April 30th, 2012

untitled by nico, 30.04.2012

 

 

April 29th, 2012

untitled by F, 29.04.2012

untitled by nico, 29.04.2012

 

 

 

April 27th, 2012

Medical Gymnastics by Agnieszka Polska

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Kane Ikin (Solo Andata) meets David Wenngren (Library Tapes)

Strangers by Kane Ikin +David Wenngren

 

 

 

April 26th, 2012

Transition -part 1 by Lauren Marsolier

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Blondes (RVNG Intl, Merok, Brooklyn, NYC) – Headphone Highlights

 

 

April 25th, 2012

Photographs by Ananda Serné

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La La La Ressonance – Faust

 

 

April 24th, 2012

Tilting

Observation tower camouflaged as church belfry

Command post in the Bay of Biscay

The rear solid mass of a firing control post

The photographs were taken by Paul Virilio between 1958 and 1965 from the book  Bunker Archaeology “

 

” The discovery of the of the sea is a precious experience that bears thought. Seeing the oceanic horizon is indeed anything but a secondary experience; it is in fact an event in consciousness of underestimated consequences.

I have forgotten none of the sequences of this finding in the course of a summer when recovering peace and access to the beach were one and the same event. With the barriers removed, you were henceforth free to explore the liquid continent; the occupants had returned to their native hinterland, leaving behind, along with the work site, their tools and arms. The waterfront villas were empty, everything within the casemates’ firing range had been blown up, the beaches were mined, and the artificers were busy here and there rendering access to the sea.

The clearest feeling was still one of absence; the immense beach of La Baule was deserted, there were less than a dozen of us on the loop of blond sand, not a vehicle was to be seen on the streets; this had been a frontier that an army had just abandoned, and the meaning of this oceanic immensity was intertwined with this aspect of the deserted battlefield.

But let us get back to the sequences of my vision. The rail car I was on, and in which I had been imagining the sea, was moving slowly through the Brière plains. The weather was superb and the sky over the low ground was starting, minute by minute, to shine. This well-known brilliance of the atmosphere approaching the great reflector was totally new; the transparency I was so sensitive to was greater as the ocean got closer, up to that precise moment when a line as even as a brushstroke crossed the horizon : an almost glaucous gray-green line, but one that was extending out to the limits of the horizon. It’s color was disappointing, compared to the sky’s luminescence, but the expanse of the oceanic horizon was truly surprising: could such a vast space be void of the slightest clutter? Here was the real surprise: in length, breadth, and depth the oceanic landscape had been wiped clean. Even the sky was as divided up by clouds, but the sea seemed empty in contrast. From such a distance there was no way of determining anything like foam movement. My loss of bearings was proof that I had entered a new element; the sea had become a desert, and the August heat made that all the more evident – this was a white-hot space in which sun and ocean had become a magnifying glass scorching away every relief and contrast. Trees, pines, etched-out dark spots; the square in front of the station was at once white and void – that particular emptiness you feel in recently abandoned places. It was high noon, and the luminous verticality and liquid horizontality composed a surprising climate. Advancing in the midst of houses with gaping windows, I was anxious to set foot on my first beach. As I approached Ocean Boulevard, the water level began to rise between the pines and the villas; the ocean was getting larger, taking up more and more space in my angle of vision. Finally, while crossing the avenue parallel to the shore, the earth line seemed to have plunged into the undertow, leaving everything smooth, no waves and little noise. Yet another element was here before me: the hydrosphere.

When calling to mind the reasons that made the bunkers so appealing to me almost twenty years ago, I see it clearly now as a case of intuition and also as a convergence between the reality of the structure  and the fact of its implantation alongside the ocean: a convergence between my awareness of spatial phenomena – the strong pull of the shores – and their being the locus of the works of the “Atlantic Wall” (Atlantikwall) facing the open sea, facing out into the void.”

Bunker Archaeology by Paul Virilio, Princeton Architectural Press

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Clubroot – S​/​T (III – MMXII)

 

 

 

April 23rd, 2012

untitled by nico, 22.04.2012

 

Liebe ist kälter als der Tod  08.01.2011

 

 

April 20th, 2012

Robert Smithson, Proposal for a Monument on the Red Sea, 1966

Robert Smithson, Spiral Jetty, 1970

Robert Smithson, The Hypothetical Continent in Shells: Lemuria, 1969

Robert Smithson, Mirror and Shelly Sand, 1970

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IA MIX 60 Deadbeat

 

 

April 19th, 2012

Endless House | Frederick Kiesler

 

“The Endless House is called the “endless” because all ends and meet continously.
It is endless like the human body. There is no beginning and end to it. The “Endless” is rather sensuous. More like the female body in contrast to sharp-angled male architecture.
All ends meet in the “Endless” as they meet in life. Life’s rhythms are cyclical. All ends of living meet during twenty-four hours, during a week, a lifetime. They touch one another with the kiss of time. They shake hands, stay, say goodbye, return through the same or other doors, come and go through multi-links, secretive or obvious, or through the whims of memory.
One box next to another.
One box below another.
One box above another.
Until they grow into tumors of skycrapers.
The coming of the Endless House is inevitable in a world coming to and end. It is the last refuge for man as man.”  – Friedrich Kiesler: Inside the endless house

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Claro Intelecto – Still Here

ps: i have nothing to say and i am saying ♥ it, just listen!

 

 

April 18th, 2012

Ant Farm, Dream Cloud on the Beach, at Freeport, Texas, 1969

Ant Farm, Pillow, 1970

Ant Farm, Pillow, 1970

“Ant Farm was established within the counter-cultural milieu of 1968 San Francisco by two architects, Chip Lord and Doug Michels, later joined by Curtis Schreier. Their work dealt with the intersection of architecture, design and media art, critiquing the North American culture of mass media and consumerism. Ant Farm produced works in a number of formats, including agitprop events, manifestos, videos, performances and installations…” more info

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Silent Harbour – Echocord Rec (CD012) – Previews

Sigha Mix – Xfm 07/04/12

 

 

April 17th, 2012

A party of climbers with walking sticks and equipment traversing a glacier
1790, Etching with hand-colouring

The party of climbers with walking sticks and equipment traversing a glacier
1790, Etching with hand-colouring

Johann Philipp Linck, Passage d’une Crevasse du Glacier de la Côte, ca. 1800

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moomin – homelistening by moomin

 

 

 

April 16th, 2012

The River Keeper: One man’s quest to heal the Mississippi

photographed by Erika Larsen

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Neel 2 Hours Liveset At Dommune ( 10th April 2012 )

 

 

April 15th, 2012

untitled

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Vatican Shadow – Gunmen With Silencer

Black Rain – Now I’m Just A Number

 

 

April 14th, 2012

Until It Stops Burning by Ryan Widger, 2008

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Pfirter 4 Hours Liveset At Berghain ( March 10th 2012 ) 

 

 

 

April 13th, 2012

The Odysseus by Mikael Kennedy

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‘I’ve Lost a Friend’ — A Tropic of Cancer Mixtape

“This is a mix for the loved and unloved, the lost and the found. It was compiled in moments of weakness.” via Camella Lobo

 

 

April 12th, 2012

untitled

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Dictaphone – The Conversation ( sonic pieces

Dictaphone – Rattle

 

 

 

April 10th, 2012

Mirage by Joe Nigel Coleman

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Shifted at Dommune, Tokyo

 

Maze003 – Yør – Modern Slaves Of Contemporary Contexts EP by PurpleMazeMusic

 

 

April 8th, 2012

Amie Dicke, La Durée, Print on paper with sandpaper abrasion, 2011

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Ugandan Methods – Between A Sleep And A Sleep [Ancient Methods 006]

“Ugandan Methods, a joint project by Ancient Methods and Regis, first surfaced in 2009 with Map Output – 1/2. Ugandan Methods presented a more spacious and less frenzied sound than Ancient Methods’ previous showings, yet one that remained grounded in raw industrialism and throwback purism. Their most recent release largely sees that aesthetic continue over three tracks, each with its own distinct vision. ” via RA

 

Ancient Methods – Else (Ugandan Methods Mix)

 

ssg special – ancient methods presents ‘some strings attached’ mix

 

 

 

April 7th, 2012

untitled

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sendai – process part 300

 

 

April 6th, 2012

Ingenting Kollektiva – Fragments Of Night ( Invisible Birds ), photography by tarrl lightowler

” Ingenting Kollktiva is comprised of Diane Granahan, Kirston Lightowler, Tarrl Lightowler, and Matthew Swiezynski, and was made as a homage to the films of Ingmar Bergman and Sven Nyqvist – particularly their quality of light, sound, and atmosphere. ‘Fragments Of The Night’ is also a direct response to a number of recordings from 1969 – Miles Davis & Teo Macero’s ‘In A Silent Way’ & ‘Bitches Brew’, and Vashti Bunyan’s ‘Just Another Diamond Day’, to name just a few – and was recorded at the Lightowler’s barn during a christmas rainstorm in 2009. The result is a rich tapestry of sounds played out with bells, bowed tibetan prayer bowl, cello, field recordings, guitars, harmonium, nightingale device, portable 78 record player, psaltery, tenor sax and shakuhachi flute, later edited at Studio Oiseaux Invisible to create a stunning, haunting arrangement of sounds you never quite get the measure of. The recordings’ sense of space is just astonishing and meticulously crafted, bringing to mind the darkened visions of The Haxan Cloak, infused with an unstable quality which means you never quite know where the recordings will take you next… ” via boomkat

 

fragments of night Iboo4 mix by invisible birds
 

ingenting kollektiva – fragments of night (album preview) by experimedia

 

 

 

April 5th, 2012

Mister Blue From Day-to-Day by Robert Filliou, Edition Lebeer Hossman, Brussels, 1983

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Music of the Month ( Mar 2012 ) :

 

Versalife – Night Time Activities Part 3 ( Delsin Records )

Voices From the Lake – Voices From the Lake ( Prologue )

Bvdub – Serenity ( Darla Records )

 

 

 

April 3rd, 2012

Caspar David Friedrich, The Farewell, 1818

Caspar David Friedrich, Autumn Landscape with Brush Collector, ca. 1824

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Murcof, Erik Truffaz & Talvin Singh – Montreux Live 2006

 

 

 

April 1st, 2012

INCUBI et SUCCUBI by Lele Saveri

untitled by Lele Saveri

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Haus Arafna – Pain To Love / You

 

Haus Arafna – I Kill to Survive

Can’t hear you! Can’t hear you!
My Ears are bleeding!

Can’t see you! Can’t see you!
My Eyes are weeping!

Can’t feel myself! Feel myself!
My Heart is broken!

I’m drowning! I’m drowning!
Hell is open!

I kill to survive!
Don’t kill to be recognized!

I kill to survive!
Don’t kill to be recognized!

I kill in my Determination.

 

ps:  the first time i put industrial track on this page.

 

 

© 2009-2017 NICOONMARS All images are copyrighted by their respective authors.