#ombrophilia

[musicmakesyousmart]

Tomoko Sauvage - Ombrophilia

Aposiopèse

2012

[banavalope]

*blasts the boys are back in town as i skateboard by on my tablet, drawing my friends’ fantrolls with my sick kickflips*

[lll-rani-lll]

It’s been raining on and off in our neck of the subtropical woods, which is why many of us are just so excited to head out in our hoodies and jackets.

A good amount of rainfall is actually good for us because it charges the air with much needed negative ions that provide positive effects in our mind and body.  Negative ions are created in nature as air molecules break apart in moving air or water.  Negative ions are especially in abundant supply in vicinities near clean flowing bodies of water like streams, rivers, seas, waterfalls and enough rain.  Now you can sort of figure out why it so refreshing to hang out near these areas.  Exposure to negative ions have pronounced anti-depressant effects.  They also attach themselves to disease-causing free radicals and purify the air.

The sound of rain also give us positive vibes.  Tuning in to the sound of rainfall helps in easing away tension and helps with sustained focus.

For people, like me, who especially love the rain, there is a term that psychologists associate us with and that is the word, “Pluviophile”.  A Pluviophile refers to a person who loves and finds comfort in the rain.

[logophilia-education]

This is a turning out to be a July of absolutely bliss for us ombrophiles! :') Romantic obnubilation, isolated serenity, the ever-hanging promise of rain! What more can one ask for? 2017 © Logophilia Education Pvt. Ltd. #Logophilia #LifeAtLogophilia #igers #picoftheday #instadaily #love #instagood #follow #Instagram #like #comment #Allahabad #pluviophile #Ombrophilia #DesolateLandscapes #AllahabadHasTheBestLongDrives #SoMuchMoreThanJustAnandBhawan (at Allahabad, India)

[ozkar-krapo]

Tomoko SAUVAGE

"Ombrophilia"

(LP. Aposiopèse. 2012 / rec. 2009) [JP]

[mercury7th]

Zodiac signs words suffixed with -philia

Aries: theophilia - love for gods

thermophila - love for heat

sexophilia - love for sex

Taurus: iconophilia - love for symbols and pictures

photophilia - love for light

symmetrophilia - love for symmetry

Gemini: logophilia - love for words

anuptophilia - love for staying single

psychophilia - love for the mind

Cancer: ombrophilia - love for rainfall

malaxophilia - love for softness

nephophilia - love for the clouds

Leo: heliophilia - love for sunlight

chrysophilia - love for gold

catoptrophilia - love for mirrors

Virgo: phytophilia - love for plants

bibliophilic - love for books

epistemophilia - love for knowledge

Libra: anthophilia - love for flowers

anthropophilia - love for people

dikephilia - love for justice

Scorpio: lygophilia - love for darkness

algophilia - love for pain

zelophilia - love for jealousy

Sagittarius: philalethia - love for honesty

xenophilia - love for foreigners

eleutherophilia - love for freedom

Capricorn: notaphilia - love for cheques

ergophilia - love for work

hypegiaphilia - love for responsibility

Aquarius: technophilia - love for technology

astrophilia - love for space/stars

Pisces: retrophilia - love for things of the past

hydrophilia - love for water

kenophilia - love for empty spaces

[inneres]

Tomoko Sauvage ‎– Making Of A Rainbow Album: Ombrophilia Label: and/OAR Year: 2009

[tinymixtapes]

Music Review: Tomoko Sauvage - Musique Hydromantique

Tomoko Sauvage Musique Hydromantique [Shelter Press; 2017] Rating: 3.5/5 What is a musical instrument? Is it a self-contained object that produces noise solely according to its own inner constitution and logic (at least when operated by a musician)? Or is it a borderless, fluid medium between its surroundings and the ears of its receiver, simply one of many channels through which a particular environment manifests itself aurally? Well, regardless of the “true” answer to this question, it seems that Tomoko Sauvage would be inclined to give a response leaning more toward the second possibility. The Paris-based composer and sound artist is known for the exploitation of a “sole” instrument, water, yet her music employs H20 via the help of a whole range of objects: porcelain bowls, suspended blocks of ice, plastic cups, and strategically placed hydrophones. Together, these various elements were combined into a single meta-instrument on her trance-inducing debut solo album, Ombrophilia, and now they’ve been brought together once again for the no-less absorbing follow-up, Musique Hydromantique, which proves to be not only a vivid deconstruction of the concept of the musical instrument, but also a meditation on the limits of artistic control and agency. What’s most immediately striking about the scattered, balmy notes of Hydromantique is that they simultaneously do and do not sound like water. Opening piece “Clepsydra” is nearly 11 minutes of melted droplets of ice plunging randomly into the aforementioned watered bowls, yet what the underwater hydrophones pick up is often more akin to a metallophone than that characteristic “plop” of a leaky tap or a rain-sodden leaf. The effect is an unsettling or hypnotic one (depending on your mood), suggesting that the water isn’t so much being faithfully recorded as mutated, rendered into something unfamiliar and alien. It takes on a high-pitched, chiming resonance that reverberates portentously through the space in which it was “captured,” and it’s precisely because it’s transmogrified in this way, blended almost seamlessly with the tonalities of its ceramic receptacle and the capabilities of Sauvage’s microphones, that the listener is liable to suspect that what’s being heard is a kind of composite, system-instrument, rather than something more discrete such as a guitar or piano. In other words, tracks such as “Clepsydra” raise the thorny question of where a musical instrument begins and ends, of what exactly is being expressed when someone uses an instrument to make sounds. This is brought up even more clearly on “Fortune Biscuit,” in which the air bubbles emitted into water are heard more as a fast succession of percussive, hard-edged “pops” or “taps,” or as mechanical chirruping, than as a gentle bubbling. That they sound so different to what might be expected underlines how it’s not simply water that’s doing the talking here, but also the properties of Sauvage’s recording equipment, as well as the flow of air, the atmospheric quality of the room involved, the shape of the bowls, the size and materials of the room involved, and the regularity with which she may be topping off these bowls with fresh glasses of water. As a whole, these components result in a cascade of vaguely watery rattling and crackling, yet it’s difficult to pinpoint which of them is being represented “more” by the unnerving effervescence on display. In fact, it’s difficult to pinpoint just what exactly is being represented, seeing as how so many subtle determinants and effects could have influenced how the water (and bubbles) ultimately behaved. Could air pressure be a factor? Could we be indirectly listening to a high or low temperature? Who knows, but because “Fortune Biscuit” makes it so difficult to isolate individual elements, the piece ends up raising doubts over the notion that when we hear any kind of musician perform, we’re hearing only what they intended us to hear. And it’s this mention of what a musician may or may not intend that brings up Musique Hydromantique’s other central motif, that of the limits of artistic (or even human) control and agency. By filling a number of bowls with water, placing them in certain spaces, and recording the proceedings, Sauvage surely had at least a general vision in mind when she made the album. Yet in choosing to work with such natural materials as water and ice, it’s clear that she was opening her work up to chance and contingency, to factors that at best can only be channeled rather than fully orchestrated. As such, a piece like “Calligraphy” becomes a confession of her own limitations and vulnerabilities, its oscillating feedback acting as an unknowable quantity she could never entirely predict, even if she were the one who voluntarily walked into a bona fide echo chamber in France to set up all her gear. Over the course of its 20 minutes, the droning reverb she helps set off undulates slowly and pregnantly, creating the discomfiting sense of an epiphany gradually coming into focus but waning just before it gains enough clarity and treble. Each of its numinous peaks and troughs, as well as its more mundane drips and drops, are foreseeable enough in the abstract, but calculating exactly when and where they’ll fall is impossible, to the point where it becomes obvious that Sauvage’s control of them is much less than complete. Indeed, by the end of the piece, they’ve taken on a life of their own, with Sauvage becoming less a composer and more a facilitator and documenter of their meditative unwinding. Hence the title of the album, Musique Hydromantique, which alludes to the practice of divination via water, of harnessing water as a medium through which God — or at least all that which humanity can’t control and understand — might speak. Hydromancy is exactly what Sauvage performs on the album, insofar as she foregrounds the role of the non-manmade in the playing and recording of music, and shows how it’s often those things beyond our mastery and authorship that we give voice to in our very own art, rather than to any neat-and-tidy message we might want to transmit directly to our audience. Yet in highlighting this gulf between intention and execution, in demonstrating how more than human volition and action creeps into an artwork, Sauvage has made her own work only more profound and revelatory. http://j.mp/2yI7IIs

[i-am-trash-tm]

List of philia’s I have:

Thalassophilia: Love for the seas, oceans.

Dendrophilia: Love for forests, trees.

Astrophilia: Love for the universe, astrology.

Ceraunophila: Love for thunder and lightning.

Nyctophilia: Love for the night, darkness.

Selenophilia: Love for the moon.

Bibliophilia: Love for books.

Pluviophilia: Love for rain.

Chionophilia: Love for snow.

Heliophilia: Love for the sun.

Coimetrophilia: Love for cemeteries.

Clinophila: Love for laying in bed.

Limnophilia: Love for lakes.

Francophilia: Love for the country France.

Dutchophilia: Love for the country The Netherlands.

Logophilia: Love for words.

Cynophilia: Love for dogs.

Hodophilia: Love for travel.

Retrophilia: Love for artifacts, aesthetics of the past.

Oenophilia: Love for wine

Anglophilia: Love for English, England.

Ammophilia: Love for sand or sandy places.

Geophilia: Love for geology.

Hydrophilia: Love for water.

Hygrophilia: Love of spending time around water.

Iconophilia: Love for pictures and logo’s.

Ombrophilia: Love for large amount of rainfall.

Ophiophilia: Love for snakes.

Palaeophilia: Love for dinosaurs and prehistorical things.

Psychrophilia: Love for cold temperatures.

Thermophilia: Love for high temperatures.

[blackdunesphotography-blog]

If you asked me three years ago if I ever thought I'd be able to go to shows again the answer would be no. I wasn't even able to put my own shoes and socks on, stand and make my self a sandwich or drive for more than 10 minutes without being in excruciating pain. @ombrophilia asked me today if I remember when I wasn't able to stand because of my back. And I do. I couldn't do much of anything then. I couldn't make it to the food court from our job at the other end of the mall without having to sit down. Walking was hard, standing still was hard and sitting was nearly impossible. I thought my life was over. One of the first times I saw @toucheamore was at 284 Kent less than a month after my back injury and I was only able to get through it because of pain killers. But three years, months of physical therapy and 3 epidural a later in finally back to living the life I thought I lost forever. I was able to walk away from the show last night with nothing but a few bruises. I'm so happy that seeing Touché Amore was what reminded me of how thankful I am that I'm able to put my own shoes on in the morning. So thank you. #toucheamore #asburypark #nj #newjersey #deathwishinc #herniateddisc #backpain #pma #backinjuriessuck (at House of Independents)

[nataliearias]

Got rained on, drove in the rain, felt pretty good until it stopped. Come back rain! #lasvegas #weather #rain #ombrophilia #pluviophili

[littlelondonblogger-blog]

#Thingsthatdontgetmedown #☔️#ombrophilia (at Regent's University London)

[logophilia-education]

Isn't this the most reassuring sight? :') Not all people would agree. India (the hot parts) celebrates rain. We make songs about rain. We have festivities and activities for rain. Part of that is because we're a hot country: rain brings relief. Rain also brings a much needed break from the monotony that is a part of working in a hot country. Rain becomes an excuse to take a break from whatever it is that you are doing, sip on hot tea, and gaze dreamily through that window. Colder countries don't always welcome rain. Rains causes temperatures to drop unpleasantly, and also disrupts work. As the saying goes there, "A beautiful day: not a cloud in the sky!". You can never say that in the Indian plains, can you? :D But then, there's the harsh winter that sweeps the North: rain isn't so welcome in January, is it? I guess, you can never say never in India :) 2017 © Logophilia Education Pvt. Ltd. #Logophilia #LifeAtLogophilia #igers #picoftheday #instadaily #love #instagood #follow #Instagram #like #comment #Allahabad #pluviophile #Ombrophilia #RainClouds (at Logophilia Education Pvt. Ltd.)

[ozkar-krapo]

Johnny HALLIDAY "Gabrielle / Né pour vivre sans Amour" (7". 1976) [FR]

SUN RA "Monorails and Satellites" (LP. 2001 / rec. 1966) [US]

ทองคำ เพ็งดี & ฉวีวรรณ ดำเนิน [Performance of the Laotian Mor Lam of Princess Taeng-on (sections 13-24)] (LP. ?) [THA]

V/A "Siamese classic Songs" (LP. ?) [THA]

Michel DINTRICH [Philippe DROGOZ / Louis ROQUIN] "Guitare éclatée" (LP. 1975 / rec. 1974) [FR]

TAZERS "Don't classify me!" (LP. 2000 / rec. 1982/84) [US]

The TIMES "This is London" (LP. 1983) [UK]

Jean-Louis CADEE "Vibra-Jazz" (LP. 197?) [FR]

DISCO ZOMBIES "Drums over London" (LP. 2011 / rec. 1978-80) [UK]

Tomoko SAUVAGE "Ombrophilia" (LP. 2012 / rec. 2009) [JAP]

Masahiko SATO & Wolfgang DAUNER "Pianology" (LP. 2016 / rec. 1971) [JAP/GER]

CIRCLES "Circles" (LP. 2015 / rec. 1983) [GER]

Henri CHOPIN "Oh Audiopoems" (2xLP. 2016 / rec. 1959-79) [FR]

Barney WILEN "Moshi" (2xLP + DVD. 2017 / rec. 1972) [FR]

V/A "Fluxus Anthology" (LP. 2017 / rec. 1956-89) [various]

Walter MAIOLI, Fred GALES, Pit PICCINELLI "Amazonia 6891" (2xLP. 2016 / rec. 1985) [ITA]

The HUMAN EXPRESSION "Love at psychedelic Velocity" (LP. 2013 / rec. 1966-67) [US] 

[electricblogodile]

Raptor: http://i.gyazo.com/18f19a1cf97ee0f53206809fd164b203.png WHY IS THERE 3

Colin: the human centipede needs a beginning, a middle, and an end

Raptor: FUCK YOU COLIN FUCK YOU

[nataliearias]

When it rains and I'm not home!!! 👿👿👿👿 #lasvegas #weather #rain #ombrophilia #pluviophili