheus). Seit Anfang der 1990er Jahre begann er mit Orchesterkompositionen (Junge Deutsche Philharmonie, Berliner Philharmoniker, composer-in-residence beim Lucerne Festival, composer-in-residence bei den Bochumer Symphonikern u. a.).

Seit Mitte der 1990er Jahre liegt der Schwerpunkt seiner Arbeit auf eigenen Musiktheater-Stücken (z.B. mit dem Ensemble Modern), die er selbst inszeniert und die weltweit zu vielen Theater- und Musik-Festivals eingeladen werden. In ihnen stehen Text, Bild, Musik, Licht, Bewegung und Szene in einem schwebenden, gleichwertigen Verhältnis.

Unter seinen Arbeiten finden sich auch Soundinstallationen (z. B. für das Centre Pompidou, Paris) und zahlreiche Kollaborationen mit Videokünstlern und Choreographen.

Im Jahr 2003 wurde ihm der Deutsche Kritikerpreis „Musik“ verliehen. Die Stadt Frankfurt ehrte ihn 2002 mit der Goetheplakette, das Land Hessen 1993 mit dem Hessischen Kulturpreis. 2008 wurde er mit dem Binding-Kulturpreis ausgezeichnet.

Neben zwei Grammy-Nominierungen (für „Surrogate Cities“ und „Eislermaterial“) wurden ihm viele internationale Theaterpreise zuerkannt, darunter 2001 der „Europäische Theaterpreis – Neue Realitäten“, 2006 der Preis des ITI zum Welttheatertag.

Heiner Goebbels ist seit 1999 Professor am Institut für Angewandte Theaterwissenschaften an der Justus-Liebig-Universität in Gießen, das er seit 2003 leitet. Er lebt in Frankfurt am Main und ist Mitglied der Akademie der Künste, Berlin und der Akademie der darstellenden Künste. Seit Herbst 2006 ist Goebbels Präsident der Hessischen Theaterakademie als Verbund von vier Hochschulen und neun Theatern der Region Rhein-Main.
Werke [Bearbeiten]
Lluís Llach i Grande (born May 7, 1948 in Girona, Catalonia, Spain) is a Catalan composer and songwriter.

He is one of the main representatives of "Nova cançó" (New Song), a movement of musicians and singers who defied Francisco Franco's dictatorship by singing political songs in Catalan during a time where the language, and all other cultural manifestations of Catalan identity, were opposed by the regime. Llach joined the pioneering Nova cançó group Els Setze Jutges in 1967.[1] His famous song L'estaca, first recorded in 1968,[2] about a rotten stick about to fall was clear enough as an image of the last years of the Franco dictatorship and has been taken up as an anthem for many other political conflicts.

Though partially dependent on arrangers, like Manel Camp or Carles Cases in his early works, Llach's songwriting has largely evolved from the more basic early compositions to a vastly more complex harmonic and melodic writing. Self-taught as a guitarist, Llach only strumms simple chords on guitar. As a pianist, he shows a good knowledge of the European song tradition from Schubert to Hahn with touches of Satie (Nounou) and his local epygons like Mompou and Manuel Blancafort (A la taverna del mar). Llach has used salsa piano patterns (Terra) and jazzy whole-step block modulations (El jorn dels miserables) and progressions (Cançó d'amor a la llibertat). Some early songs depicted some inspiration from Baroque dances (Laura, Jo sé, Vinyes verdes vora el mar) and ostinato chord patterns (Non, Somniem). Among his influences as singer, Llach has recognized Mahalia Jackson and Jacques Brel.

His lyrics can range from the most traditionally romantic songs, to more complex, philosophical song-cycles and also to some more ironic, politically-based compositions, with a more upbeat tempo. Sea and vitalistic attitude in face of death are two of his cherished topics. When he doesn't write the lyrics of his songs he puts music to a variety of poets, including Constantine P. Cavafy, Màrius Torres, Josep Maria de Segarra, Pere Quart and, perhaps more often than with any of the others, Miquel Martí i Pol.

Llach has occasionally performed as a classical baritone, including a series of performances of Gabriel Fauré's Requiem, and has also been a wine producer. He marked his retirement as front man in music with a farewell concert in Verges (March 2007), in Baix Empordà on the Costa Brava , the village in which he grew up. Afterwards, he has performed incidental music for theatre pieces.
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