Alexander Calder (American,1898 - 1976)
Tightrope, 1936
Calder Foundation, New York
Lint Roller? I Barely Know Her

❣ Chile in a Photography ❣
$LAYYYTER
Mike Driver
hello vonnie
Keni
trying on a metaphor
Show & Tell
i don't do bad sauce passes
"I'm Dorothy Gale from Kansas"
taylor price

祝日 / Permanent Vacation

PR's Tumblrdome

Origami Around

Discoholic 🪩

Janaina Medeiros
Jules of Nature
I'd rather be in outer space 🛸

Kaledo Art
occasionally subtle

seen from Brazil

seen from United States
seen from Indonesia
seen from United States
seen from Türkiye

seen from Türkiye
seen from Brazil
seen from Malaysia

seen from United States

seen from United States
seen from United States

seen from Malaysia

seen from China
seen from India
seen from Netherlands
seen from Türkiye
seen from United States
seen from United Kingdom
seen from Romania

seen from Malaysia
@r-plus7
Alexander Calder (American,1898 - 1976)
Tightrope, 1936
Calder Foundation, New York
ralph coburn
1 out of the 4 low fidelity bootlegs leading up to The Food Pyramid.
Summer 2016.
I’m considering doing a full lo-fi New Age album with these faux Gregorian chants. Maybe once I fix my Tascam.
From Bob Moog Foundation’s ’Synthesis Fundamentals’.
Holly Herndon - “Interference”
People go on about the thickly lustrous sound design and how it evokes Autechre’s Confield, but the difference is I actually love this.
Puce Mary - Live at Maldoror 11-16-14 VHS Stills
A friend of mine wrote on drone metal for their PHD thesis.
This thesis analyses mystical discourse in drone metal music. Drone metal is a radically slowed and extended form of extreme metal music featuring lengthy expanses of monotonously repeated riffs and heavily distorted and amplified dirge-like noise. References to mysticism and reports of mystical experience are prevalent in the musical culture. Mysticism, in my approach influenced by the work of Michel de Certeau, is understood as a tradition constituted by inextricable and ongoing reception and production of text and experience. Analysing information from participant observation, survey responses, ethnographic interviews, sonic and material culture, and online discourse, I discuss the discursive culture of drone metal in which musical experiences are understood in relation to mysticism. I examine the translocal and marginal formation of drone metal as a genre, tracing the experiential as well as sonic characteristics with which listeners draw similarities between music. I show how drone metal listening is reported in terms of imaginative temporal, spatial and bodily ‘elsewheres’, combining in the trope of pilgrimage. Elsewheres are evoked in both thematic content and in rhetoric, and I examine the constant shifts in linguistic performance of musical discourse, suggesting that listeners make space in which to explore religiosity and mysticism in musical experience through maintaining ambivalence about such concepts and their relation to drone metal. I examine the importance of amplification, distortion and materiality, a tendency which is evident in the centrality of amplifiers, physical music media, and bodily experience of vibration. I then investigate the language of violence in listener descriptions of ritual, observing the importance of violence in constructing powerful experience. Finally, I discuss each element of drone metal culture in terms of Certeau’s work, showing that for participants, drone metal is a tradition of mystical discourse constituted in experience, reception and production of extreme sound and language.
Contact for a .PFD copy at owen.coggins(at)open.ac.uk
J.Cage
Barbara Hepworth Red in Tension 1941 Pencil and gouache on paper via Art Blart
All the prequels needed smooth synth wave. No dialog.
Animal Collective - Bees - Feels