#christopher dell

[the---hermit]

Monsters by Christopher Dell

I bought this book on my first ever holiday with friends. We went to London and it was an adventure™. I've had this book on my shelves for years and only ever looked at the amazing collection of pictures, but never really sat down and read it. This book would definitely count as a coffee table book, it's made up of a lot of pictures and art from different places and times, and it's overall a really stunning object. The text portion of the book is a general reflection on monsters, both in mythology and folklore through the ages and different places in the world. Of course it's not an academic text, but I though it was a really nice starting point. It divides monsters different cathegories, talks about similar creatures of different cultures, and overall it can be a great starting point from further research. The only critique I have is that it wasn't curated that much on the editing of the text, because there were a couple of very sloppy typos in my edition. Nothing too serious, but it was very evident and it was surprising to see, plus it's an hardcover and I remember it not being that cheap so it would be better for it to be a little more curated. Aside from this very picky thing it's a nice book to have, and as I said it can be used as a starting point for further research since it mentiones a lot of creatures from all over the world.

I read this book for the one word title prompt of the winter reading challenge and for the non fiction prompt of the jumbo challenge.

[deadpresidents]

These are the types of books that @gohst-prncss-awez gets really excited about when publishers send me review copies. And that is why I never allow myself to fall asleep before she does.

If you’re interested in creeping out your significant other, the books pictured are: •Cannibalism: A Perfectly Natural History (BOOK | KINDLE) by Bill Schutt •The Occult, Witchcraft & Magic: An Illustrated History by Christopher Dell •Severed: A History of Heads Lost and Heads Found (BOOK | KINDLE) by Frances Larson

[thecrossstitchwitch]

Does anyone own either of these books? The Occult, Witchcraft & Magic: An Illustrated History by Christopher Dell and Breverton's Phantasmagoria: A Compendium of Monsters, Myths and Legends by Terry Breverton. 

I want to start my witchy library and I want to know if either of these are a good place to start. I looked in a bunch of bookstores today and none of them had them in store, only online so I couldn’t check them out for myself. 

On the same note, does anyone have any suggestions for witchy reading material? Preferably ones that are not from a wiccan perspective or wiccan-centric would be appreciated. 

[tejedac]

Danielsson · Dell · Landgren

Salzau music on the Water, 2006 · Play album

Lars Danielsson (b), Nils Landgren (tb) & Christopher Dell (vb, voc).

JazzBaltica Festival, July 4th, 2005

* Lp info

[kunstfaktum]

Beitrag zum Event im Rahmen  “Dialogue Concerts” kuratiert von Christopher Dell und Aedes

Am 14. August 2021 fand ein Dialogue Concert, kuratiert von Christopher Dell und Aedes, mit Daniel Libeskind statt. Dabei ist Trio Rin als organisatorische Projektleitung und Öffentlichkeitsdienst aktiv. 

[thoregil]

2021-10-02 Christopher Dell // Christian Lillinger // Jonas Westergaard - Fri resonans, Dokkhuset

2021-10-02 Christopher Dell // Christian Lillinger // Jonas Westergaard – Fri resonans, Dokkhuset

View On WordPress

[kunstfaktum]

Beitrag zur Reihe “Dialogue Concerts” kuratiert von Christopher Dell

Trio Rin ist aktiv als organisatorische Projektleitung beim Projekt vom Jazz-Vibraphonist und Architekturtheoretiker Christopher Dell “Conceptual Research on Architecture and Music” vom 2019 bis 2021. Im Anschluss an eine Rede zur Einleitung von Kristin Feireiss, der Mitbegründerin vom AEDES, fand unsere memorable erste Veranstaltung # Medialität am 12. Dezember 2019 unter der Leitung von Christopher Dell mit Oda Pälmke, Karen Lorenz und Jonas Westergaard statt. 

[dustedmagazine]

Dell / Lillinger / Westergaard—Grammar II (Plaist)

D L W „GRAMMAR II“ by DELL LILLINGER WESTERGAARD

The German drummer and composer Christian Lillinger put out two full length albums in 2019. Open Form for Society was an ambitious conceptual work, which posed the record’s sequential phases of solitary composition, collective work-shopping of material with a nine-piece ensemble whose membership spans genres, studio recording, and interventionist post-production as a model for incorporating multiple viewpoints into social endeavors. This is the other one.

Grammar II is, as you might suppose from the title, concerned with essential structures. It’s also a sequel to an earlier effort. Unlike Open Form for Society, it’s a live recording by a vibes-bass-drums trio, and at a sonic level, it’s recognizably derived from jazz. But while it’s not so ambitious a cultural statement, it still uses music as a platform to address meta-musical concerns. The trio is collectively credited with the compositions and the concepts, and it fell to vibraphonist Christopher Dell to pen the album’s liner notes. In them, he argues that the trio’s seven years of playing together constitute epistemological research. Their work together constitutes a study into the relationship between what is, what can be known, and what is simply believed.

Thus, each trio performance is part of an ongoing investigation into the principals that organize the music, and an enactment of those principals. Exactly how that works can only be known to the three musicians, but the process definitely yields something other than freely improvised music that sounds like it was made by three people who identify as free improvisers. “Duration — Structure I” sounds like a sonic representation of a sculpture, or maybe just an articulation of three-way counterpoint in which bassist Jonas Westergaard’s bowed, broken lines, Dell’s creeping melodies, and Lillinger’s restrained cymbal strikes seem to hover and turn as one.

By contrast, “Duration — Structure II” is much more propulsive, with Lillinger’s drums releasing carefully modulated bursts of energy that represent time as a passing thing without resorting to statements of metered time while bass and vibes rip and wheel overhead. That might sound like a mixed metaphor, but since the idea that this music combines unalike elements is built into the name, we’ll let it stand. At any rate, it’s a gas to hear them let it rip. There are two more “Duration—Structures,” each of which is a sound event unto itself which is as complex and cohesive as the first two. Put them together, and you have a set of music that makes a strong non-linguistic argument for the thoughts that have gone into its creation.

Bill Meyer