clīno = κλίνω?

Archet motorisé -

https://plasticinfinite.bandcamp.com/album/malculus-photo-synth

Sculpture retrieve a new visionsonic visitation from the monochrome zone. Acid noise on a baroque kosmiche pavilion, with unstable data blat of wires, worm(hole)s, science, bullshit and ritual. The Malculus broadcasts a message that we are attempting to translate. Safety seals are holding for now. MALCULUS / PHOTO SYNTH IS A 7” RECORD AND ZINE BY SCULPTURE DESIGNED TO BE CUT UP AND ANIMATED. ROTATE THE RECORD AND ZINE AT 45 RPM UNDER A BRIGHT LIGHT AND FILM THEM WITH A SMARTPHONE CAMERA

Photo Synth

occhi a mandorla

JFM - Changing Colours

Midweek Smile

Bruce Cockburn's 'lovers in a dangerous time' reimagined & recorded live to cassette using a sampler & FX. Live at Mighty Niagara Film Festival - https://www.youtube.com/watch?v=5jil-8nsgQY

'Fragile Bodies'

This is track "close ab" from the tiles teils cassette. 
Released October 10 2024

The cassette was published as part of the same titled 6-channel sound installation that was presented earlier in 2023 at Museum Schloss Fellenberg Merzig.

It features the sound of broken and cut tiles from the Merzig based tile factory Villeroy & Boch Fliesen GmbH. The factory, wich was directly opposite the Museum, has now, in 2024, moved its tile production entirely to Turkey.

However, the fossilized sounds of a few selected V&B tiles remain somewhere here... in Merzig, in Berlin, on magnetic tape, digitally, www, memorized.

In the former sound installation and now on this cassette, you can hear the tiles assambled to a three-storey ceramophone... humming a farewell song to their origins with the voices and sounds that might be very well known to the 200 former V&B workers.

[ Find here: Ceramophone percussion, tiles scratching, performance documents, analogue synths, text to speech poems, exploratory handling of ceramics and mics, etc. ]

~
credits
released October 10, 2024

C-26 ferro-tape cassette
Kraftpaper slipcase
Stamp printed cover
Hand numbered

Ceramophone, recordings and mix: Peter Strickmann
Text to speech: NaturalReader
Mastering: Leo Kwandt
Dubbing: Shell Tapes
Graphics and Layout: Peter Strickmann
Font: Silka, by atipo

Comissioned by SaarART 2023
Presented as 6-channel sound installation at Museum Schloss Fellenberg, Merzig in June - September 2023

Most of the tiles used for the Ceramophone were kindly provided by Villeroy & Boch Fliesen GmbH

Peter Strickmann - tiles teils (A4)

Faustus

Vegetal hold up. A horse will carry me back, where he's expected.

First broadcast on Resonance 104.4 FM, 12 Sep 2025.

211: Lloyds

Full tracklist: https://bleep.com/bleep-mix-309-wevie-stonder

Earlier in 2025, Wevie Stonder returned to Skam with their first album in 16 years, and such an occasion requires further celebration, no? Sure Beats Living delivers more of the collective’s signature cheekiness, and this mix for Bleep unravels all of the wildly eclectic sounds and styles that have powered over two decades of iconoclasm.

This is probably the only mix you’ll find that travels from drill and bass to Ecuadorian synth cumbia to 40s jazz. Constant stylistic U-turns are the name of the game, and as the group recontextualise tracks with comedic skits and spoken word pieces, you never know which little sonic nugget is going to be the jumping off point for a completely opposite yet cleverly connected world of sound. Wevie Stonder’s own strange crossing between avant experimentation and punkish irreverence sits between the jangling bass guitar of Gary Le Strange, whose reclusive hikikomori-induced paranoia is delivered in an ironic nasally britpop voice, and the wonky synth funk of Devonwho with lush crisp beats and thrumming jazzy keys.

Bucolic Moog wash and lounge piano tiptoe beneath a Radiophonic Workshop-esque segment testing out the possibilities of synthesisers; “Finally, an example of rhythmic electronic music,” says the posh presenter, introducing a full and proper rinsing with some classic Squarepusher chops. Amen breaks are chucked in the shredder and glued back together with thick jungle bass, then dissipate into Hiroshi Yoshimura’s birdsong bliss. With these disparate tracklist transitions, each track in itself brings together unlikely combinations: further melodrama from Gary Le Strange pairs southern crooning with jaunty harpsichord, bass punches and cascading pianos flow between J Dilla’s slow hip hop hits, and Polibio Mayorga merges accordion and cowbells with the theatrics of expressively vintage synth sounds, brass and electronics trading lines on ‘Muñequita Blanca’.

Bleep Mix #309 - Wevie Stonder

21 12 14 xmas throwie 3

Science is beautiful...
however...
"Many issues damage the relationship of science to the media and the use of science and scientific arguments by politicians. As a very broad generalisation, many politicians seek certainties and facts whilst scientists typically offer probabilities and caveats. However, politicians' ability to be heard in the mass media frequently distorts the scientific understanding by the public"
Hydrogen cars for the future!

Scienceness

Tracks on "Avril" are Richard D. James material probably from end 90's and early 2000's. Tracks are close to "Drukqs" and "2 Remixes By AFX".

This is a 23 parts series compiling chronologically the extra material that Richard D. James put online on various pages.
Source: user18081971 soundcloud, user48736353001 soundcloud, Aphex Twin soundcloud, Aphex Twin warp page and more...

Aphex Twin Unreleased #R "Avril"

Tracks on "Tuning" are Richard D. James most recent unreleased material available, probably from mid 2010's to now.

This is the last of a 23 parts series compiling chronologically the extra material that Richard D. James put online on various pages.
Source: user18081971 soundcloud, user48736353001 soundcloud, Aphex Twin soundcloud, Aphex Twin warp page and more...

W - Tuning2

Aphex Twin Unreleased #W "Tuning"

"Arcane 7 : 2020 CD³ vs Starlink " de Léa Roger
Parce que Là Venir.e pense que l'ambiance c'est important, parce que Là Venir.e aime la musique des anges et les cris sauvages, parce que Là Venir.e écoute le grondement des machines et la course des astres, pour son premier numéro Là Venir.e a demandé à Léa Roger, de Félon et Osilasi, de composer une hymne au Chariot, une hymne cosmique, qui t'invite à la lutte, au soulèvement, à marcher toujours devant.

Arcane 7 : 2020 CD3 vs Starlink par Léa Roger

Pandemonium

I am those of whom are habituating the giving frontways
    anticlinally between those of whom are able to lean 
    the strongly overstretching ladders of their regulatable lives 
    hereditarily towards those fashionable curved clients
    of whom are going to spread the climes 
    
    that their sprouting manners further offtakes 
    from where
    any regionally landing staircase are bothways bond too indebted
    by inclining out what the naturally determinable grassiness universally owns

    its originally growing qualities 

    from rebounding its epiclinally waving worlds
    discursively redefinable towards the characteristically overtwisting clinic facades
    of those capricious and humorously deformed faces 
    of whose receptively disfiguring curlinesses are apparently awaking
    rebelliously 

    havable whereabout the hilly shapes travails
    that heedily devouring dispositions of these attendant consumers 
    of who is only weaving the darkly swallowing gulfs 
    of their bodily looms

    overwillingly devisable in-between those stringily alert watchtowers
    of which green humid columns are drawn climatically forward
    devicefully by the slippery wet slopes of those disciplined abusers 

    of that which lively learns
    to take advantage of what limit is left lately behind
 
    between the sidely detained moles of those who are falling massively overweight
    occasionally debitable from the mountainously edged roofs 
    of these sharp dropsy buildings 
    of those obliquely blooming possessors 
    of which dank earthling steps splits 
    the askew cross-paths 
    of their loftily dripping cords
    anticlimactically retransplantable overdue 
    the twiggy crumbling corpusses 
    of those snaky pinnacles whose steeply acclivous bowls 

    of which intestinally gifted stomachs where disorderedly blown an abdominal outfit 
    of which gustily grinding gutters was swelled gluttonously too overhigh 
    from fattest low

    of which seabeds hangs greedily elevated within the deep raising limps
    of those tally gnashing hillocks
    of which (milky) lard plots of meadow grounds are seen pliantly 
    when it leniently crashes its hungrily levelled off toothinesses displayable together
    to conflatable patch the deviously redeploying pieces
    of its corpulent tripes
    delicately edible upon these sausagey lyrebirds of whose stringily brought cliffs blindly strangles
    the clearest light to the muddiest and gravelliest soils 
    of which small wheaten baseboards are brilliantly blended
    explicitly apportionable within a bright roaring rapture 
   
    of which delightly shining tortoiseshells
    of any of those so-called beasts
    of whose alluringly goaded distinctions may be carried off accountable as chicken feed
    to calmly dim the thirstiest fires 
    of these tasty bakers
    of whose oily black-pudding beam corners burns lightly dry from stimulatingly lifting 
    the fleshy hornpipes
    of their terrestrially gnawing ligatures 
    gradually detractable from the softest undisciplined opaqueness
    of which coolest mires are easily obscured and seized disparagingly from desingularization 
    to desingularization among those tallowy yarnwindles
    of which dishevelledly veined decorations are sparklingly gulping through 
    the uncuttable nakedness
    of which sweaty bare impossibilities must boil
    its frostiest laziness merely up or down
    purely unadulterable but unsteadily through the destitutely overcladded olive trees 
    of those bleared-eyed minglers 
    of which dissimilarly decreeing submarines 

    are unclearly overmixing
    the murkiest and lucidest anomality fiercely beyond 
    the sunnily but shadily revealing denouncements 
    of which glassily veiled smoke signals
    are otherly summoned a mortally informing and efforming mesh again 
    upon that nebulously smouldering burial-places over yon
    where the unflatteringly mounded bowels are fumingly laking
    the feebly leaking wine cuppiness 
    seepingly through those ultraobscure but ultraportable funeral-goers
    of which irregularly overdeclared meddlements 
    are weakly change any foggily weeping midsummers and midwinters
    
    of which promiscuously illuminating but endarking surroundings are successively alternating     
    any periodical roadway yearly further 
    superdeformable from the multitudinously trickling billows 
    of those semitransparent sailers 
    whose vaingloriously shaped looking-glass are distinctly magnifying 
    a grand numerosity
    ritely resourcefully fromwards the very overcrowd slots
    of which semivacant thoroughpasses ceremonially contains the untrustworthy naughtiness 
    of which unhealable nullity are devastatingly renowned
    a deadly famous no
    delusively renamable by those instinctually extolled kickboxers 
    of whose wordily big datasheets are antinomically delating
    the playfully distending vicissitudes
    of these traditionally denumerating curveballs of whom are barterable bending backwards
    to treely rebind
    its trickily gambling entertainments
    evidently oppressible within the experientially observing indications 

    of which damp points are kept solemnly in-service
    by initially exchanging the discerning circuits 
    of each others fare-reaching besideness
    of which vaporous punctualities are slaving 
    wherearound whoever guards the showily pricking ambiance
    of whose circumlocuitously honourable lifetimes are both reciprocally nearing its march-wards
    obituarily discoverable one after one 
    to-come religiously pairable withgo the eternally retranslating heredities
    of whom initially walks their stingily noticeable steamrollers nighabouts 

    what is going to be whethersoever is bonding every beginning or end 
    sempiternally answerable atween what's not all even or empty 
    when either 

    bandages symbolically between-steps the absurdly dissimilar awryness 
    of somewhere when no ones unwholesomeness is necessarily beshared 
    with its several decompounding parts all looking like the same windowfronts
    of which ballistically seceding brows of themselves seeks
    to equally alienate 
    the somewhat open parabolas of whose bodily makings are almightily piercing
    its atomically adulterating surface-to-surface missiles
    allergically overthrowable 

    fromwards those wash-and-wear workers     
    whose blow-organs are hitting it off diabolically together 
    to perplexly rebuild 
    the communal mislikeness
    of their irksomely ballading antennas
    aliasable through one anothers measurable advicelines 
    of whomever accidentally continues to meet missionarily halfways
    synallagmatically through the orgasmically mainstreaming travesties
    of which antediluvially 

    cross-dressing organicities are permeable undulating 
    its clothy neighbourliness
    enduringly establishable throughway 
    these clinimetrically dancing bosks
    of those viny burrowers 
    of which bushily honorable bulkiness are biocombinatorially fistfighting forthward 

    the next beburying levels 
    of which humpy farmyards ones companionable dependabilities are perennially balancing
 
    the particularly traversing resemblances
    of those oaky wayfaring peasants 
    of whose provincially diversified paganism are experimentally re-encountering 
    but reinducible enclosing 

    the seemingly contradicting qualities
    of whom else are appropriating what else are suburbanly describing
    the devil's proof
    of one's farthest co-owned offsides 

    withsay what counterly plates
    the constitution of how-to sort what syndically regenerates another parable symbiostasis
    of which otherly transcribing and readdicting volleyballs are futuristically retiring
    every previously emplanting effortposts
    of its scratchily wedge-writing forestations
    upstandingly seducible against
    the semiautobiographically deserializing stagedoors 
    of those woodlanders who are serially hatching
    the grammatically crossbarring and bolting dissertations 

    of their germ-ridden chainsaws 
    restitutively reprovable but disprovable through
    the debatably interweaving alphabets
    of which throughly dissecting letterboxes these ox headhouses are forensically carving
    intertwiningly with the pervasively inserting and exerting web-pages 
    of their athletically word-wheeling propagations    
    twiningly assertable through 
    the highest and lowest braided sonoporations
    of which rhetorically resounding passageways are the haughtily first and (restily) last ferry swan 
    to voguishly waddle
    its foremostly 

    and tiredly ringfencing shackles
    bone-shakingly protrusible back and forth
    to pace what
    
    primitively hastes and languorously pauses
    what beforely angers and faintly stops 
    what anxiously fronts and 

    ceases reconfigurable after

    the cutting and thrusting (coilability) 
    of whose angsty doughiness are absently rearing and pertinently toing and froing 
    its existentially retrodisplacing ontologies
    expandingly deferrable but essentially deformable
    into the misshapenly distracted and contoured faces
    of those bullish chiefs

    of whose flatulently offshooting sprigs are fluxionally bowling

    the book-bosomed chapters 
    of their capitally snorting balloon heads
    of which artily drawing blendshapes are advantageously bulging 
    the anciently lapping knapsacks
    of its leathery antedependent apoforms
    literally redescribe but rediscountable at the 

    epistolarily redelineating but readily mistranslating forums
    of which coarsely clothed public squares are commonplacely misrepresenting
    its raggy and skinnily semiclad remarketability 
    commissively trafficable within 
    the four-dimensionally cross-trading merchandises
    of those beechy interest-bearing transvestites

Audiovisual duo Sculpture mix animation, video art and unstable sonics to uniquely synaesthetic effect.

Photo Synth

SCULPTURE

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