#les rhythm digital

[fandom-junk-drawer]

The Witcher Headcanon - Purring Bonus Scene - Part 4

Jaskier thought he knew all of Geralt's purrs. He purred when he was happy, when he was anxious, and when he was hurt or sick. And Jaskier had learned that each one had its own unique sound. Now he could read Geralt's moods by his purrs as easily as he could by his 'Hmm's.

It kind of irritated Geralt because he couldn't hide much from him now. Jaskier had always been very talented at reading people, and had very quickly learned to read all Geralt's subtle expressions, grunts, and body language. Geralt sometimes wondered if the bard didn't have some Fae blood in his family line because it sure seemed as if he could read his f***ing mind sometimes.

Geralt was just waiting for the day that Jaskier would predict, probably down to the minute, when Geralt would have to take a sh*t. And he would probably do it in the middle of one of his sets. In a crowded tavern. Or at a banquet.

Yeah, it would be at a banquet. And he would stop right in the middle of his song and yell in full bardic voice, "You might want to go find the privy, Geralt! I can tell by the way your left eyebrow just twitched that you are going to need to take a truly massive sh*t. You better squeeze those cheeks together and get moving. You've got maybe five minutes before that Food Baby gets born!"

And then Yennefer, from where ever she would be lurking in the hall, would add "And don't forget to wipe your a**!"

If that day ever came, Geralt would be the first Witcher in history to die of embarrassment.

Geralt's sardonic thoughts were interrupted by Jaskier's coughing. The bard had picked up a cold in the last town. It didn't sound like it was anything serious, but they were still going to stop in Vengerberg to let him rest before they continued on to Kaer Morhen. Hunting had been bad this year, so Geralt decided there was no reason why he couldn't go home early.

The bard was sitting by the campfire where he had been restringing his lute and was now trying to tune it. Geralt saw him slowly flex the fingers of one hand, and noticed the slight tremor in the digits. He watched him then squeeze the opposite forearm.

Geralt frowned to himself as Jaskier surreptitiously shook his arms and hands out, and forced them back to attending to his lute. He smelled like sickness, and...pain.

Jaskier had broken both his forearms two winters ago at Kaer Morhen, and Geralt knew what this Autumn chill was doing to the old injuries. He rose, rubbing at his own knee for a moment before hobbling over to the fire.

Jaskier blinked in surprise as his lute was lifted away. A hot stone wrapped in rags was placed in his hands, and he was then pulled face first against a warm chest that was vibrating with a rumbly purr.

Jaskier was going to protest, but the heat from the stone was chasing the ache from his forearms, and he suddenly realized that he was a little bit cold. And pretty tired. And his body ached. They had been traveling most of the morning. Oooh, that purring was...niiiice. The vibration felt good in his hands and arms... Wait, was that Geralt's Hurt purr? No, no, this one was different. It was quieter, steadier...

Geralt didn't know how the purr happened. He'd been trying to Hurt purr, because that was what always helped him when he was in pain, but somehow, it came out different. He felt the second when it hit a rhythm and frequency that...felt right. This was how he needed to purr to make Jaskier feel better.

Geralt purred until he heard Jaskier's heartbeat find a steady rhythm that told him the pain was gone, or at least diminished to where it was tolerable.

"Let's get to Vengerberg so you can rest."

They rode the rest of the day until they reached Vengerberg, and they went straight to Yennefer's house. The mage was waiting, looking as usual, as if their presence were an inconvenience. It wavered for a split second as she watched a pale, tired-looking Jaskier slither down from the saddle.

She grumbled as she led them inside and showed them to their rooms.

"Ugh! Now I have to look at you for the next few days!" Yennefer commented as she strode into Jaskier's room a few minutes later with Geralt at her heels.

"Look on the bright side. It's a nice change from looking at the ugly you see in the mirror every day!" Jaskier replied in a half-hearted, nasally grumble from where he was sitting on the edge of the bed, his head in his hands. Yennefer could hear him wheezing slightly with each exhale.

"Ha! Like you look any better right now!" Yennefer quipped as Jaskier started coughing. She made a face as he gagged up a blob of phlegm and leaned over the edge of the bed.

"Don't you dare spit that on my floor, you uncouth savage!"

Jaskier glared at her, then spat the greenish gob into his hand and wiped it on his shirt.

"That's disgust-! You're disgusting!" She snapped. Her tone was sharp, but Geralt saw that her hands were gentle as she pressed them to Jaskier's cheeks, and then the sides of his neck, before slipping her hand down the back of his shirt.

Yennefer ignored Geralt's knowing 'Hm'. She could feel a little bit of fever in the bard's skin and she could tell by the way he kept wincing that his head hurt. At least his breathing wasn't too bad.

"Yeah? Well...your mother." Jaskier mumbled in one last attempt to keep up the Mortal Enemies act as the witch ran a hand tenderly through his hair.

Yennefer saw him cringe.

"Sorry, Yen... I'm not exactly at my best right now."That had definitely not been one of his wittiest comebacks.

Yennefer leaned in and placed a soft kiss to his temple.

"It's alright, dear heart," She said sympathetically as she slipped under his other arm as Geralt helped him up. "Let's get you into the bath and then put you to bed."

Jaskier heaved a wheezy sigh. He was too tired and light-headed to reply, so he let them slowly lead him to the washroom, where a tub of steaming hot water and a roaring fire waited.

Jaskier drank the potion Yennefer handed him after he'd finished with his bath, then curled up in the bed, tucked up against his personal heater, smelling of the herbs Yennefer had dumped into the bath water to help his breathing. He lay there, listening to the rumble of Geralt's purr.

The vibration of it felt nice. It helped take his attention away from the discomfort in his arms. Or was it easing the pain? Is this why Geralt would purr when he was hurt? Is this what it felt like to him? Was it like a painkiller? Was this some kind of, of Healing purr?

Jaskier wanted to ponder that line of thought more, but the rhythmic sound and vibration of Geralt's purring was making it hard to think of much of anything. The thoughts came sluggishly, then flitted away leaving his mind pleasantly empty. There was just the purring and the warmth.

He shifted, summoning the energy to roll over and clumsily resituate himself. He put his arm over Geralt's stomach and rested his head on his chest. That was better...

Geralt continued purring until he felt Jaskier completely relax. His breathing was deep and even, if a little congested. Geralt slowly eased his sleeping friend off him, settling him on his back so he could breathe easier.

He shushed him when he stirred, snuffling and clumsily rubbing the back of his hand over his eyes as he muttered groggily. Geralt pulled the blankets up over him, and laid his hand on his chest so he could feel that he was there. Jaskier settled back down after a few moments, falling back asleep.

Geralt made sure there was enough wood on the fire, then went to help Yennefer.

He spent the following days helping out around the house when he wasn't cuddled up to Jaskier, purring.

Jaskier improved quickly over the next three days. He was recovering from the cold faster than Yennefer expected. His fever had broken the first night, and the congestion was all but gone now. The cough lingered, but Yennefer was not concerned about it. Coughs sometimes didn't clear up for a week or two.

Jaskier had entertained himself while he recovered by discussing his theory about Geralt's purring with Yennefer. The sorceress hadn't dismissed his thoughts as he'd expected her to. Instead, she seemed quite interested in hearing them, and the two of them would discuss and compare theories and observations until Jaskier started drifting off. Geralt was often dragged into their discussions for his personal perspective and experiences.

When Jaskier was finally fit to travel, he left with a thick, warm jacket, a bag full of potions for when his arms ached, and a brand new notebook to start recording his thoughts, ideas, and observations. He promised that when they next saw each other, Yennefer could help him organize his notes.

Geralt had rolled his eyes and braced himself for a long winter.

[infernalmellifera]

Meet Miz Venus!!!

•´¨*•.¸¸.•*´¨•.¸¸.•´¨*•.¸¸.•*•*´¨•.¸¸.•*

ଘ(੭ˊᵕˋ)੭* ੈ✩‧₊˚ Basic Info!!

⋆｡ °✩ Name: ~ Venus Valentine ~

⋆｡ °✩ Age: ~ 18 ~

⋆｡ °✩ Birthday: ~ December 13!!! ~

⋆｡ °✩ Pronouns: ~ She/He/It ~

⋆｡ °✩ Personal account + non-art reblogs: @infernalcringecomp

⋆｡ °✩ Other: ~ Autistic // Fil-Am // Toric Enby ~

++ ⋆｡ °✩ Current Hyperfixation: ~ ULTRAKILL ~

•̩̩͙˚⁺‧. •̩̩͙˚⁺‧.˚ •̩̩͙ ✩. •̩̩͙˚⁺‧. •̩̩͙˚⁺‧. ˚ *•̩̩͙ ✩.

ε(*´･ω･)з* ੈ✩‧₊˚ My Tags!!

☆｡･:* #InfernalMellifera Art — My art :) mostly digital work, but the occasional cosplay prop piece and other projects as well.

☆｡･:* #InfernalMellifera Cosplay — Cosplay content , mostly handmade

☆｡･:* #InfernalMellifera Doodles — Doodley doos that I do at work and conventions

☆｡･:* #Mirage Monday — My Mirage (Ultrakill) semi-weekly cosplay content ! feel free to @ me in mirage fanart to cosplay :)!!! (started 9/4/23)

☆｡･:* #MY LOVELY BOYFRIEND YAAAY!!! — Drawings and (very rare) cosplay collaborations with FireCat115 (YouTube/Twitter)

+ Reblog Tags

☆｡･:* #favorites :] — I tag a majority of art reblogs with this one and I mean it every time. My bookmark tag bcz i also dont know how this site work’s completely yet >_<

☆｡･:* Hopefully Self Explanitory Subtags — #cuuuuuute!! ,, #gorgeous ones :9 ,, #interesting ones :0 ,, etc…

•̩̩͙˚⁺‧. •̩̩͙˚⁺‧.˚ •̩̩͙ ✩. •̩̩͙˚⁺‧. •̩̩͙˚⁺‧. ˚ *•̩̩͙ ✩.

ପ(๑ᴗ͈ˬᴗ͈)ଓ ੈ✩‧₊˚ About my Art........

ྀ࿔ I am an AVID Clip Studio Paint user. Almost all my digital work is made on CSP. Otherwise, I use Illustrator or Photoshop (for my older works done in high school). I have a Wacom One that I got for christmas that I use as well.

ྀ࿔ My typical process for more complex pieces is sketch, color, shading, blur, render, highlight. For a piece more simple like the one above, it would be sketch, lineart, color, shade, highlight.

You can read alll about my portfolio art (self-portraits) on my website too ✧～(ゝᴗ ∂ )

•̩̩͙˚⁺‧. •̩̩͙˚⁺‧.˚ •̩̩͙ ✩. •̩̩͙˚⁺‧. •̩̩͙˚⁺‧. ˚ *•̩̩͙ ✩.

˚₊·ଘ(っ≧∀≦)っ ੈ✩‧₊˚ Favorites!!

˚✧ Music Artist: Perfume

˚✧ Song: UltraChurch - Keygen Church

✧ Color: Pink and Red

˚✧ Streamer: Jerma985, of course!

˚✧ Music Genre: J-Rock // Breakcore // Game OST

˚✧ Game Genre: Rhythm Games

˚✧ Vidya Game: ULTRAKILL

˚✧ Character: Super Sonico!

˚✧ Animal: Le Frogge

•̩̩͙˚⁺‧. •̩̩͙˚⁺‧.˚ •̩̩͙ ✩. •̩̩͙˚⁺‧. •̩̩͙˚⁺‧. ˚ *•̩̩͙ ✩.

꒰ঌ(๑>◡<๑)໒꒱ ੈ✩‧₊˚ Fun facts!!

⋆｡ °✩ I LOVE dressing gyaru, but my favorite substyles to wear are:

─── ⋆⋅☆⋅⋆ Goshikku

─── ⋆⋅☆⋅⋆ Agejo

─── ⋆⋅☆⋅⋆Himekaji // Roma Gyaru

─── ⋆⋅☆⋅⋆ Rokku

─── ⋆⋅☆⋅⋆ Haady

⋆｡ °✩ My name is from the Planet, Venus (and kinda from Sailor Venus too...), and my favorite holiday!

⋆｡ °✩ My Special Interests are BEES and FASHION!!!

⋆｡ °✩ My Crested Gecko, Sebby, is 6 years old :]

🩷— Info in image but not in above text (alt text kinda) —🩷

👍 YAAAY! (things I love)

⭐️ My Boyfriend

ULTRAKILL

Persona 5 Royal

⭐️ Super Sonico!!!

Cosplay

Figurine Collecting

Bread 😋

⭐️ Cats! 🐈‍⬛

⭐️ Gyaru Fashion

Hating and Lying

Sex 😳

👎 Eww… (things I hate)

Yandere Content (tag if possible? light trigger but idgaf)

Hugs from strangers

British “people” (jokingly)

Drawing (also jokingly)

Other Info on Image

Height - 4’11”// 150cm (short king)

Favorite Necklace - Silver Cross

Drink I LOVE! - La Croix

I almost always use a ballpoint pen for doodles

I wear platforms

I draw my Boyfriend a LOT

[noloveforned]

my son just finished third grade and the university just finished spring term which means it's officially summer! i'll continue producing a radio show tonight and every friday night on wlur from 8pm until midnight and we'll continue with our jim white theme through most of the summer.

for those of you that can't stream in realtime, you can check out last week's show on mixcloud and find its setlist reproduced below!

no love for ned on wlur – may 17th, 2024 from 8-10pm

artist // track // album // label jim white and marisa anderson // aurora // swallowtail // thrill jockey rose mercie // sweet place // ¿kieres agua? // celluloid lunch bad bangs // palace // out of character // blossom rot autocamper // blanche // blanche / budge cassette // safe suburban home ducks limited // when you're outside // when you're outside digital single // carpark phil and the tiles // not today // double happiness // legless gee tee // drag race mag // prehistoric chrome // nailbiter ramones // chain saw // the 1975 sire demos // rhino tuff bluff // do you feel it? // tuff bluff // snappy little numbers les savy fav // world got great // oui, lsf // frenchkiss old 97's featuring exene cervenka // four leaf clover // too far to care // elektra eli winter, tyler damon and sam wagster // davening in threes (live in chicago) // a day behind the deadline // three lobed rosali // rewind // bite down // merge l. eugene methe // hours // maybe tomorrow // grapefruit tilth // four corners more // rock music // round bale the messthetics and james brandon lewis // three sisters // the messthetics and james brandon lewis // impulse! peter brötzmann and paal nilssen-love // ant eater hornback lizard // chicken shit bingo // trost luke stewart silt trio // baba doo way // unknown rivers // pi sathima bea benjamin // i'm getting sentimental over you // memories and dreams // ekapa tha god fahim and oh no // art official // berserko // nature sounds yaya bey // chasing the bus // ten fold // big dada lionmilk // lagoa azul // sauna saudade cassette // (self-released) rapsody featuring bee-b // dnd (it’s not personal) // please don't cry // jamla gipson [the matelot] // elohim // rivers of babylon // forward is the mantra blu and nottz featuring versis and scienze // creme of the crop // gods in the spirit ep // coalmine system exclusive // carry on // click // mt. st. mtn. comité balnéaire // station des iles // split screen (split cassette w/ walk home drunk) // hidden bay the avocados // brandi // by the end of the night 7" // yay! parsnip // turn to love // behold // upset! the rhythm fidel // downey, california // fidel // (self-released) soft covers // every week // soft serve // little lunch nerdy girl // casa nova // twist her // no life

[orexias]

@gloomedhands : [ circle ] — my muse makes shapes with your muse’s cum on the floor/their belly/etc / nsft memes. not accepting.

dakara had made the mistake of forgetting there was a mirror in nesta's inn room. luckily for him, nesta had an eidetic memory.

she's on her fours, here, dakara behind her, his face pressed against her back. their noticeable but not extreme size difference was enough to make her feel as small and warm as she wanted - needing all five of her senses used in this moment, needing to be known with no other pretense. his hands are warm and firm as they palm her breasts, the smacking of their bodies together an audible sound and music to her ears. the smell of sex in the air complemented the taste of sweat on her lip and the lingering flavor of his cock, once in her mouth. 

she needed this, to feel every inch of him plunging into her - to be handled by someone who knew what he was doing, someone she didn't have to teach the ropes to. there have been very few people who have known to handle nesta d'angelis in a way such as this - but dakara is a quick learner. nesta can appreciate that in a man.

still, it isn't enough - there is something about all of this that is missing, something that doesn't take away from her needs or her enjoyment, but something that would push it over the edge. something that would allow her to lose herself like this, lost in him and the sex they were creating. the thrum of the bard on the bottom floor of the inn creates a rhythm that shakes the floor underneath them. there, she thinks. that's it.

nesta grabs him by the arm, pulling him off of the bed- they go tumbling into the floor. this bumps some elbows and some knees, and they separate, nesta now on her back and dakara atop her. her chest rises and falls as she looks up at him, eyes frenzied, desperate, some semblance of terrible need that can't be quelled just yet. she looks up, eyes making contact with her own reflection. her eyes widen, elated, and she grins, pointing to the mirror.

" there, " she tells him, breathless, pointing at the mirror. " fuck me against that. fuck me like you were, like you want to break me, please, dakara. please. " nesta d'angelis is not one to normally say please, the need swelling in her body as she and dakara make their way over towards the mirror, and she laughs, overjoyed, as her chest is pressed against the reflective surface, breasts squished against their own mirror image, and dakara's chest is pressed against her back, his cock sheathed inside of her again, just as she demanded. a slow, sensual moan fills her, and she whines - each of her senses stimulated again, here; this time, the fifth joining them.

she feels his hands against her body, wrapped around her waist, fingers idly pressing against her clit, or the warmth of her mound, or the inside of her thighs. it's paired with the sound of their skin smacking together; with the new addition of their closeness, nesta can hear him cursing in what she believes is undercommon, his sonorous voice warm against the shell of her ear. the smell of their sex hasn't left them yet, the lingering musk of their passion between them, and finally, the taste -- instead of it being an echo of their previous foreplay, though, nesta is graced with his fingers, damp with where he has touched her, and accepts them into her mouth, tongue pressed against the undersides as she licks her essence off of his warm, callused digits. and finally - fuck, finally! - she can see him in the reflection, fucking into her with a need that matches her own, his face tucked into the nape of her neck, his breath hot on her skin.

she pushes herself off of the mirror, parallel to it, and she watches herself be fucked by him, her own expression twisting into this and that - and for a moment, but a split second, they make eye contact in the mirror, the heat of his gaze seemingly intense in the mirror, fogging up with the aftereffects of their sex. she groans around his fingers, leaning her head back, brow furrowing.

yes. this is what she needed, something beyond a quick fuck yet not holding the same kind of expectations that she might have with someone else. dakara gives her exactly what she needs, and sometimes - exactly what she wants. in return, she gives him her entire body to play with, to use as he wants, to take his frustrations and his needs out in. this is their arrangement; this is their design. 

he pulls his fingers out of her mouth, and nesta fucks back against him, those dampened fingers now reaching for her clit, working mischevious circles into it while nesta scrunches her face closed - he looks at her in the mirror, here, seeing every angle of her like she is a specimen on display. nesta enjoys the unintentional voyeurism - in another life, they fuck on a stage for the enjoyment of others and the eroticism of having an audience, but here and now, nesta is more than content with the private viewing he gets by way of letting her ride his cock.

she goes to say please again, to ask him for more, but his body is intentional with how his free hand comes to eclipse hers, his strokes deeper, harder, faster - silently, he tells her that she doesn't have to beg. her head falls back, and she whimpers, placing wet, lazy kisses on his jaw now that he's in control of the give-and-take. she's numb, lost to bliss, and dakara moves his other hand to brace against the mirror, his soaked fingers streaking lines of ecstasy down the reflective surface of the mirror, smudging their reflections in the most delectable, raunchiest way. the shapes his fingers make are unintentional, the way the digits twitch against the sensation of her body on his, an abstract, trembling scribble that translates into a need for orgasm. nesta sees it, her grin widening, eyes lidding. her own hand comes up to smear it, to draw his attention back to her.

" do it, " she whispers against his skin, her own body on fire, " cum for me, dakara. give me exactly what you know i need. you've done so well already; you've seen how wet i am, how good this feels-- i--i--i--"  

she cries out against him, wailing softly as the band beneath them in the tavern reaches the climax of their song, and he bites down onto her shoulder, filling her up with exactly what she needed. they both collapse forward, leaning against the mirror, nesta's mouth now claiming dakara's in a wet, sloppy kiss that lasts for what feels like forever. eventually, they both come up for air, and nesta's smile matches the one of the woman in the mirror.

" feel better? " dakara asks, and nesta laughs, a wordless nod leaving her.

" more than you will ever, ever know. "

[burlveneer-music]

Whatitdo Archive Group - Palace Of A Thousand Sounds

From the instrumental cinematic-soul outfit behind 2021's critically acclaimed The Black Stone Affair comes Whatitdo Archive Group's most recent foray into the realms of the esoteric and arcane, and their most adventurous album to date: Palace Of A Thousand Sounds, available May 5th, 2023 on Record Kicks on limited edition LP, CD and digital platforms. After The Black Stone Affair enthralled record collectors by traversing the cinematic landscape of an imagined 1970s Spaghetti Western, Palace Of A Thousand Sounds finds Whatitdo Archive Group entrenched deeper in the worlds of mid-century exotica and library music—from the Tropicalia-steeped Amazon to the minor key tonalities of the far-out Near East. From its conception in 2021, Palace has sought to carry on a legacy set in motion by the likes of Martin Denny, Les Baxter and Juan García Esquivel. Korostinsky, guitarist Mark Sexton, and drummer Aaron Chiazza recorded the album in marathon sessions from Korostinsky’s Studio “A,” in Reno, Nevada—a mysterious sonic laboratory where the year 1970 has yet to happen, and vintage analog equipment interfaces with modern musical perspectives and experimental recording techniques to produce era-defining sounds. Drawing from a century of pop and folk sounds from around the world the way only 21st-century crate-diggers can, Palace is rooted in an undercurrent of heavy funk that is decidedly here and now. Whatitdo Archive Group showcase the breadth of their influences with disarming confidence, equally at home behind sweeping harp, loungey vibraphone or Turkish bağlama saz. A lush seventeen-piece orchestra commanded by award-winning composer Louis King (Janelle Monáe, Monophonics) completes the instrumental mélange, enticing listeners to imagine a borderless planet unified by melody and rhythm.

[glfc2112]

Here is the visualizer for the Rush song “Digital Man.”  It is off their 1982 album Signals.

Here is what the song is about according to Carol Selby Price and Robert Price, co-authors of the book Mystic Rhythms. “The title character in ‘Digital Man’ is he who left behind his identity as the analog kid. The digital man is the creature of a world of high-speed technology, of the breakneck pace, of a rat race in which human beings sooner or later wear down or burn out because they are forced to try to match the pace of tireless, instant-replay machine. He is pretty much the same image as the humanoid, only here the focus is less on his denatured degradation as it is on his function as a cog in a wheel.  In some ways, the perfect example of the digital man is Winston Smith, the hapless anti-hero, the card-carrying member of the party, of George Orwell’s nightmare masterpiece, 1984. Digital man as a species may be ascendant, but his fate is sealed. The mechanical world of which he is a part must eventually collapse under its own weight. The human spirit will burst forth like the Phoenix from its own pyre, and on that day we’ll see the emergence of the New World Man.” According to Neil Peart, “The digital man character was running in the fast lane, faster than life.  It was our first attempt at juggling disparate stylistic influences—ska, synth-pop, and hard rock—and at the time we ended up with three pieces of one song held together by Crazy Glue.” At this point-in-time, everyone was wanting a new direction.  This song was divisive.  Rush liked it while Terry Brown (long-time producer) didn’t. They had one of the very arguments with Brown about it.  They would usually come around to Brown’s point of view.  This time they didn’t.  In fact, Brown said it sucked.  This is in reference to the ska oriented bridges. Here is what Neil Peart had to say in “Dummer’s Diary.” “’Digital Man’ had actually been started last fall at Le Studio, when we had put together the lyrics and the music for the verses and the "ska" style bridges, but we had been unable to come up with the right combination for the choruses. After much head scratching, we finally came up with the sequencer pattern, and the guitar and drum patterns to go with it. We were all very pleased wit the dynamic and unusual nature of the part, it was so different for us; but our ‘objective-ear’, co-producer Terry Brown was not so enthused.” Divisive song indeed.

[dealgemeneverwarring]

De Algemene Verwarring #97 - 18 September 2023

The ninety-seventh episode of De Algemene Verwarring was broadcast on Monday, September 18, 2023, and you can listen to it by clicking on the link below that will take you directly to the Mixcloud page:

First of all, yes I know I am a bit late with this one as episode #97 was already broadcast a week ago. Apologies, shit happens. Let's get down to business. Pictured below is the New Zealand trio The Strange Girls, consisting of Clayton Noone, Kaaterama "Motty" Morehu and Jon Arcus. Fördämning Arkiv from the mighty Göteborg released a compilation of early work from the band last year, and lately I have been listening to this record a lot. The band was unknown to me before, and that's not that weird because they released mainly cassettes, cd-r's and very limited lathe cut vinyl, so obviously not very easy to find back in the non-digital era. Some, if not most, of those releases are now on the Bandcamp page of the band, but of you want some nice black vinyl, this is the record that you must buy. It's an absolute wonderful record that I forgot to mention in my "best of 2022" list. Atmospheric downer shoegaze folk or something. It's the third time I played a track from the record in the show and I wouldn't be surprised if that was not the last time yet.

There's some intriguing new records in the show by Nusidm, The Sheaves, The Toads, Loopsel and Current Affairs, and the regular older crackers, this time coming from i.a. Drunks With Guns (wow, that was long ago!), The Drags, The Pupils, and Anika! And unfortunately we have to close the show with a Stars From The Lid track, in memory of the gone-too-soon Brian McBride. And beneath the photo you can find the playlist for the show. Enjoy!

Playlist:

The Drags: Slick Livin' It Up At The Bottom Of The Sea (split 7" with The Peechees "Radio Disappears" on G.I. Productions, 1996)

The Apostles: Hello, You Bastard (2LP "Best Forgotten - Early Demo, Live & Practice Tapes 81-83" on Horn Of Plenty, 2022, originally released on "Topics For Discussion - 4th Demo" on Scum Tapes)

Utopie: Dents De Scie (12" "Seconde Figure" on Lada Records, Dans Le Vide, Don't Trust The Hype, Les Choeurs de l'Ennui & Symphony Of Destruction, 2022)

Current Affairs: No Fuss (LP "Off The Tongue" on Tough Love Records, 2023)

The Toads: Nationalsville (LP "In The Wilderness" on Upset The Rhythm, 2023)

The Sheaves: Hit Silly (LP "Excess Death Cult Time" on Minimum Table Stacks, 2023reissue, originally released on tape by Moone Records in 2022)

Religiöus Overdöse: Control Addicts (LP "Strung Out On Heavens High 1980-1982" on Optic Nerve Recordings, originally released on a 7" in 1981, on Glass Records)

Noir Boy George: Quand Tu Marches Dans La Rue (LP "Gloire A Satan" on Attila Tralala, Animal Biscuit, Eurochoc Production & Poussière d'Epoque, 2023, originally released on cassette in 2011 on Tanzprocesz)

Anika: Naysayer (LP "Change" on Invada Records, 2021)

Nusidm: Arm Unemployed (LP "The Last Temptation Of Thrill" on Bruit Direct Disques, 2023)

Drunks With Guns: Wonderful Subdivision (CD "Second Verses" on Intellectual Convulsion, 1990)

The Pupils: It's Good To Have Met You (CD "The Pupils" on Dischord, 2002)

The Strange Girls: Satan (LP "It's Ok To Be Happy (1999-2001)" on Fördämning Arkiv, 2022)

Warm Currency: Winter Advertisement (10" "Returns" on Horn Of Plenty, 2022)

Loopsel: Poison Tree (LP "Öga för Öga Eye For An Eye" on DFA Records & Mammas Mysteriska Jukebox, 2023)

Stars Of The Lid: Apreludes (in C Sharp Major) (3LP "And Their Refinement Of The Decline" on Kranky, 2007.

[watching-pictures-move]

Movie Review | Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (Akerman, 1975)

This is one of those movies that I'd been aware of for quite some time but had held off for seeing, for a number of obvious reasons. One, the three-and-a-half-hour runtime had made it seem pretty daunting, especially as I'd heard the movie is best appreciated when seen in one sitting. Two, I'd heard it associated with "slow cinema", a kind of film that I often struggle with. There's a certain strain of modern arthouse cinema that defaults to slow, austere and uneventful that I struggle with (I think those are choices that need to be justified), and I'd heard this cited as a key influence on that kind of movie, so there was a good chance I would have a hard time with this. Three, my experience with Chantal Akerman's films has been pretty mixed. I gelled quite strongly to the narrative features of hers I've seen, Je, Tu, Il, Elle and Les Rendez-Vous D'Anna, but found her documentaries Hotel Monterey and News From Home to be interminable. Both sets of films had a certain dry observational quality, but I think the fact that the form tied that viewpoint to actual characters made them a lot easier to click with. But given this one's runtime, I don't know how well that dynamic would translate for me.

Of course, spurred by its recent topping of the 2022 Sight and Sound Greatest Films of All Time poll in a stunning upset, I decided to finally close off this blindspot, and I can maybe take a moment to address my previous reasons for hesitation. Yes, the film is quite long and probably is better appreciated in one sitting, as its depends on the development of the specific rthythms of the heroine's life, rather than any particularly exciting incidents (until the very end). But three and a half hours is also a pretty long time to dedicate at once for most people, and the movie comes divided into three sections, each representing a day in her life. The first two run about an hour, the last an hour-twenty. So if you wanted to see it and couldn't dedicate a large enough block for the whole thing, you could get away with seeing it in two or three sittings. As long as you bring to it a certain patience and relaxed state of mind, you should be able to soak it in.

I do think I was wise to hold off seeing this until I'd seen a few other Akermans, as they made it easier to grasp how exactly this movie worked. The film is comprised of largely static, simply framed shots of the heroine going about her daily routines. Peeling potatoes. Making meatloaf. Preparing the table for dinner with her son. Looking after a neighbour's baby. Eating a sandwich. Packing and unpacking the sofa bed. Getting visits from johns who she takes into the bedroom, and then sees out. Much of this feels like Akerman just let the camera roll, but I do think that last routine demonstrates that, yes, this is in fact being actively directed. Je, Tu, Il, Elle has a notably graphic and drawn out sex scene, so the omission of such images here is a deliberate choice. The earlier movie reflects a certain joy of discovery by its heroine, so it makes sense that the movie would take certain relish in presenting what for her is an enjoyable experience. Here, the heroine sees this activity as merely a means to an end, a way to pay the bills. No sense on dwelling on her emotions during the experience, positive or negative.

The fact that a shot on 35mm film could only last for ten minutes means that the movie maintains a certain rhythm, in that it has to go from one routine to the next by virtue of this technical limitation (even putting aside Akerman's choices in presenting this material). One wonders if this movie, made now on digital video, could draw out these sequences even longer, perhaps even going so far as to depict the heroine's entire day in real-time, but I think that would lose the plot in terms of depicting the mundanity of her routines. Limiting what we see to the most uneventful stretches hammers home their repetitive, deadening quality. A full day would unavoidably have some spontaneity. Here, the most exciting things that happen (until the very end) involve the heroine scrambling to buy potatoes when she realizes she's almost out, trying and failing to find a replacement button for a coat, and having awkward bedtime conversations with her son. (As she's a single mother, the "talk to your [mother/father]" card isn't one she has at her disposal.) I also think film lends a certain tactility to her environment that would be harder to achieve on digital. The film has a muted, largely green colour palette, but the cinematography helps us grasp the specific textures of the heroine's house and wardrobe, and what might seem cozy or cute early on can be revealed as imprisoning or deadening by the end of the movie, in a way we can touch and feel.

The sameness of that colour palette and the rigidity of those routines means that the elements that disrupt them, either visually (her red, postcard-printed scarf, or a pink garment she unpacks and admires) or rhythmically (the potato and button episodes) stand out all the more as a result. In the last hour, we start to get moments where the heroine just sits and takes a moment for herself, and these are startling in their impact, as they're the first we've seen her exert some actual agency (even if through inaction), and do something that isn't purely utilitarian. And the shock of the final moments is impactful for the same reason. It's possible they would have still served the same purpose had the film been shorter, and I'm not sure how much I felt their effect in my bones rather than grasping it conceptually, but at the same time, the extremity of Akerman's style is very much key to her message. The movie has been lingering with me, which is certainly a good sign.

A few final notes:

Citizen Kane, the winner of the Sight and Sound poll for several decades (until it was bumped to second place in 2012 by Vertigo, and now both have been bumped another spot each by this one), is another movie I'd held off seeing for years because of its reputation. I think I made a wise decision in that case as well, as much of its power comes from its repurposing of any number of technical and stylistic innovations, something that is harder to appreciate if you're a cinema n00b trying to just tackle lists. It's interesting how spontaneous that movie feels compared to how pathologically deliberate this one is. There's room in the pantheon for both, and lots in between.

This is a symptom of my degenerate viewing habits, but the only other movie I'd seen this year as concerned with mundanity is On the Prowl, the pioneering gonzo pornographic video directed by Jamie Gillis. Both movies are about the things you don't see in movies in their respective fields. Jeanne Dielman is about the household routines other movies wouldn't bother depicting, On the Prowl is about difficulties in getting it up, the starlet touching up her makeup, the director going to get an espresso. And both movies capture a certain dehumanization. Jeanne Dielman trapping its heroine through her domestic routines, On the Prowl taunting its male cast for not being able to perform and its starlet for trying in vain to maintain some semblance of dignity. If you really wanted to, you could program these in a double feature. No matter which one you put on first, there would be walkouts.

[archinform]

Pleasant Home, Oak Park IL

Pleasant Home (Farson-Mills House), 1897, 217 Home Avenue, Oak Park, IL 60302

Pleasant Home

George W. Maher designed this 30-room mansion for millionaire banker John W. Farson of Oak Park. Farson purchased the lot at the corner of Pleasant St. and Home Ave. in 1892 for $20,000, the largest price ever paid for a residential lot in Oak Park. Over the following years he acquired land to the south and west for a large garden.

Herbert S. Mills, the second owner of Pleasant Home, made his fortune in the amusement business. The Mills family sold the house in 1939 to the Park District of Oak Park, the grounds being designated as Mills Park in their honor.

The home today is operated as a historic house museum, an events venue, and serves as the headquarters for The Pleasant Home Foundation.

The house is listed on the National Register of Historic Places.

Illustration of Pleasant Home from The Inland Architect and News Record

Considered one of the earliest examples of prairie school architecture, Pleasant Home is often viewed as the finest surviving example of Maher's residential work. The house was completed three years after Frank Lloyd Wright's Winslow House in River Forest, an early expression of Wright's emerging design principles, later to be known as the prairie style.

The Prairie School developed in sympathy with the ideals and design aesthetics of the Arts and Crafts movement of 19th century England by John Ruskin, William Morris, and others. It is also seen as a successor to the Chicago School of architecture associated with architects William Le Baron Jenney, H.H. Richardson, Daniel H. Burnham, John Wellborn Root, Dankmar Adler, and Louis Sullivan.

The Prairie School attempted to develop an indigenous North American style of architecture, without the design elements and aesthetic vocabulary of earlier styles of European-influenced architecture such as the Queen Anne and Gothic Revival styles. 

The smooth surfaces of Roman brick, the low-pitched, hipped roof and the broad entrance porch of the Parson House are characteristic features of Maher's work that link him to the early modern designs of his Prairie School contemporaries. In the Parson House Maher also introduced his personal design philosophy, which he called motif rhythm theory, to unify the decorative details of the house and its furnishings. The house retains its historic integrity in terms of materials, design and setting. Virtually all of the original decoration specified by George Maher is preserved and the lavish decorative treatment is everywhere apparent on the interior.

Kathleen Cummings, National Historic Landmark Nomination, 1996

Detail of front porch support column

Stained glass entrance and flanking windows

Entrance hall fireplace beneath Pleasant Home panel

Detail of lion head carving, repeated throughout the house, on entrance hall built-in bench

Carved screen in entry hall in front of the music room on the mezzanine

Stained glass entrance window

Reception room

Living room or sitting room

Dining room ceiling fixture

Dining room

Dining room corner, leading to summer dining room

Domed light fixture in the library

Library

Original Maher-designed dining table and chairs, now displayed on the second floor

The stunning original wall colors are seen in the above two photos of second-floor bedrooms

Vintage views of Pleasant Home, from the Ryerson and Burnham Libraries, Art Institute of Chicago:

Left: George W. Maher and John W. Farson in the garden of Pleasant Home

Right: Entrance hall

Left: dining room Right: sitting room

The Ryerson and Burnham Libraries, Art Institute of Chicago, house a copy of the 1902 publication "Farson, John, Residence; Farson-Mills Pleasant Home." The publication contains many views of the house, exterior and interior.

Collection Call Number FF Special NA7239.M34 A65 1902.

Access the digitized copy at this link:

[rentit4-me]

Top 5 Must-Have Musical Instruments for a Successful Concert

When organizing a concert or live event, choosing the proper musical instruments can make all the difference between an average performance and a fantastic show. No matter the genre—rock, jazz, pop, or even classical—having suitable instruments ensures excellent sound and helps keep the audience engaged. Whether you're planning to rent musical instruments for an event or gearing up for a significant performance, here are the top five must-have instruments for a successful concert.

1. Electric Guitar: The Heart of Live Performances

The electric guitar is essential in almost every modern music genre, especially rock, pop, and jazz. It is a rhythm and lead instrument, making it highly versatile. Renting electric guitars allows you to access top-quality models without spending much money. Plus, you can choose from different models like the Fender Stratocaster or Gibson Les Paul, depending on your music style. A great electric guitar ensures your concert sounds vibrant and energetic, keeping the audience excited.

2. Drum Set: The Beat That Drives the Show

A drum set is the heartbeat of any concert. Whether rock, jazz, or pop music, the drums keep the rhythm and energy. Renting a drum set is a smart choice for events as it lets you use professional-quality kits without the hassle of buying one. From bass and snare drums to cymbals, a well-tuned drum set ensures your performance stays tight and energetic. Rental companies often provide maintenance and tuning services so the drums will be in perfect condition for the big day.

3. Keyboard: A Versatile Choice for Any Genre

Keyboards or digital pianos are incredibly versatile and can be used in any music genre, from classical to rock or jazz. Renting a keyboard for your concert gives you access to high-quality instruments like Yamaha digital pianos or Roland synthesizers. Whether you're adding background melodies or intricate solos, a keyboard can fill out the sound of any band. Rentals also give you access to the latest models, ensuring you have the best features for your performance.

4. Bass Guitar: The Foundation of Your Sound

Though often overlooked, the bass guitar is crucial in providing depth and groove to any live performance. It plays an essential role in genres like rock, funk, and jazz by anchoring the music with low-end frequencies. Renting a bass guitar lets you pick from various models like the Fender Jazz Bass or modern Ibanez designs, ensuring your sound is punchy and clear. Renting also means you get a well-maintained instrument that delivers consistent sound quality throughout the concert.

5. Saxophone: Adding Jazz and Soul to Your Event

The saxophone is known for its smooth, soulful tones, making it a popular choice for jazz, blues, and even pop music. Renting a saxophone for your event allows you to access high-quality instruments without the high purchase price. Whether it’s an alto, tenor, or baritone saxophone, this instrument adds a unique character to your live music, making it memorable for the audience.

Why Renting Musical Instruments Makes Sense for Concerts

Whether organizing a one-time event or planning a tour, renting musical instruments is smart. Renting gives performers access to top-quality instruments without the heavy price tag. You also have the flexibility to try out different models and brands before deciding what works best for your performance.

Another advantage of renting is convenience. When you rent musical instruments for events, the rental company often handles tuning and maintenance so you can focus on the performance. This helps ensure everything runs smoothly during the concert without worrying about technical issues.

Final Thoughts on Instrument Rentals for Concerts

Having the right instruments is key to putting on a successful concert. From electric guitars and drum sets to keyboards, bass guitars, and saxophones, renting gives you access to the best gear without the high costs. Working with a trusted rental service means your instruments will be well-maintained and ready to perform, ensuring your concert is a hit.

Whether a small gig or a large show, renting musical instruments is a cost-effective and hassle-free solution that guarantees a memorable performance for musicians and the audience.

Ready to Rent? Download the Rentit4me App Today!

To find the best musical instruments for your concert, look no further than Rentit4me! With our user-friendly renting app on Android and iOS, you can easily browse, compare, and rent high-quality musical instruments from the comfort of your home.

Don’t miss out on making your event unforgettable—download the Rentit4me app now and get started on your musical journey!

[orchestrafuego]

(via La Bamba)

Orchestra Fuego's latest single, "La Bamba," will debut tomorrow on our website and all digital platforms. This vibrant Salsa rendition of the iconic 1958 hit by Ritchie Valens features the soulful and captivating vocals of Kharina Rovira and Betsy Lopez, adding a fresh, dynamic energy to the beloved classic. The infectious rhythm and spirited performance make this release a must-listen for fans of Latin music.Please support us by purchasing a copy from our website. We truly appreciate your support.

El último sencillo de Orchestra Fuego, "La Bamba", debutará mañana en nuestro sitio web y en todas las plataformas digitales. Esta vibrante interpretación en salsa del icónico éxito de 1958 de Ritchie Valens cuenta con las voces conmovedoras y cautivadoras de Kharyna Rovira y Betsy Lopez, que le agregan una energía fresca y dinámica al amado clásico. El ritmo contagioso y la interpretación enérgica hacen de este lanzamiento una escucha obligada para los fanáticos de la música latina.Por favor, apóyanos comprando una copia en nuestro sitio web. Realmente apreciamos tu apoyo.#salsaparaelmundo 

[aykutiltertr]

Bella Ciao (Çav Bella) - Becky G ✩ Rhythm Karaoke Original Traffic (İtal...  ⭐ Video'yu beğenmeyi ve Abone olmayı unutmayın  👍 Zile basarak bildirimleri açabilirsiniz 🔔 ✩ KATIL'dan Ritim Karaoke Ekibine Destek Olun (Join this channel to enjoy privileges.) ✩ https://www.youtube.com/channel/UCqm-5vmc2L6oFZ1vo2Fz3JQ/join ✩ ORİJİNAL VERSİYONU Linkten Dinleyip Canlı Enstrüman Çalıp Söyleyerek Çalışabilirsiniz. ⭐ 🎧 https://youtu.be/l5TMjYj-8MQ ✩ (MAKE A LIVE INSTRUMENT ACCOMPANIMENT ON RHYTHM IN EVERY TONE) ✩ Aykut ilter Ritim Karaoke Ekibini Sosyal Medya Kanallarından Takip Edebilirsiniz. ✩ İNSTAGRAM https://www.instagram.com/rhythmkaraoke/ ✩ TİK TOK https://www.tiktok.com/@rhythmkaraoke ✩ DAILYMOTION https://www.dailymotion.com/RhythmKaraoke ⭐ Bella Ciao (Çav Bella) - Becky G ✩ Rhythm Karaoke Original Traffic (İtalian Folk Music) Label: Kemosabe Records/RCA Records Song Production: Stephen "Di Genius" MacGregor @digenius1 Creative: Bankrobber @bankrobberprojects Production: Starfish @starfishprojects Director: Meg Gámez @meggamez Executive Producer: Jenita Spirtovic @crystalmetheny Line Producer: Oualid Mouaness @oualidoualidou, Production Supervisor: Christine Miller @christinemiller7 DP: Josh Saideman @josh_saideman Choreography: Cat Rendic @catrendic Dancers / Stunt: Monique Watson, Olivia Wong, Kelvin Delgado, Sam Holmberg, Chris Anthony, Stephanie Mincone, Ellie Soto Stylist: Morgan Pinney @morgann MUA: Patrick Ta @patrickta Hair: Rikki Gash @rikkigash Nail Art: Patty Gamez @patty3dnails Spray Tan: Isabel Vita @isabelalysa Editorial and Finishing: Digital Sword Color: Company3 Sound MIX: Racket Sound Bm Una mattina mi son svegliato, O bella, ciao! Bella, ciao!        Bm7 Bella, ciao, ciao, ciao!       Em               Bm Una mattina mi son svegliato Bm                   D İşte bir sabah uyandığımda Bm Çav bella çav bella çav bella, çav çav çav          Em                                 Bm                             F#               Bm Elleri bağlanmış bulduğum yurdumun, her yanı işgal altında  x2 Bm Sen ey partizan beni de götür Bm Çav bella çav bella çav bella, çav çav çav              Em                    Bm                 F#                    Bm Beni de götür dağlarınıza,   dayanamam tutsaklığa   x2 Bm Eğer ölürsem ben partizanca Bm Çav bella çav bella çav bella, çav çav çav                   Em                Bm                    F#               Bm Sen gömmelisin ellerinle beni, ellerinle toprağına    x2 Bm Güneş doğacak açacak çiçek Bm Çav bella çav bella çav bella, çav çav çav              Em                    Bm                              F#               Bm Gelip geçenler diyecek merhaba, merhaba ey güzel çiçek   x4        F#7         Bm e ho trovato l'invasor. Bm O partigiano, portami via, O bella, ciao! Bella, ciao!        Bm7 Bella, ciao, ciao, ciao!         Em           Bm O partigiano, portami via,        F#7        Bm ché mi sento di morir. Bm E se io muoio da partigiano, O bella, ciao! Bella, ciao!        Bm7 Bella, ciao, ciao, ciao!         Em            Bm E se io muoio da partigiano,      F#7         Bm tu mi devi seppellir. Bm Seppellire lassù in montagna, O bella, ciao! Bella, ciao!        Bm7 Bella, ciao, ciao, ciao!        Em               Bm E seppellire lassù in montagna        F#7               Bm Sotto l'ombra di un bel fior. Bm E le genti che passeranno O bella, ciao! Bella, ciao!        Bm7 Bella, ciao, ciao, ciao!      Em            Bm E le genti che passeranno      F#7             Bm Ti diranno «Che bel fior!» Bm «È questo il fiore del partigiano», O bella, ciao! Bella, ciao!        Bm7 Bella, ciao, ciao, ciao!             Em              Bm «È questo il fiore del partigiano      F#7         Bm morto per la libertà!» Bm                   D İşte bir sabah uyandığımda Bm Çav bella çav bella çav bella, çav çav çav          Em                                 Bm                             F#               Bm Elleri bağlanmış bulduğum yurdumun, her yanı işgal altında  x2 Bm Sen ey partizan beni de götür Bm Çav bella çav bella çav bella, çav çav çav              Em                    Bm                 F#                    Bm Beni de götür dağlarınıza,   dayanamam tutsaklığa   x2 Bm Eğer ölürsem ben partizanca Bm Çav bella çav bella çav bella, çav çav çav                   Em                Bm                    F#               Bm Sen gömmelisin ellerinle beni, ellerinle toprağına    x2 Bm Güneş doğacak açacak çiçek Bm Çav bella çav bella çav bella, çav çav çav              Em                    Bm                              F#               Bm Gelip geçenler diyecek merhaba, merhaba ey güzel çiçek   x4 Bella ciao Da Wikipedia, l'enciclopedia libera. Disambiguazione – Se stai cercando altri significati, vedi Bella ciao (disambigua). Questa voce non è neutrale! La neutralità di questa voce o sezione sugli argomenti storia e musica è stata messa in dubbio.

[americaluna]

Technology in Art: Introduction to Printing Digital Photos – Inkjet Prints

Printing Digital Photos – Inkjet Prints

Student Name| School Level | Course Name & Grade Level: High School – 10th Grade, Art 2 (High School)

Lesson Topic: Editing and printing digital photos

Duration: 2 Hours

Objective Statement:   

Students will be able to use simple editing techniques to present digital photos in print. Students will use Adobe Photoshop to resize, edit, and print their photos.

Lesson Overview:

This lesson aims to consider how students can present their photography or digital assignments through inkjet prints. They will consider sizing, rendering, file size, lighting, and color grading to present their photography-based projects. Students will consider how to create a cohesive collection of 24 photos. Photos must have a narrative connecting to one another. Students will learn about Richard Avedon’s influential career as a fashion and portrait photographer. Students will learn about Vietnamese American, An My Le, a documentarian photographer based from New York. 

Rationale:

Students will use technology to create a cohesive album of photos by considering fundamentals in photography and art. Composition, color, value, balance, movement, unity, emphasis, contrast, pattern, and rhythm

Overview:

Students will create a collection of 24 inkjet prints by using technology and their knowledge of art principles and elements.

Artists:

These artists have a history to be involved in the U.S. Army. (Career Route)

Richard Avedon – American Photographer born and worked in New York City. Focused on portraits. He was interested in how photography can capture the traits of his subjects. He focused on the presentation of his subjects (hair, clothing, make up) and their poses. Worked with Harper’s Bazaar, Vogue, and other magazines.  The Richard Avedon Foundation ; Avedon at the Amon Carter

Suggested Works:

Boyd Fortin, thirteen-year-old rattlesnake skinner, Sweetwater, Texas, March 10, 1979

Ronald Fischer, beekeeper, Davis, California, May 9, 1981        

New York Life #1, Central Park, New York City, July 22, 1949

gelatin silver print.

An-My Le – Vietnamese Photographer based from New York, New York. Born in Vietnam, An-My Le is a Vietnamese American photographer who has documented scenes from her home country to southern United States. An-My Le in Art in America ; An-My Le in New York Times

Suggested Works:

An-My Lê: Untitled, Nam Ha, 1994, gelatin silver print, 22 3/8 by 15 3/4 inches; from the series “Viet Nam.”

An-My Lê: Untitled, Sapa, 1995, gelatin silver print, 22 3/8 by 15 3/4 inches; from the series “Viet Nam.”

An-My Lê: Manning the Rail, USS Tortuga, Java Sea, 2010, inkjet print, 40 by 56 1/2 inches; from the series “Events Ashore.”

What is an Inkjet print?

A print created by a contact-free printer that distributes droplets of ink over a surface to create an image. Most often a print head with nozzles moves across paper depositing liquid ink in cyan, magenta, yellow, and black, although some professional-grade printers employ up to 12 colors. Many different printer types exist, and they can be used with a wide range of supports including papers, textiles, and metals. Introduced in the 1980s, inkjet prints became increasingly common in the 1990s. The process, which produces prints that can closely resemble photographs made in a darkroom, continues to improve in sophistication, and is widely used today.

Source: Inkjet print - MoMA

What is CMYK? Liquid ink of cyan, magenta, yellow, and black “key”. They are colors used in the printing process instead of using primary colors. “Key” refers to black because all the other inks are mixed to create black or darker colors in the printing process. It is best to format images in CYMK if considering print.

More information on CMYK

Materials / Resources:

Preface Photography Lesson, Students will have photos from a lesson before or photos from their personal phone gallery

Adobe Photoshop

Epson Photo Paper in variety of sizes

Ink Jet Printer

Technology:

Students will use their computers to use Adobe Photoshop.

Inkjet printer

New Vocabulary

Point and Shoot

Ink-Jet Print

Procedures:

Introduction/Hook/Bell Ringer:

From your phone’s camera roll? Analyze your favorite picture for composition, color, value or any other element or principle of design.

Lesson | Step by Step:

Students will follow a tutorial on how to resize and format their digital photo for printing. They will consider CYMK on Photoshop.

They will consider dpi, png, or jpeg formats. They will also consider the typical “point and shoot” film ratio such as 6x4 or 5x7. They will need to keep this ratio to size up their photos, no bigger than 24 x 18 in

Students will color grade their photos by using different layers of adjustments on photoshop. They may use filters or textures to unify their photos.

Students will edit up to 24 photos and experiment with printing them on the printers. Students must use photo paper in matte or gloss.

Students will display their photos on black or 50% gray poster boards. Students must describe their narrative and their process to the class during the critique.

[elefant-records]

PIPIOLAS (Feat. KIKO VENENO) "Llorarme" Single Digital

Ríos de tinta (y de bits) corren a propósito de “No hay un Dios”. Sí, Adriana y Paula ya son un fenómeno musical. Sus canciones tan inmediatas y tan llenas de personalidad y su energía (dentro y fuera del escenario) las han convertido en ese secreto a voces que todos cantan. Y después de la colaboración con Rigoberta Bandini, cada vez son más los grandes artistas que quieren disfrutar de compartir canciones con nuestras protagonistas. Y agarraos porque “Llorarme” es un tema rhythm and blues que haría las delicias de Dusty Springfield o Lorraine Ellison, con una producción del siglo XXI realizada por Vau Boy y en la que comparten pista con Kiko Veneno, que le da su toque especiado y sabroso. El sevillano sigue buscando otros caminos, aunque en su momento revolucionó el flamenco-rock-pop con el LP “Veneno” y con su participación en “La Leyenda Del Tiempo”, por eso se arrima ahora a PIPIOLAS con voz y guitarra. Imprevisible, maravilloso; es la magia que tiene seguir a la inspiración y la creatividad estén donde estén. Y no os imagináis cómo suena “Llorarme”. Qué delicia. Emocionante por esas melodías a flor de piel y ese “ssshhhh”; excitante por la química especial de este cóctel impensable que nos lleva a sitios insospechados. Es único. Y mientras Adriana y Paula siguen recorriendo los escenarios de toda España con el espíritu de artistas totales y su vitalidad desbordante. Da vértigo imaginar el camino que les queda por delante.

[prtcll]

【Release Info】 Leo Okagawa [Density] (Dissipatio / May 10, 2024) - CD / Digital

[Buy] Dissipatio Bandcamp Page Leo Okagawa Bandcamp Page

[Tracklist]

The Luminous

Awake

Getting Closer

Apoptosis

Counting Clockwise

Into the Deep

Saturation

Manufacture

Intermission

Capture

Hephaestus

Matter

"Density" is the composed album focusing on electric beats/rhythms. Between tones, silences, and rhythms, Leo Okagawa explored the density.

Recorded and mixed in 2020 - 2023 Mastered by Giuseppe Ielasi Cover photography by Leo Okagawa Design by Nicola Quiriconi

【Review】 Vital Weekly: From the few solo releases I heard from Leo Okagawa from Japan, he likes to take a more conceptual approach. When I write this review, this CD is not yet available on Bandcamp, and this label doesn’t do press texts; also, the cover has no details other than 12 song titles and some basic information. Whatever the concept is here, it could be that there is no concept, and we’re dealing here with 12 independent pieces of music. There aren’tis little relations between the pieces if one only looks at the titles. Whereas some of his older works used field recordings, this new one is about electronic sound, I am guessing, but he’s using a modular set-up in these pieces and no field recordings at all. Okagawa creates some strange electronic pieces with this set-up, which may sometimes remind the listener of Pan Sonic, but without any strict rhythm (read: nothing to dance to). There’s that raw synth approach, the intensity of sine waves and block tones. Even when it’s not music to dance to, it’s still something we recognise as inspired by Pan Sonic, all the more in those pieces with more rhythm, in ‘Apoptosis’, for instance, with its machine-like character. It is a great reminder of how far-reaching the influence of Pan Sonic was and still is; we all tried it. But I admit Okagawa’s music also has something distant here. Maybe because it lacks the element of danceability, the head nod aspect as we used to call it, all that remains angular sounds, which sound alright, but in which mood do you have to be to hear this? (reviewed by Frans de Waard)

So What: Elettricità, rumore e suoni ambientali sono gli elementi fondanti della ricerca di Leo Okagawa, particelle essenziali attraverso cui esplorare le potenzialità del suono. Il primo di essi è alla base della proposta elaborata per la Dissipatio di Nicola Quiriconi, utilizzato quale componente ritmico/noise connessa all’utilizzo attivo dei vuoti.

L’ambiente d’ascolto confezionato dal sound artist giapponese si muove all’insegna di una spinta essenzialità, che lascia pieno campo allo sviluppo di tracciati pulsanti spigolosi, la cui ridondanza sa trovare solo a tratti esiti ipnotici accattivanti (Apoptosis, Manufacture) risultando invece spesso eccessivamente piatta (Getting Closer, Counting Clockwise). Decisamente di maggiore impatto sono i frammenti più atmosferici (Intermission) e noise (Capture), che insieme ai differenti livelli di saturazione delle singole tracce – generati dalla distribuzione delle pause e dall’iniezione di frequenze rumorose – determinano le variabili di un’operazione ostica, priva di concessioni. Una sperimentazione algida che brilla per la purezza con cui viene espletata, difficilmente approcciabile da chi non si muove all’interno del suo ambito.

Sodapop: Non so molto di Leo Okagawa, se non che è un sound artist giapponese e che ha inciso diverso materiale a partire dal 2017 su etichette a me oscure (solo la tape label tedesca Grisaille mi torna con qualcosa all’orecchio). Prodotto in versione minimale dalla Toscana Dissipatio il suono di Leo è chirurgico e riesce a mettere in scena la tensione come se ci mostrasse i trucchi e gli effetti speciali da dietro un set cinematografico ma non potessimo comunque trattenere i brividi istintivi. Ronzii, beats, basse frequenze, come se a suonare fossero apparecchiature elettromedicali e non un essere umano. Il suono è pulitissimo, limpido ed asettico, segmentato il necessario per non essere ascrivibile a nessun genere. C’è una sorta di idea dub e di elettronica che non necessita di più nominazioni, visto che si esprime con forza in quello che è: ritmo. Come tale, visto l’effetto che scatena sulle membra, conviene semplicemente tuffarsi, muovendosi e consigliando agli ascoltatori di fare altrettanto. Counting Clockwise in un mondo perfetto sarebbe un riempipista strategico e forse sta proprio a noi, tramiti ed ascoltatori, promuovere un’idea del genere, che si collega direttamente alla funzionalità del suono più minimale ed efficace. Sì ascolta, si balla, si ondeggia e ci si fa trascinare senza remore. Un disco abbacinante, da ascoltare al massimo del volume, all’aperto, in mezzo a gente inconsapevole e sconosciuta, sorridendo, nonostante fischi e larsen. (reviewed by Vasco Viviani)

Bandcamp Daily: In the brief description on the Bandcamp page of Leo Okagawa’s latest work, one sentence reads, “Between tones, silences, and rhythms, Leo Okagawa explored the density.” It’s a rather bare bones way of putting it, but then Density is a set of very simple, mostly short pieces wherein Okagawa finds complexity in the process of repeating basic sounds. This can manifest in both a textural drone like “Intermission,” or an industrial-style stomp like “Counting Clockwise.” Though his textures develop and evolve, he never gives in to the temptation to give them melodic arcs. There’s a purity to the way he doles sounds out, fascinated by what happens when you give noises room to roam. (reviewed by Marc Masters)

ESTÉTICAS CANÍBALES: (Part 1) Density de Leo Okagawa, estrenada el 10 de mayo del 2024 en Dissipatio, que sintetiza de esta manera el trabajo del artista:

"Density" es el álbum que se centra en ritmos eléctricos. Entre tonos, silencios y ritmos, Leo Okagawa explora la densidad. Leo Okagawa es un artista sonoro afincado en Tokio, Japón. Realiza obras de collage de varias capas a partir de elementos de sonidos grabados, ruido de máquinas analógicas y tonos eléctricos simples. También ha estado trabajando en una performance improvisada desde 2017. El uso de algunos dispositivos electrónicos explora las posibilidades estructurales del sonido a través de la combinación de tonos simples. En 2022, fundó su propio sello discográfico "zappak", y ha estado publicando música de otros artistas en CD. Dissipatio: https://www.facebook.com/Dissipatio

El álbum de Leo Okagawa, Density, se puede escuchar en Bandcamp: https://protocell.bandcamp.com/album/density.

Esta primera aproximación a la obra Density propone una lectura que vaya en una doble dirección: la primera, análisis e interpretación desde la filosofía de la música, que no se quede exclusivamente en las sensaciones que provoca y en la sensibilidad que desencadena, aunque este sea el punto de partida; sino que avance y muestre de qué manera esta obra se esta refiriendo a nuestro tiempo y qué puede decirnos sobre este, con sus propios medios. Para este fin será necesario concentrarse en las dualidades entre ritmo y arritmia, y sonido y ruido. En segundo lugar, oír Density tal como escuchamos una voz interior, un monólogo con nosotros mismos, en donde no se trata de acceder a algún tipo de contenidos específicos del flujo psíquico. Por el contrario, esta obra actúa como mímesis del modo de pensar actual. Así como fluye la música, del mismo modo pensamos. Antes de embarcarnos en las reflexiones que surgen de las dos orientaciones hay que recomendar enfáticamente una variedad de tipos de escucha de Density: oír el álbum completo sin cortes ni detenciones, escucharlo mientras hacemos otra cosa como leer, escribir, pasear, manejar, concentrarnos y prestar atención únicamente a la obra, oírla una y otra vez hasta el cansancio. De esta manera las primeras impresiones sobre la sensación y la sensibilidad se ampliarán y diversificarán; aparecerán partes en las que no habíamos puesto atención, ruidos de fondo saltarán al primer plano, la estructura o la desestructuración se tornará evidente, descubriremos cómo las arritmias se convierten en ritmos, el ruido en sonido y este de regreso al ruido. Density es el estado de ánimo de nuestra época. No tanto el estado de ánimo personal, sino de la colectividad. Así nos sentimos, este es la mímesis del paso del tiempo y de las temporalidades en las que estamos sumergidos. Por esto probablemente la obra sea difícil de oírla una y otra vez hasta quedar exhaustos y gritar basta. Seguramente en ese momento pararemos la música y saldremos de la casa y sobre todo de nosotros mismos, como decía Gide. Aunque no ampliaré todavía en este primera parte, propongo el término aspereza como guia interpretativa de la obra en la doble vía de ida y vuelta que he señalado. Y añadir a esta su consecuencia, que viene además de su parentesco: exasperar. En este primer momento sugiero realizar las diversas escuchas de Density con la atención puesta en las nociones: aspereza, exasperar.

(Part 2) Density de Leo Okagawa, estrenada el 10 de mayo del 2024 en Dissipatio. El álbum, se puede escuchar en Bandcamp: https://protocell.bandcamp.com/album/density.

La comprensión de la música suele llevarnos en una doble dirección: primero, mostrar de qué manera impacta en los sentidos y la sensibilidad, provocando la emergencia de unos determinados afectos; es decir, la música vinculada de manera especial a la emoción. Segundo, establecer los paralelismos y las contigüidades entre la música, tomando en cuenta ritmos y arritmias, con la manera en la que pase el tiempo subjetivo o el flujo de la consciencia, a lo que se puede añadir las temporalidades sociales en las que estamos inmersos. Estos dos aspectos pueden ser complementarios, aunque los análisis suelen privilegiar uno y otro enfoque. Sin invalidar estas perspectivas es posible abrirse a una nueva consideración mucho menos explorada, pero que resulta tan importante como las otras dos, porque en vez de reducir el fenómeno de la música a afecto y temporalidad, o incluso a la temporalidades afectivas de los sujetos, se pregunta por la relación de la música con el pensamiento y la razón. ¿Qué tendría que ver la música que huye de la representación y parece quedarse en el plano de la sensibilidad con la racionalidad y la argumentación? ¿Tal vez podría referirse al uso simbólico de la música por las corrientes ideológicas y políticas, como es el caso de parte de la obra de Wagner por el fascismo? Antes que dar una respuesta general a estos interrogantes, que será cuestión de otra nota, tomo la última obra de Leo Okagawa, Density, y es a través de esta que intentaré aproximarme a una respuesta sobre la relación entre música y razón. Para esto, el acercamiento no será tanto la búsqueda de estructuras metafóricas del pensamiento en Density, como introducir una hipótesis de trabajo: ¿en qué medida o de qué forma los modos del pensamiento actual, con su crisis y callejones sin salida, siguen patrones similares a los de Density?

Al oír Density decimos: Así pensamos.

Al escuchar atentamente esta obra tengo la impresión de seguir el flujo de los pensamientos, las trabas, incongruencias, irracionalidades, de la razón globalizada, de la intromisión de la sinrazón por todas partes, del despedazamiento de la racionalidad en los más diversos ámbitos y de la desesperada lucha por su recuperación. A este fenómeno de la obra y de la razón le denomino: exasperación. En los tracks Apoptosis y Counting Clockwises estamos ante un ruido probablemente de interferencia o de un aparato electrónico que se ha quedado vibrando sin control y repitiéndose incansablemente, con pequeños cortes en donde asoman otros ruidos que hacen aún más áspero el sonido. A veces una onda plana interrumpe la interferencia, como si fuera el ruido de una máquina trabada. No hay posibilidad alguna de que una melodía o un ritmo aparezcan. Aquí reina el ruido casual, aleatorio. Sin embargo, a pesar de esta negación del registro melódico, la interferencia tiene un patrón que se forma a fuerza de repetirse sin cesar. Rueda unos segundos, se corta bruscamente y otra vez invade los oídos hasta el cansancio. Probablemente sea en Saturación en donde mejor encontremos las características del pensar. Ruido grave del arrastrarse de alguna cosa sobre el suelo áspero, golpes insistentes que bajan de tono. Imperceptiblemente un ruido plano de fondo comienza a crecer y a superponerse sobre la primera interferencia, hasta hacerla desaparecer casi por completo. Esta vibración grave de un motor potente puesta en marcha y dejado a su voluntad satura el espectro sonoro y, curiosamente, aparece muy levente una corriente de agua que nadie sabe de dónde vino. Luego, el ruido de fondo desaparece y solamente queda el ruido cansino marcado por golpeteos incesantes. Y así, el ruido de fondo se descompone en raspados agresivos que alteran la repetición que sigue sonando en primer plano.

Volvamos al leitmotiv: Así pensamos.

La racionalidad intentando comprender el mundo y descubriendo que le escapa. No puede aprehenderlo y a medida que trata una y otra vez de captar la esencia de las cosas, la estructura de los fenómenos, las series causales, se torna redundante, se choca con una pared que le impide avanzar. La racionalidad armónica de causas y efectos se estrella, se torna ruido y aquello que debería convertirse en sentido, en apertura hacia el significado del mundo, ahora es interferencia de sus propias ondas, de los argumentos devorando a los argumentos, de las razones partiéndose hasta quedar irreconocibles. Así pensamos, con esta aspereza que muestra el roce de los pensamientos en la superficie rugosa de la realidad, dando como resultado una razón herida, unas ideas sangrantes. Desesperación, ira, impulsos destructivos: exasperación. Y como si no fuera suficiente que la razón se encuentre trabada sin poder avanzar, hace su aparición del ruido del fondo que termina por anularla y desvanecerla, aunque a momento logra volver y recuperar al menos el ritmo repetitivo de los intentos de decir con claridad lo real. Este ruido de fondo es el equivalente de la irracionalidad que, ante el fracaso de la razón, emerge desde dentro, tomando posesión de la racionalidad, quebrándole los huesos, reventándolo los ojos, hasta verla caminar a tientas golpeándose en las paredes y emitiendo enunciados incoherentes. La razón incapaz de armonía se ha convertido en ruido. Ante esto, aquellos que intentamos pensar y dar cuenta de las explicaciones del mundo, quedamos sumidos en la exasperación. (Reviewed by Carlos Rojas Reyes)