#time machines

[70sscifiart]

What do time machines look like? Here are five answers, from Josh Kirby, Trevor Webb, Richard Powers, Karel Thole, and Mark Harrison.

Try to guess which one I think is the coolest, and then check out my latest art blog post to see if you're right.

And, more importantly, to see a lot more time machine art. And to sign up for my newsletter so you get free art every week.

[unaturalhistory]

Circular music for round people :

Blue Öyster Cult – Blue Öyster Cult

Genetic Transmission – My Inspiration Is You

Bauhaus – The Sky's Gone Out

Tangerine Dream – Zeit

Wolfskin — Ring of Spheres

Brighter Death Now - Innerwar

Swans – Soundtracks For The Blind

The Skull Defekts – Peer Amid

Brian Eno & Beatie Wolfe – Liminal

Time Machines – Time Machines

[mysharona1987]

By Tom Gauld

[t3rc3rmundista]

Jhonn Balance wearing a "Time Machines / Musick Cures You of Time" tee at Sedlec Ossuary (Bone Church) in Czech Republic, 2001.

📸: Bill Breeze

[zzkt]

Why 7/6 and not 1/6? There is no spoon

I used a more convoluted method If f is the homomorphism that sends elements of Z_12 into products of powers of roots of unity, there are 12 different possible selections for what f(1) equals. f(1) = e^(pii/6) may be the most obvious. since 1 generates Z_12 f(1) is all you need to define to define f, but when the group is not cyclic you need to use a more general method to find the homomorphism. first you would have to find the basis of the group by representing it as products of groups of prime power order, in this case represent Z_12 as the direct sum of Z_3 and Z_4. 0 = (0, 0) 1 = (1, 1) 2 = (2, 2) 3 = (0, 3) 4 = (1, 0) .... 11 = (2, 3) then you know that Z_12 as ordered pairs of elements Z_3 and Z_4 can be generated as linear combinations of (1, 0) and (0, 1). So in order to define a function f that sends elements of Z_12 into products of roots of unity, you only need to define f((1, 0)) to be ANY 3rd root of unity and f((0, 1)) to be ANY fourth root of unity. In my case I arbitrarily defined f((1,0)) = e^(2ipi/3) and f((0, 1)) = e^(2ipi/4), which gives f((1, 1)) (the generator of the cyclic group) to be f((1, 0)) * f((0, 1)) = e^(7ipi/6) Since there are 3 third roots of unity and 4 fourth roots of unity, there are 3*4 = 12 possible different functions and hence twelve different representations of Z_12 using the exponential function (when the group is not cyclic, the homomorphisms will not be isomorphisms).

“Typhoid & swans - it all comes from the same place.”

[thedivergentrealities]

Time Machines

[ruiraiox]

In 1993, Coil contributed music to Derek Jarman's film Blue. Their 1985 score for Jarman's The Angelic Conversation was released on CD in 1994.

In addition, they recorded soundtracks for the documentary Gay Man's Guide to Safer Sex as well as Sarah Dales Sensuous Massage.

Coil separated their works into many side projects, publishing music under different names and a variety of styles.

The pre-Coil aliases, Zos Kia and Sickness of Snakes, formed the foundation of a style that would evolve to characterize their initial wave of releases.

Before embarking on their second wave of side projects and pseudonyms, Coil created a soundtrack for the movie Hellraiser, although they withdrew from the project when they suspected their music would not be used.

Furthermore, Coil claimed inspiration for Pinhead was partly drawn from the piercing magazines that director Barker borrowed from the group.

Balance explained after the release of Stolen and Contaminated Songs, in around 1992:

Yeah it would have been brilliant but we wouldn't have carried on, because they were changing everything and they weren't being very nice to us, the actual film people.

They were keeping us in the dark a lot. We said we'd had enough just at the same time they decided they wanted to use Howard Shore.

They just wanted normal film music. They didn't want anything too scary which is sad and ridiculous for a horror film.

Also in 1992, Threshold House released a "Remixes And Re-Recordings" version of How to Destroy Angels. Nurse with Wound's Steven Stapleton contributed a remix of the song, "How To Destroy Angels II".

In 1993, Coil contributed music to Derek Jarman's film Blue. Their 1985 score for Jarman's The Angelic Conversation was released on CD in 1994.

In addition, they recorded soundtracks for the documentary Gay Man's Guide to Safer Sex as well as Sarah Dales Sensuous Massage.

Much like the pre-Coil aliases, Coil's series of side projects represented a diverse basis from which the group evolved a different style of sound.

While Nasa Arab—credited to the group's project "The Eskaton"—was Coil's farewell to the acid house genre, the following projects, ELpH, Black Light District, and Time Machines, were all based heavily on experimentation with drone, an ingredient that would define Coil's following work. These releases also launched the start of Coil's new label Eskaton.

Transparent was reissued in CD format in 1997 on Threshold House. A disc and booklet were packaged in a "thick" slipcase, which was released in partnership with the World Serpent music company