#eilean

[johndunwin]

This photograph captures a peaceful view from Castle Tioram towards Shona Beag. The calm water contrasts with the green hills and cloudy sky, showcasing the tranquil beauty of the Scottish Highlands.

[mouthgut]

ghost girl eilean

[relogioserelogios]

The beautiful Panerai Radiomir Eilean Experience Edition is a watch with a 45 mm steel case with bronze elements recovered from the historic yacht Eilean, with the classic shape of the Radiomir from the 1930s. The model marks Panerai's first foray into the world of NFTs and digital art, in a partnership with one of the pioneers in the category, Skygolpe, an acclaimed multidisciplinary Italian artist and creative visionary in the digital universe. The artist will create the NFT artworks that will be sent to customers who purchase the Radiomir Eilean Experience Edition. 💰 USD 40,100 . O belíssimo Panerai Radiomir Eilean Experience Edition é um relógio com caixa de 45 mm em aço e elementos em bronze recuperados do iate histórico Eilean, com o formato clássico do Radiomir da década de 1930. O modelo marca a primeira incursão da Panerai no mundo de NFTs e arte digital, em uma parceria com um dos pioneiros na categoria, Skygolpe, artista italiano multidisciplinar aclamado e visionário criativo no universo digital. O artista criará as obras de arte NFT que serão enviadas aos clientes que adquirirem o Radiomir Eilean Experience Edition. 💰 USD 40.100 📷 @panerai • • #panerai #panerairadiomir #radiomireilean #nfts #eilean #skygolpe #finewatchmaking #hautehorlogerie #relogioserelogios https://www.instagram.com/p/CfuAe7sORoC/?igshid=NGJjMDIxMWI=

[fisherken]

Morning low tide at Eilean Donan Castle by Cristiano Busato

[scotianostra]

Good Morning from Scotland 

Sunrise over Eilean Donan by Sic Itur Ad Astra LRPS Via Flickr: Eilean Donan, Scotland

[superbnature]

Eilean Donan Castle by trixllukas http://bit.ly/2B5NWXv

[lazy-vegetarian]

Eilean by Hanna Maciejewska on Ravelry

[dustedmagazine]

Ian Nyquist — Cuan (Eilean)

Cuan by Ian Nyquist

The word “Cuan” is Irish for “bay,” and each of the tracks on this full-length from Ian Nyquist are inspired by a specific site in the Dublin Bay area of his native Ireland. The album’s nine ambient pieces are characterized by dense sonic layering, deftness in combining multiple sound sources and a strong sense of narrative pacing that continually alters the space and affective coloration of the sonic environment in unexpected ways. 

“These Blackened Graces” enters with an instrumental loop and stately piano phrase, gradually joined by a traditional stringed instrument and chirping synthesis. A nearfield bass rasps and flutters like a beetle where your eyes cross. On “Phoill Bhig” (Google Translate equivocates, but perhaps “Small Pool?”) an oscillating woodwind drone is overlaid with static and manipulated samples. The woodwinds subside, replaced by murmuring tones and a white noise shore. The piece’s two components join in its final minute. “Bank na Cise” (“Kish Bank”) couples a muted, mono field recording and detuned synthetic waves. Inharmonic tones, like a far-off angry modem, join an otherwise melodious swirl.  

The album makes use of contrasts along several axes to achieve subtle shifts in tension and focus. “The Divide” offers halting wistful piano phrases and harmonized synthetic pulses that gradually give over to layers of inharmonic drones. On “Peninsulas,” a mono plucked instrument warbles as if played back on a bad tape deck, encompassed by a full stereo chamber orchestra. Tacking between rhythmic and arrhythmic, conventionally scaled and inharmonic, synthetic and recorded, low and high fidelity — often in the space of a couple minutes — Nyquist’s work evinces surprising narrative variation. Cuan is gentle and pastoral, but too fluctuating to constitute wallpaper.  

This album, as well as the larger catalog of French label Eilean Records are concerned with place, the latter associating each of its planned 100 releases with locations in an imaginary geography. Often implicit in the concept of “place” is a sense of radical incommensurability between places, that they emerge out of unreplicable confluences of biophysical processes and cultural practices in interaction over historical time. The variability and detail of these pieces is entirely in keeping with a philosophical emphasis on distinctness. We may never amble through the nooks of the Dublin Bay region, but Cuan gives us nine sonic environments of analogously immersive specificity. To the extent that recorded and digitally transmitted sound can do justice to place, Nyquist has made a fitting tribute.  

Peter Taber