just got home from first day of pre school, even

building literally and figuratively

For this tape Joni used samples from all tsss tapes' releases starting from the very first, Free Percussion, and he stopped right before our 30th, Free Percussion/Water.

Releases November 22nd, 2022

Joni Void, Bruitsss

All tracks were written and composed by many friends, in many worlds!
Mastered by Apulati Bien
Artwork by Dieter Durinck
Incoming Call 002

Gibby - Dj - Shrunk

@silica-gel-do-not-eat

noumenalloom.bandcamp.com/album/wooden-shoe

Wooden Shoe Out 12.15.22

Wooden Shoe is a playful concoction that warps folk song elements into kaleidoscopic new forms. The album spins like a cart wheel, traversing a richly varied sonic terrain, moving both forwards and backwards in time. The sounds are ancient yet futuristic….wurlitzer organ, mandolin and autoharp combine with bent circuits and digital artifacts in a song cycle that progresses like a hauntological play. On this their second album, Silica Gel deepen their exploration of art song by using elements of clapping games, round songs, hockets, vaudeville and folk balladry to fill out a thoroughly hand crafted songbook. The enchanting voices of Laura and Lauren weave harmonies around the listener like the dreamy revolution of a glowing carousel. The song Coming Age sums up this effect perfectly with a circular melody that could go on forever as if bound for the stars…a hymn embodying the infinite dream of a better future.

Prisms of Knowing

Silica Gel - Fungi

We are happy to present two pieces of ambient music, and two artists already seen on our page.

two songs to transport us to all sides of the mountain, day and night, to feel in the place we like.

Artists:
Inner / Yenaldooshi

NAIND AR-31 A2 Yeenaldooshi - Spiritsgrief

トークンを挿入したその瞬間からゲームセッションは始まり、プレーヤーは一気にいくつもの「ライフ」を持つ。これらのゲームの中では、「ライフ」要素を勝ち増やす事もでき、それらはスクリーンの端に小さなアイコンとして蓄積される。
プレーヤーはゲームが終わるまでに何度も失敗することができることから、この機能は陽性強化としてプレーヤーに働く。Pier Luigi Cappucci教授は自身の本、"Il corpo tecnologico"にて次のような現象を説明する：人は常に「バーチャル」構図（構成）を創造してきており、物理的且つ直接的な現象界の体験（経験）から距離を置く事を学ぶ。(…）モデル（模型）や物（作り物、芸術品、人工物）を使う事によりその関係を調節（仲介）し、置換えているのだ。
この要求の重要な証明となるのは神話や伝説における口承、または影絵やマリオネットといった形での再解釈などにある。様々なアニメーション（命を吹き込むという意味で）技術、バトンの使用、ワイアートリック（仕掛け）、手袋や目の錯覚を引き起こす様々な方法、それらは現在の進歩したと言えるであろう「バーチャル」なデジタルイメージを操作（コントロール）する技術と遠くではあるが同じラインをたどっているのである。ナイジェリアの宗教的習慣とし扱われる儀式的スペクタクルGledé人形劇を例にとろう。操り人形師はパペットマスクを身に付ける。それは彼らのダンス（動き）と操り糸を通して動きが調和され、唯一動きを持つオブジェとなる。それは人形師と人形とのハイブリッド、マジックと幻想を展開させる神々しい者となるのだ。70年代末から80年代にかけて日本ではOVA、オリジナルビデオアニメーションというものが続々と造られた。その中では人間のキャラクター、主にティーンエイジャーが彼らの体の機械的な感覚の延長かのように大きなロボットの内部を操作する。
1979から80年の機動戦士ガンダムでのモビルスーツ、1985年、強殖装甲ガイバーでの共生有機デバイスなどといった、ある人物に宿る人間のポテンシャルを拡大させる科学技術などが例としてある。
2006年にはシングルプレーヤー向けにガンダム世界のシミュレーションとして先進的なアーケードゲームがいくつか造られた。これらの新しいゲームカプセルにはパノラミック・オプティカル・ディスプレイ（半球スクリーン）を搭載され、アーケードシステムを再起動させ、しばらくの間、日本国内外で大きな反響をよんだ。From the moment that you insert the token and the gaming session starts up, the player suddenly has multiple lives. During these games, you can win additional “life” elements, which accumulate as little icons around the edges of the screen.

This function creates a positive reinforcement in the player; they have the possibility to fail many times without the game finishing. Professor Pier Luigi Cappucci, in a paragraph of his book "Il corpo tecnologico" descibes to us this phenomenom: Man has always created “virtual” constructs, learning to distance himself from the physical and direct experience of the phenomenal world.(..) mediating and substituting this relationship through the use of models and artifacts.


An important attestation of this desire are the myths and legends of the oral tradition, a version of which we can also see reinterpreted in shadow puppet or marionette shows. The different animation techniques, the use of batons, wire tricks, gloves and other ways of deceiving the eye, trace a line, though long, towards the current, more or less advanced, techniques for controlling “virtual” digital images.

Let's take the example of the Nigerian Gledé puppet theater, a ceremonial theatre which serves as a religious rite. The puppeteer wears a puppet mask, a single object which moves unison with their dance by means of the puppet strings. It is a kind of hybrid between a puppeteer and a puppet, a divine being who deploys magic and illusionism.

At the end of the 70s and throughout the 80s in Japan, a series of OVA, or original video animation, were created, in which the human characters, usually teenagers, had internal control over giant robots, as if they were mechanical sensory extensions of their own bodies.

Take the example of the Gundam Mobile Suit 1979-80 or The Symbiotic Organic device of Guyver, 1985, a technology which amplifies the human potential of the people that it hosts. I

n 2006 some advanced arcade game were created as simulation for a single player of the Gundam universe. These new game capsules, with a panoramic optical display, have relaunched the arcade system which has been all the rage for a while, in Japan and elsewhere. Divinity, mythological figures, ties with tradition and historical events, have often been the starting point for the creation of scenes and characters for games and video games, often fused together in a bizarre and entertaining manner. 

Capogiro degli Dei (EBM(T) mot Tokyo)

Kraft - Madegg

window

Creepzone

Jelly Creep

from BMV028

purchase at www.banhmiverlag.com/releases

Jeff Witscher - Cob Music Excerpt

8-TRACK LOOPS, JUNK METAL

"If you are someone who does not like noise, you are not going to like this" 
—Bryan Jones, Stylus Magazine

"Corpse on Horseback is by far my favorite. Totally crude, minimally composed loops. Nothing 'flashy' like his newer stuff that i am not so into" —DREAMER, Pure Stench Forums

Jeff Witscher - Cob Music Excerpt

Bánh Mì Verlag

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