cour13r5

re:imagining the world. re:search, process, updates, & inspirations for cour13r5

[musicktoplayinthedark]

[threnodyoverdrive]

I approach my holy, haunted railroad stations, underground networks, airports, trying to leave. I don’t know what I’m leaving or where I’m going. I don’t seem to mind, I’m in the state of traveling. Suspended. That’s always been my state.

Alice Notley, from Certain Magical Acts, “I Couldn’t Sleep In My Dream” (via transistorxiii)

[thesilicontribesman]

Crawick Multiverse, Sanquhar, Dumfries, 12.2.18.

It’s been twelve months since I paid this location a visit and today it was dusted with a thin layer of fresh snow. The site has settled down now and there is grass where once there was earth. Stood at the highest points of the site, the overwhelming sense of tranquillity is remarkable. Also overwhelming was the frost and chill wind; my hands were numb holding the camera. 

[xgeronimowrks]

ink pen on paper

the process: take a pen > close your eyes > think of something > start drawing > don’t try to control your drawing, let the hand move by itself > stay focused on your thought, not the drawing…

[cour13r5-blog]

new blog post!

[deepseacommunizer-deactivated20]

Sometimes, in our confusion, we have been known to turn the Other into a monster and a god. Hierophanies – where the unshowable deity shows itself – are often terrifying. Hence the double etymology of monstrare, to show and to warn. Zeus’ mutations into a plundering bull or rapacious swan epitomize this paradox. And Kali certainly knew how to scare mortals. Even the generally ‘good’ biblical God could resort to horror on occasion, as Job realized; or Abraham when commanded to kill Isaac, or Jacob when he found himself maimed at the hip after wrestling with the dark angel of Israel. Or Zechariah struck dumb by the angel Gabriel. Not to mention the tales of floods and plagues and conflagrations sent by a jealous God to fill his people with fear. Divine monstrance was not infrequently an occasion of terror. Fascinans et tremendum, as the mystics said.Poets too have attested to this enigma of the monstrous God. W.B. Yeats captured this disturbing ambiguity of the sacred, for example, in his apocalyptic image of the ‘rough beast slouching towards Bethlehem to be born’. A sentiment echoed by Rilke in his famous opening apostrophe to the Duino Elegies: ‘Every angel is terrible’. And one might also recall here Herman Melville’s chilling evocation of the quasi-divine, quasi-demonic whiteness of the whale, recalling at once the horror of Leviathan and the transcendence of Yahweh.

Richard Kearney (Strangers, Gods and Monsters: Interpreting Otherness)

[xgeronimowrks]

night drawings, “the last thing to do before going to sleep”

[marcherarrant]

I walked the entire length of every street of Paris. I took lots of photos of graffiti as well as strange and unique things that caught my eye. This is part 12 in this series. To see previous parts of this series go to my page titled Walking All Paris.

[cour13r5-blog]

this is so good.

thank you, @heksenhaus for the tip!

[cour13r5-blog]

[revision]

~cour13r5

[seanmorroww]

Nihiloxica - “Endongo”

Nihiloxica [Nyege Nyege Tapes, 2017]

[cosmicportal]

Chakana Geoglyph - Nazca

The word “Chakana” can be traslated as portal door or even Bridge

[cour13r5-blog]

new radio (from twitter @cour13r5)

having thoughts, but not thinking. a constant background broadcast of Control Radio; preselected scripts that craft your day.

tuning in, or being tuned. someone records snippets of the song & chatter we swim in, and we sit around the lab, listening for the first time.

"what happens if we cut it up & remix it?" a night of coffee & smoke & editing stretches out forever.

gritty-eyed, on that next impossible morning, we have...something. we upload it.

likes and mentions filter in, and remixes of our remix. file swaps, idea exchanges, experiments. the lab grows, collabs increase.

someone starts making tapes, magnetic and revolving. people gather in hidden places and make their own radio stations. filling abandoned warehouses with sound & signal.

these get recorded, too. at every iteration, different perspectives--different positions--get added to the mix. we amplify each other.

[animalinterlace-deactivated2022]

[musicktoplayinthedark]

Women in Experimental Music :

- Beatriz Ferreyra

- Berangere Maximin

- Pauline Oliveros

- Félicia Atkinson

- Else Marie Pade

- Crys Cole

- Laurie Spiegel

- Maja Solveig Kjelstrup Ratkje

- Suzanne Ciani

- Pan Daijing

[dagwolf]

Jean-François Blouin “Vent Solaire” 

(link)

[thirdoffive]

Calendrier Magique

Designed and published in Paris in 1895, the Calendrier Magique was conceived by Austin De Croze and illustrated by the Italian lithographer Manuel Orazi. While the history of these two individuals remains somewhat obscure, even a casual glance at the contents and illustrations of their unusual work shows that De Croze and Orazi possessed a sophisticated familiarity with the Esoteric traditions of the fin de siècle era. Every page of the Calendrier Magique evokes the decadent, occult Paris of Gerard Encausse, Oswald Wirth, and Karl Huysmans. The Art Nouveau illustrations of Orazi are especially evocative. Simon Finch writes that the work “was highly praised by Caillet as ‘fort original et d'une rare exécution artistique’; he added that no contemporary artist - save Félicien Rops - had managed ‘so felicitously to combine sadism, satanism and the macabre’.      The Calendrier Magique - so the legend goes - was published in a limited print run of 777 copies, making it quite a rarity among collectors.

For all 12 months, here: http://www.sofia-albertsson.se/2017/12/stranger-than-kindness-keys-rain-like-heavens-hair/