Bruno Duplant & David Vélez—des-illusions (Unfathomless)
des-illusions by Bruno Duplant & David Vélez
Sound artists Bruno Duplant and David Vélez are well matched. Each is an artist whose work processes the world around them and their reactions to it. And they share an awareness of the personal dimensions of collaborative creation. Duplant, a multi-instrumentalist and composer from France, has made scores that doubled as letters to the artist who has expressed interest in performing said score. And Vélez, a Colombian who has recently spent several years studying in England, made his understanding of the tension between Duplant’s hopelessness about humanity’s prospects and the defiant hopefulness expressed by making new work a guiding force in his contributions to des-illusions.
According to the album’s liner notes, which you can read on its Bandcamp page, the impetus for this collaboration was a conversation the two men had about making music in a time of environmental and social crisis. Collected sounds — birdsong, bugs, rain, running water, the conversations of passing people, machinery — figure prominently in the two-part, 43-minute-long piece, which is bisected so evenly (the running times are exactly 22:00 and 21:00) that one suspects that this CD might once have been planned to be an LP. But so do played sounds, particularly pulsing and tolling synthesizer voices. Both have been subjected to interventions, having been looped, chopped and filtered so that their combinations constitute a sound environment quite distinct from the ones that were sampled to make it. The played sounds don’t mix with the environmental ones so much as they bob on top or alongside them, which might represent the relationship between humans and the world they strive to manipulate and manage. But if this is a soundtrack to our currently combusting world, it imposes a very specific combination of moods, simultaneously forlorn and persistent.
The experience of this recording may be modified by skipping the accompanying notes. Separated from their description of intent, this music’s crepuscular vibe might dominate, and hip sleep specialists could plausibly prescribe it as a possible aid for those seeking slumber. This is not, however, a failure on the part of the work to communicate, but evidence that the collaborative impulses that brought it into existence include the listener.
Salar de Uyuni Mirror Effect Location: Potosí, Bolivia
During the rainy season (November to March) the water accumulates on the surface of the Salar de Uyuni and creates a giant mirror that perfectly reflects the sky and clouds above and you can play with the optical illusions the lack of horizon causes.
Remember how everyone was staring and observing Geralt and Yennefer in 3x05?
Like the gossip started the moment they entered the room, everybody started to wisper and gave them poisonous looks because Yennefer really dares to bring a Witcher with her. And then there's Tissaia.
The way she looks at her (while it seems like Vilgefortz doesn't even try to hide his death stare lol). Her attention immediately turns to Yennefer while her eyes get brighter. She looks so soft and lovely. No bad intentions. No prejudices. With her body language she shows Yennefer is welcome and how glad she is that Yennefer's there.
do people who haven't seen campaign one know that percy grabbed the magic initiate: warlock feat during their level up halfway through the briarwood arc (where his corruption was a lot slower than in the show, and took place over about four days of percy just getting gradually worse), so taliesin could freak out his friends with "you don't know what's going on with percy, but whatever that dark smoke is, it's casting spells now"?
and because that was taken during a legit level up, it didn't go away after percy got unpossessed, matt just explained it as a scar on his soul
so percy, right up to the end of the campaign, and possibly to this day (i haven't seen s3), still has just a little bit of demonic magic at his disposal