Taken from the album 'Suisse Redux' released as LP and Digital

François J. Bonnet & Stephen F. O'Malley 'assembled by Jim O'Rourke (excerpt)' (EMEGO 298)

Polish artist Martyna Basta presents Making Eye Contact With Solitude, a suite of intimate, diaristic ambient pieces assembled over the past several months. Created using almost exclusively field recordings and her voice (alongside violin, zither and harpsichord), this collection meditates on domesticity, loneliness, repetitiveness, stubborn patterns of isolated minds and the sonic mysteries all around us. There’s a real gentleness to these spontaneous and confessional improvisations, despite that fact that making them was a way of “making peace with myself and the reality around me” for the Kraków-based artist. The artwork created by costume designer, sculptor and illustrator Julita Goździk and track titles also allude to an interest in rituality, repetitiveness and the cyclical nature of our existence.

Constant listening, instinct and intuition are key to Martyna Basta’s practice. Having studied classical guitar for many years as a child, Basta now focuses her energies on more abstract forms of art as a photographer, musician, member of the PROGREFONIK collective and Radio Kapitał resident. Making Eye Contact With Solitude follows a string of shorter self-releases and is her label debut, and a wonderful introduction to her back-catalogue for many. Slotting in somewhere between the vocal mantras of Cucina Povera, the emotional immediacy of Claire Rousay’s recordings and the carefully crafted sonic environs of Félicia Atkinson, Martyna Basta is carving out a unique corner of the ambient world for herself. 

Pre-order: https://martynabasta.bandcamp.com/album/making-eye-contact-with-solitude

Making Eye Contact With Solitude

Martyna Basta – Awakening

Sun Stands Still

To Whoever Shall Inherit the Earth

Pretty (Sped Up)

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)

Metamorphoses

RIP Ana-Maria Avram 
1961-2017

Ana-Maria Avram 
"Metalstorm"
Recorded at Studio Ina GRM 12 December 2012
Mixed by Ana-Maria Avram in Bucharest December 2012

Ana-Maria Avram : Electronics
Stephen O'Malley : Electric Guitar

Thanks to François Bonnet for the invitation and, of course, to maestro Iancu Dumitrescu for the presences and visions.

Ana-Maria Avram Soundcloud :
https://soundcloud.com/ana-maria-avram-composer-2

Ana-Maria Avram abbreviated biography

Composer, pianist and conductor.
After graduating from the National Conservatory of Music in Bucharest, she obtained a degree from Paris Sorbonne in 1992. 
PHD in Musical Esthetics at Sorbonne, Paris (1995)
In 1994 she was awarded the Grand Prize in Composition from the Romanian Academy.
She is considered to be one of the most important Romanian composers of her generation.
Her music is affiliated with the spectral music trend.
She represents the Hyper-Spectral music trend in contemporary avant-garde music. 
Conductor with Iancu Dumitrescu of the Hyperion Ensemble - a chamber music ensemble from Romania, based in Bucharest specialized in the performance of contemporary classical music, more particular as the main promoter in Romania of the Spectral Music trend
Her music is spectral, acousmatic, heterophonic and transformational.
She composed over 200 works, music for soloists, chamber
music, music for symphonic orchestra, electronic and computer assisted music.
Avram received numerous commissions for composition from Radio France, Art Zoyd (France), Les Ateliers UPIC (Paris), Ensemble Lucilin (Luxembourg), Ensemble Mozaik (Berlin), Ensemble Musiques Nouvelles (Mons-Belgium), IMEB-Bourges, Bodo Sinfonietta (Bodo- Norway), 
She was awarded at Ars Electronica - Linz in 2000 for the work “Traces, Sillons, Sillages” for ensemble and computer assited sounds.

Founder and President- since 2006- of the Romanian Community of Electro-acoustic and Computer Assisted Music – CREMAC.

Vice-President of the International Community of Electro-acoustic Music – CIME – affiliated to IMC and UNESCO.

She is also founder and Artistic Director of several national and international festivals dedicated to experimental, electronic and spectral music trends:

« Acousmania »- in partnership with Romanian Broadcasting Corporation – six editions, from 2002 to 2006

« Musica Nova » – In partnership with the Ploiesti Philharmonic Orchestra 2002-2004
« Spectrum XXI » - dedicated to spectral music trends and held annually in three European capitals. Since 2006 the festival took place in Paris, London, Geneva, Brussels, Berlin, Bucharest, Mons, East Grinstead.

SPECTRUM XXI was financed by institutions such as Romanian Ministry of Culture, Romanian Cultural Institute, Pro Helvetia, European Agency for Culture, Education and Audiovisual – EACEA towards the program Culture 2007-2013.

In 2010 Avram was elected as “Blodget Artist in Residence” at the Harvard
University, Department of music where she taught composition to postgraduate students. She also sustained numerous workshops, lectures and conferences at Harvard University, the University of Maine, Farmington (USA), Univeristy of Minneapolis-St Paul (USA), Technical University of Istanbul (Istanbul,Turkey), Institute Jacques Dalcroze (Geneva), Centre de Creation Musicale Iannis Xenakis (Paris), etc…

GRM session December 2012

Ana-Maria Avram "Metalstorm" GRM Session December 2012 w/ Stephen O'Malley

Fluid Hammer

Pancrace - CSO

Written and recorded on unceded Wurundjeri and Boon Wurrung land during Winter 2020.

Lisa Lerkenfeldt 'A Garden Dissolves Into Black Silk' (Excerpt) [AV003]

Taken from ROMANCE - YOU MUST REMEMBER THIS [E061] 

Fusing ambient with the winsome emotive nostalgia of Hollywood symphonic soundtracks, Romance cascades hypnogogic hooks through trance inducing polyrhythmic peaks. 

You Must Remember This is a psychotropic, time-smearing mixtape album of chopped & screwed romantic classical and new age ballads, drawing on themes of classical beauty, faded glamour and altered states. 

Straddling the Warholian line of high / low culture, Romance combines the sacred legato dreamtime of Edward Artemiev’s haunting soundtrack for Tarkovsky’s ’Stalker’ the sculptural repetition of Philip Glass with the syrupy emotional grandiosity of Whitney Houston or Celine Dion. Unspooling motifs from the forgotten annals of film history, collaged and suffused with decaying reverb and crystalline echoes YMRT conjures otherworldly atmosphere akin to fellow hauntologists GAS, Burial and The Caretaker.

Mastered by Alessio Natalizia. Artwork by Asel Tambay

Romance - You Must Remember This (excerpts)

ECSTATIC

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