federal recognition when you can have a free Hawaiian Kingdom?
federal recognition when you can have a free Hawaiian Kingdom?
Today I am starting to post or repost from my friend Poka Laenui, his reports, thoughts, radio shows and interviews . His way of thinking about what’s going on, about the Hawaiian history, about the law, it’s a new way of thinking and philosophy for us all. With a calm, friendly and with a special sense of humor he tells his stories, his thoughts, which fascinate me so much that I leave…
Nano Particles Fix fire Extinguishing system FS0800 demostration at Mndf Fire & Rescue Training School #TheBest #Extinguishment for #Fire 🔥🔥🔥 (at Fire & Rescue Training School)
Anne Guthrie (French horn, electronics, field recordings) and Billy Gomberg (electric bass, electronics, field recordings) are Fraufraulein. A married couple as well as an electroacoustic duo, they may find safety in numbers. At any rate, their collaboration confounds the rules of addition so that more seems like less. Even when they’re the only ones making sounds on Extinguishment, they seem to be small parts of something larger.
The balance between played and found sounds on Guthrie’s recent solo LP, Codiaeum Variegatum, leaves no doubt that you are hearing something composed. She uses field recordings quite literally as a field, a surface upon which she deploys raw and manipulated brass and strings. Gomberg’s recent solo records, on the other hand, are deeply satisfying examples of drone music. You can hear elements of both on Extinguishment. Guthrie once more uses her French horn in painterly fashion, veering from thick smear to fine line within a single stroke. And while this music does not drone, it does convey drone’s sense of spatial and temporal expansiveness, so that even when the listener’s perception of sounds stops, one feels like they are continuing somewhere beyond the limit of hearing. On “Whalebone in a Treeless Landscape,” the French horn and bass are situated behind indeterminate rustling, sharing space with wind sounds and distant PA announcements. The players are often on the periphery, like minor found objects in a vast collage.
This experience persists and up-ends one perception of relationships, so that even when one of them moves into the foreground, they no longer seem so important. A long sliver of feedback may be the first thing you hear on “My Left Hand, Your Right Hand,” and Guthrie’s vocalized French horn gets some time at the front of the mix. But the earlier shifts of perspective draw attention to their impermanence, which is confirmed by their disappearance into a vastness of distant voices, nearby steps, hard-to-attribute chiming sonorities, and Robbie Lee’s long tones on a reed instrument. Both the played instruments and the field recordings become means to perceive that vastness, and the arrangement of sounds a way to assert human existence within it.
zad pa - finish, exhausted, extinguishments, ksaya, the 60th year of {rab byung} Syn {me pho stag} completed, {khyab pa}, as in {zad par skye mched bcu} which is understood to mean pervading everywhere rather than finished as in {mtha' gcig tu de red}; pf. of {'dzad pa} [RY]
zad pa - 1) [p 'dzad pa]; 2) exhausted, extinguishment, completed, finished; 2) fire male tiger year me pho stag, ksaya, the 60th year of {rab byung}; 3) all- pervading, all the whole [world] exhautively) [IW]
zad pa - 1); 2) exhausted, extinguishment, completed, finished; 2) fire male tiger year me pho stag, ksaya, the 60th year of {rab byung}; 3) all-pervading, all the whole [world] exhaustively [IW]
