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monochrom Buried Alive, 2013
‘The people present will have an opportunity to be buried alive in a coffin for fifteen minutes. As a framework program there will be lectures about the history of the science of determining death and the medical cultural history of “buried alive”. People buried alive not only populate the horror stories of past centuries, but also countless reports in specialized medical literature. The theme of unintentional resurrection by grave robbers also runs through forensic protocols. Even in the 19th century it was said that every tenth person was buried alive. No wonder that the fear of this fate was immense and led – especially in the German-speaking region – to all kinds of precautions to avoid it. Various death test methods were developed, for instance. “Security coffins” with bell pulls and air hoses were patented; mortuaries were built, in which corpses were left for days to natural decay.’

 

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Marlene Dumas Measuring Your Own Grave, 2003
‘For years I had the same studio, in the center of Amsterdam and there were some other artists in the building too. A fellow-artist friend had this canvas which he had painted this beautiful light gray. He wanted to throw it away and I said, “Give it to me,” and so when you look at that canvas you will see that the grayish, lighter area at the bottom is done with very systematic brush strokes. And they’re actually not mine, they are his.

‘So I had this beautiful background, beautifully painted, and I wanted to have an image that fitted this canvas. So then someone else had a newspaper image of someone in this position, and because I also work in such an associative way, I thought, this image is going to stretch itself to the edges of this canvas. And after I painted it, I thought, it is like measuring your own grave — making art is actually like measuring your own grave. The canvas is almost like a coffin for the figure, because all my figures always seem to struggle with the fact that they are paintings, — they never breathe so well in the painterly space.’

 

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Jeff Wall The Flooded Grave, 1998-2000
transparency in lightbox

 

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Sophie Calle Here Lie the Secrets of the Visitors of Green-Wood Cemetery, 2017
‘French conceptual artist Sophie Calle just launched a 25 year installation in a a cemetery. Here Lie the Secrets of the Visitors of Green-Wood Cemetery is a participatory art project where Calle erected an white marble obelisk that bears that inscription plus artwork’s name. At the base is a small slot where participants can insert their written secrets, sealed in an envelope. Whenever the obelisk fills up, Calle will return to Brooklyn to burn the contents. They will be burnt at the same cemetery facilities that handle the deceased. It’s a project that is deeply personal, and inherently cathartic. The 25-year duration of the project is based on the practice of cemeteries in Paris, where buying a grave “for eternity” only guarantees you a 25-year occupancy. If you don’t get visitors, the plot can be turned over to someone else.’

 

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Massimo de Carlo The Grave, 1998
dirt, cement, rocks

 

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Keith Arnatt Self-Burial (Television Interference Project), 1969
‘At 8:15pm on 11 October 1969, just after the evening news, viewers of WDR3 [Westdeutsche Rundfunk Channel 3] – a German television channel – were shown a photograph of a man standing in a field. The image was on screen for two seconds. It wasn’t announced, explained or credited. This was the start of Keith Arnatt’s Self-Burial (Television Interference Project). The work was shown over a period of eight nights with images shown straight after the evening news at 8:15pm and interrupting whatever programme was on at 9:15pm. As the work progressed the man – artist Keith Arnatt – seemed to disappear into the ground.’

 

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Ruth Stanford From the Ground Up, 2018
‘This inversion of cemetery architecture brings the inside out into the open with the light and color serving to honor individuals laid to rest here.’

 

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Roger Hiorns Buried passenger aircraft (Pathways), 1990-2016, 2016
‘In the summer of 2016, Roger Hiorns buried a military passenger aircraft into a hill in the East of England. The burial marked the first occasion in which a series of buried aircraft will occur across the globe in what the artist describes to be a global network of buried passenger aircraft. Aircraft are to be, or have been, buried on all continents across the globe.

‘The artist describes the act of burying the craft, each craft with differing contextual references and uses, based on their final location, as ‘another stage in the evolution on object making against the established world of objects’. ‘That a worldly object and its intentions can somehow be readapted, or “insulted”‘. ‘That the human occupant of the newly buried plane will become influenced and more attuned to the powerful systems we pass through.’

 

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Linda Hubbard Baby Burial Socks, 2013
‘Funeral Socks. Make sure your baby is appropriately attired warm and snug for the final journey.’

 

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‘An artist has been buried alive beneath a busy Hobart road, where he will spend 72 hours as part of Tasmania’s Dark Mofo winter festival. Organisers estimate more than 3,000 onlookers watched as Mike Parr, 73, climbed into a steel container beneath Macquarie Street and the road was resealed above him. Oxygen will be pumped into the container where Parr will spend the next three days fasting, meditating, reading and drawing in his sketchbook. “He will take a copy of Robert Hughes’s The Fatal Shore down with him to read, and he’ll have his sketchbook, but what he does down there aside from that, nobody knows.” And what will he use for a toilet? “There’s a bucket down there,” Mr Rawlins said.’

 

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Diana Markosian School No. 1, 2004
‘School No.1 in Beslan, Russia, days after the siege. Drawings in this project are from survivors, and have been integrated into photos of the hostage location.’

 

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Maurizio Cattelan Eternity, 2018
‘‘My favorite dream has always been the one in which I get to go to my own funeral,’ says Maurizio Cattelan. For this participatory social sculpture, Cattelan has issued an open call to local artists to invoke their own favorite dream – or worst nightmare – by designing and building a tombstone or gravestone for a living person, be they an enemy, a family member, or a friend. Fictional characters are also accepted (see: Pinocchio). The artist hopes to select around 200 proposals and will ask their creators to build and install them in Palermo Park in a temporary tribute to those who have not yet passed away. ‘I have always liked cemeteries – they are so quiet and inspiring,’ the artist muses. ‘So why not build a cemetery for the living? Maybe it will make our life easier as we learn to coexist with the end.’’

 

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Eum Sung-do Untitled cat cremation urn, 2017
ceramic, paint, feline ashes

 

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Ken Unsworth Five secular settings for Sculpture as ritual and Burial, 1975
‘Ken Unsworth was entombed in a glass box (3 tons of Sand were used to fill this glass tomb). He was enclosed for over 20 mins. November 17, 1975.’

 

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Nicholas Galanin Shadow on the Land, an excavation and bush burial, 2020
‘Imagine a future where the statues of veneration that mark our public landscape today have long been forgotten, buried beneath the earth. In this speculative archaeological-style dig, Nicholas Galanin ‘uncovers’ or ‘excavates’ the shadow cast by the Captain Cook statue that currently resides in Sydney’s Hyde Park. The work rests between a possible past or future burial, a presence through absence of an object that today very much still functions as a celebration of colonial heroics. Inverting the gaze of archaeology, which has often framed Indigenous cultures as belonging to the past, this work imagines a possible future where the memories of settler colonialism have become distant and buried.’

 

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Jess Miley and Derek Sargent The Grave Project, 2021
‘The Grave Project is an ongoing performative research project by Jess Miley and Derek Sargent. We research historical individuals who have had an impact on queer and non-normative culture. This research culminates in a pilgrimage to their gravesite, which we document through performance, photography, film and text to create an alternative historical archive. We examine the way their queerness is used in the construction of their historical biographies, including how and where they lived, either by choice or not, had a profound effect on their queer story.’

 

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Roberto V. Villanueva Ego’s Grave, 1993
‘His art has been labeled as “ephemeral,” a description, which may well be consistent with his last and final performance: himself wrapped in his favorite tinggian blanket while lying on a pile of wood that was later set on fire. His friends and loved ones danced in a circle around him, playing the drums and gongs for the next six hours. Among his most memorable pieces is “Ego’s Grave”, a pit which he dug for 17 days causing him to collapse during the first Asia-Pacific Triennial of Contemporary Art in Brisbane, Australia.’

 

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Felix Gonzalez-Torres Untitled (Alice B. Toklas’ and Gertrude Stein’s Grave, Paris), 1992

 

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Paul Thek The Tomb, 1967
‘In 1967, Thek culminated his early career by creating a life-sized effigy of himself, dressed in a pink suit and laid to rest in a pink ziggurat tomb. The sculpture, dubbed by critics the “Dead Hippie,” seemed to capture the zeitgeist of the era. The discs on Thek’s cheeks were painted with psychedelic colors, and Thek originally surrounded the figure with paraphernalia that alluded to drug use. When it was shown at the Whitney in 1968, Vietnam War protestors left flowers by the tomb, as if the wax figure were a martyred comrade.

‘Critics celebrated Thek’s Hippie as a masterwork of American sculpture, and it was exhibited at museums throughout the United States and Europe. Eventually, it became the first great work of Thek’s to be lost. Over time, the notoriety of the Hippie exasperated Thek. When a museum in Germany asked to exhibit it in 1981, more than a dozen years after its inception, he wrote to a friend: “I really don’t want to have to do THAT piece again! Oh God no! Not THAT one. Imagine having to bury yourself over and over.”

‘Thek did agree to show the work, but when it was returned from Germany, he never picked it up from the shipper, and the Hippie was destroyed, or disappeared. Why Thek allowed this to happen is unclear. By one account, he simply forgot to retrieve the work from the shipper. But it’s also possible that he abandoned the Hippie out of frustration that it had never been purchased. Whatever the reason, its destruction ensured that he would never have to show the work again.’

 

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Adolf Wamper Memorial with Miners, 1953
‘The Nazis used arts and culture as propaganda tools. Their definition of acceptable art was very narrow, and one that promoted their racist ideology. Many artists were banned from working or persecuted; a great number of them fled into exile. But on the other hand, the work of certain artists like sculptor Adolf Wamper was deemed to be of extremely high value to the regime. Even in the final phase of World War II, a select few of artists were declared to be “indispensable” to Nazi culture, exempting them from military duty and work assignments.’

 

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Winner Jumalon A Part, 2010
‘Imagine the consternation that ensued when the invitations for the show first came out describing the outdoor venue as a graveyard marked by portraits! Not exactly palatable news to the superstitious. Winner took inspiration from the grave markers of non-Christians, like the ones found in Mindanao for instance, that define burial sites with carved likenesses of the dead beneath them. Winner fabricated each piece as both a portrait and a still life, one on reverse sides of each other. He painted using automotive paint on a resin base.’

 

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Milène Guermont Causse, 2016
‘CAUSSE is an artwork commissioned by an eminent French scientist to Milène Guermont to be his ultimate tracking place on Earth. Several authorizations were necessary to install this sculpture made of ultra high performance fiber-reinforced concrete and light on the preservation area of the Montparnasse Cemetery in Paris.

‘CAUSSE is formed by 12 facets, representing the 12 floors of the photo-electric cell with multiplied electrons invented by the scientist. Thanks to optical fibres embedded into the concrete, light goes from one facet to another, like the electrons in the photo-electric cell. When a cloud, a bird or a visitor passes in front of an optical fibre, it darkens a point of light on another facet.’

 

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Puppies Puppies Andrew D. Olivo 6.7.1989 – 6.7.2018, 2018
‘Andrew D. Olivo 6.7.89-6.7.18, an installation of new work by Puppies Puppies that refects on past trauma, the physicality of transitioning, and mourning the death of an old self. Patches of grass filled the entire flooring of the booth, in the middle which stood a tombstone bearing the name of her former self “Andrew D. Olivo” and the dates “June 7, 1989” and “June 7, 2018.” Albeit a bit morbid, the artwork is also a celebration of a turning point in the artist’s life, as she underwent surgery and embraced life as a trans woman.’

 

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Shigeko Kubota Korean Grave, 1993
‘Born in 1937 in Niigata, Japan, Shigeko Kubota became a key member of the Japanese avant-garde, a respected participant in New York Fluxus events in the 1960s, and, starting in the 1970s, a pioneering practitioner of video art. An emblematic work she created is Korean Grave (1993), a work dedicated to her husband. Kubota had been together with fellow video art pioneer Nam June Paik since the 1970s, supporting each other’s dynamic lives until Nam June’s passing in 2006. Kubota made tributes to her beloved partner through various video works and through a written memoir.’

 

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Barbara Kruger Untitled (You Can’t Drag Your Money Into The Grave With You), 1990
photographic silkscreen on vinyl

 

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‘A 90-year-old man, Lonnie Holloway, from South Carolina in USA, made a wish before his death that he wants to be buried with the car – a 1973 Pontiac Catalina. His last wish was granted. He was buried in the front seat of his car with his hands on the steering wheel along with his most prized possessions – his guns – in Saluda.’

 

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W. Eugene Smith Burial at Sea, Marshall Islands Campaign, 1944
‘Called a fanatic of his craft and, often, “troublesome” by his editors, photographer and photojournalist W. Eugene Smith demanded such perfection of his images that he destroyed most of his early work. He began taking pictures at age 14, initially of airplanes, exploring an interest in aeronautical engineering. Smith went on to study photography at Notre Dame, followed by a job at Newsweek in 1937 (which he was fired from upon refusing to use a medium-format camera.)’

 

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Olga Kroytor Untitled (Open Grave), 2013
‘The artist lies down in a grass-lined grave with a glass lid. Naked and, like Botticelli’s Venus, covered only by her hair, she allowed crowds of spectators to walk “over her” and subject her to their scrutiny. The idea of this performance came to her during a visit to the Louvre. She felt sorry for the Mona Lisa: Every day thousands of people come to stare at her and take pictures.’

 

 

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p.s. Hey. ** _Black_Acrylic, Hi, Ben. I’m glad you found some stuff that hit your heights. Given the Oscars’ blah tastes, I’m not surprised that ‘Annette’ was a miss for them, although it’s pretty criminal that not one Sparks song from the film made it into the finals. I mean, come on, really? ** David Ehrenstein, I don’t think the Woody Allen has opened here yet, but I guess it has in fact opened in your neck aka the States according to Steve. ** Dominik, Hi!!! Yep, I now have two friends ready to go with me today, so odds are at least one of them won’t cancel. Cavities, here I come! I’m apparently really weird because I never, ever notice people’s shoes. I don’t know why. I just never look down there. Maybe because I’m tall? But, thanks to you, I did notice that I was looking down there when I was out yesterday. No crocs yet. You’re right, no coincidence surely. Ha ha, yes, warning to all and sundry, should you ever send me that Leo DiCaprio GIF in any context, the school of our relationship is out. There are few things in the world that irritate me more than ‘reaction gifs’, like when people post them on social media threads. They make emojis seem like ‘Ulysses’. So I’m on your love’s side. Love inventing a cigarette that also doubles as one of those tube-like blow guns that shoot poison darts so the next time I see some some smug jerk on the metro posting an emojigif to their Twitter account I can use him as my ill-fated pin cushion, G. ** David, I’m glad you’re feeling better. The only good thing about grief is that it’s absorbent. Poor bird. Nice pic. ** LC, Hi. I miss camping overnight in the woods. I was in both Cub Scouts and Boy Scouts when I was kid, and that was their go-to activity, so I used to do that all the time. When I get to the fake Lascaux cave, I’ll give you a … fake report? Happy her tune helped you. What are you working on? ** trees, Ted! Wow, you wrote on Skelton. I’ll go read that post-haste. Everyone, D.l. trees who doubles as the superb poet Ted Rees wrote about the great Richard Skelton — one of yesterday’s gig’s stars — and that’s a guaranteed treat. So, read it. Here. Very excited for your new book! Take good care, my friend. xo. ** cambria, Hi, cambria, welcome! Yes, I was excited to find that john m. bennett video/track online. He was great. I saw him read a couple of times, and it was something else. Thank you a lot for coming inside. It’s good to meet you! ** Sypha, Hi. Ben Affleck is so, so fucking snooze. Even snoozier than Robert Pattinson, and, for me, that’s saying something. My favorite Batman is Michael Keaton, hands down, no competition. I think Gaga got a bunch of awards and stuff for that role, so I think she’ll be just fine. Yes, the new Sypha Nadon! I haven’t heard it yet, but I’m about to. Everyone, Sypha who’s better known as the vaunted scribe James Champagne is also a musician/recording artist named Sypha Nadon, who makes awesome sounds, and Sypha Nadon has just released his new album called ‘Lovecraft’, and you can listen toit  and get it right here. And do that! ** Steve Erickson, I agree re: the Dark Sky Burial. Everyone, Steve has reviewed ‘the revenge drama CATCH THE FAIR ONE, about a Native American woman fighting the men who kidnapped and trafficked her sister’ here. Huh, I didn’t see Christophe H’s film in the list of that festival. It must be his pandemic documentary. I haven’t seen it, but it was very poorly received here. I was in his film ‘Homme au bain’ (Man at Bath). It was actually a small role in the film, not a cameo. ** T, Thanks, man. I’ve been meaning to investigate French drill. I’m still a virgin, I think. I’ll start with that Ziak and aya. Thanks! Oh, yeah, let’s have a coffee on Sunday. I’m free, and that sounds great. Just give me your schedule when you know it, and we’ll sort that. Terrific. I accept your Thursday warmly. Well, not too warmly, ha ha. How about a Thursday that reverses time until it’s 1968 and grows its hair sub-shoulder length and stops shaving and smiles beatifically and hands you a big fat joint. xo. ** Maria, Isabella, Camila, Malaria, Gabriela, My eyes are so, so peeled. I don’t like mermaids either, and mermen are even worse. 20 hours, ouch! ** Brian, Hey, Brian. Thanks, bud. That comparative idea is of course a very interesting idea. And, yeah, I’ve never seen anyone ever pit those two together. So, should that settle in as your choice, I think you’ve got a winner. But, obviously, take your time and nail your favorite idea. Huh, interesting about ‘Pickpocket’s’ non-impact. It’s many people’s favorite Bresson, and I completely understand why, and I think it’s insanely great, but, as a fellow lover of the later Bresson, I can understand why it might have seemed a bit cold and crisp. Have you seen ‘A Man Escaped’? It might have the same effect since it’s earlier and b&w, but it’s pretty incredible. I hope your four hour class felt like one hour but was as rich with fascinating things as a whole lifetime. Fat chance of that, I’m guessing? ** Okay. Today I’ve turned the blog into a kind of cemetery, I guess. See you tomorrow.

 

Kelli Frances Corrado
Yeong Die
Medici Daughter
Bad Tracking
Allen Ravenstine
John M Bennett
Dark Sky Burial
Richard Skelton
Kelli Frances Corrado
Wendy Eisenberg
Maria Moles
Spermchurch
Trees Speak
Valery Vermeulen
Fionnlagh
Lolina
Kinlaw & Franco Franco

 

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Kelli Frances Corrado The Mighty Mermaid vs Murky Water
‘Kelli Frances Corrado is a quilt of memories and mysticism. Growing up in Chicago, she would sneak out during school nights to see hip hop shows and spend weekends learning prayer rituals taught by a Romani grandmother. This set a unique musical foundation, leading her to pursue opera training, string arranger, beat making and classical poetry. Giving voice to her spiritual beliefs. These patches of history bring together a musical broth of magical realism and urban life ripe of lucid dreams and superstition.’

 

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Yeong Die Dig Up Dawn
‘Yeong Die is a central figure in a growing ecosystem of experimental Korean producers who are poking fun at the sometimes sterile world of dense and theoretical experimental music (I’d recommend the Intimate Ghosting compilation as an intro to this sound.) Weather Z starts with Yeong at her most solemn and fragile. “Dig Up Dawn” is full of gently undulating textures, before a bleep that sounds like a heart monitor interrupts the calm.’

 

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Medici Daughter Flop
‘This debut EP from Medici Daughter (real identity unknown, biographical information unforthcoming) is an impressively dank and crepuscular set of mutant IDM that looks to the future while nodding back to the state of the genre at the turn of the century. The seven tracks here draw from many different strains of electronica. Lovely, crystalline synth melodies and drifting ambient passages brush up against bursts of noise, frenzied beats, and industrial sturm und drang. It could feel chaotic – and does at times – but there’s a distinctive sonic fingerprint, a sort of over-caffeinated clutter that serves to unify this mass of sound. Opener ‘Flop’ is a wash of synth pads, the gurgle of corrupted MP3 artefacts and knackered technology whirring into life before drill ‘n’ bass beats slam in. It manages the impressive task of being both pretty and unhinged.’

 

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Bad Tracking Eriksson
‘Known in town for upsetting local MPs and lisencees with their live performances as ‘naked technology sex slaves’ [think cassette-induced self harm, total nudity, blood from ears], Bad Tracking are the most visceral thing we’ve seen in this new wave of Avon experimental – a breath of life into the longstanding tradition of industrial performance art (and an antidote to idle BR club culture). Lyrically touching on censorship and tech // sonically they use feedback as a punishing instrument of anguish and expression. Widower EP is truly chewed nail sonics, more human than all your noise records, genuinely more scary than your edgelord power electronics nonsense, more forward than all yer government funded experimental think-records.’

 

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Allen Ravenstine Brothers Grimm
‘Allen Ravenstine’s turbulent futurism behind the synthesizer was a key ingredient in American post-punk innovators Pere Ubu’s distinctive sound. Just as Brian Eno’s malevolent modulations had adulterated the glam-rock swagger of Roxy Music before him, Ravenstine’s corrosive tones oozed through his band’s songs like radioactive seepage, illuminating their otherwise guitar-driven landscapes with a strange chemical glow.’

 

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John M. Bennett The Shirt The Sheet (1986)
‘Poetry is a versatile old dog. It can serve as solace, as cheer, as a bawdy glimpse into adult life. It can rattle our preconceptions and warm our hearts, gift us a home in a barren land, and bore our undercrackers right off. And, sometimes, it can rewire our brains. Through incongruent word-twists synaptic lightning links unsuspecting neurons across previously untravelled brainscapes. With prose that tumbles like raindrops from a shook tree, John M. Bennett does this with at least two plombs on A Flattened Face Fogs Through. So, be warned, this is a space for those who don’t like having their hands held.’

 

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Dark Sky Burial Beware Your Subconcious Destroyer
‘“Vincit qui Se Vincit“ is the 3rd album from Dark Sky Burial, the new musical venture from Napalm Death’s Shane Embury. The dark ambient soundscapes and unsettling industrial noise textures, with disorientating, electronic moments were composed by Shane Embury with the help of long time friend, collaborator and producer Russ Russell and were tweaked into shape for the album at Parlour Studios earlier this year.’

 

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Richard Skelton The Motion of the Indivisible
‘Richard Skelton’s A Guidonian Hand is a metal album. Not in a sign-of-the-horns and headbanging sense, but in the way the songs sound metallic, like they might be actually forged from iron. These ten compositions of fused acoustic and electronic textures conjure the elegance of furnaces, geological processes, and the pranging, creaky beauty of their products. Smothering drones and occasional jagged edges make listening akin to donning a rusted Victorian diving suit and being swallowed into the depths.’

 

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Wendy Eisenberg Don’t Move
‘Innovative guitarist Wendy Eisenberg’s new album Bent Ring is sparse with its instrumentation but bold and unique in its execution. The songs on Bent Ring are often compact, sonic wonders, embracing vocal harmonies, rural Americana, odd sonic blips, and unusual lyrical observations. They’ve stepped away – just slightly – from the realm of improvisational free jazz and embraced somewhat more traditional songwriting, although, like anything coming from Eisenberg, “traditional” is an extremely relative term. The album always seems to come at the listener sideways.’

 

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Maria Moles In Pan-As
‘Most of the pieces are inspired by listening to Kulintang music of the Philippines; some of the compositional techniques are applied to the combination of synthesizer, percussion, tape loops, and drum kit.’

 

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SpermChurch What Street Is This
‘Trevor Dunn’s eclectic tastes have led him to bands such as Mr. Bungle, Fantomas, Tomahawk, Secret Chiefs 3 and The Melvins, but with his recent release with new project Sperm Church Dunn has managed to outdo even himself in terms of niche music. Uniting with electronic artist Sannety, Dunn has released merdeka atau mati, an album containing elements of abstraction and trap music, battling cultural conditioning with non-traditional tunings, glissandos, percussion, and a max/msp patch.’

 

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Trees Speak Prism
‘If you ever wanted to hear Can, Hawkwind, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid, Tangerine Dream, Suicide, Neu!, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one band – then this is it! Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic night-time magic of Arizona’s natural desert landscapes. ‘Trees Speak’ relates to the idea of future technologies storing information and data in trees and plants – using them as hard drives – and the idea that Trees communicate collectively.’

 

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Valery Vermeulen Mikromedas AdS/CFT 001 03
‘Belgian mathematician, lecturer and musician Valery Vermeulen has released an album made up of data from black holes. Vermeulen worked with Dr Thomas Hertog a colleague and long-time collaborator of the late Stephen Hawking on the electro album titled Mikromedas AdS/CFT 001. The electronic album was produced using data streams generated by various simulation models of astrophysical black holes and observational data of regions in space with extreme gravitational fields. The data Vermeulen used for Mikromedas AdS/CFT 001 includes gravitational wave data, data generated by black branes and neutron star data to name a few.’

 

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Fionnlagh Across the Pacific
‘Born of previous shared experience as a guiding light in dark times, What Came Before aims to go further than nostalgia, placing emphasis on the acknowledgment of history’s true nature. Soaring synths over dark, brooding sub tones crescendo in a style that already seems a unique hallmark of the artist, with an immediacy that is as transfixing as it is unsettling. Nevertheless, the turbulence of the album as a whole could be met with any number of experiences, and what arises will be unique to each listener.’

 

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Lolina Mark Ronson’s TED Talk Intro (Using Computer Remix)
‘Lolina is an electronic and digital musician, also known for her past projects as Inga Copeland. She was a member of the band Hype Williams between 2009 and 2013, collaborating with Dean Blunt on music, videos and performances. Copeland’s first solo album “because I’m worth it was self-released in 2014. ‘Fast Fashion’ is her first album with Deathbomb Arc. “These are all annoying sounds—in a more traditional album, they might be intolerable—but when Lolina deploys them, she tweaks the subliminal cues by which discerning listeners learn to sort the “bad” sounds out from the “good.”’

 

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Kinlaw & Franco Franco No Chill
‘Cybornetic Industrial rap duo Kinlaw & Franco Franco teamed up for repeated spontaneous neural-freestyle sessions within the gorges and dungeons of Avon some time in 2018. The duo blends Italian ill-rapped nervously apathetic tales from the present and the future with decraniumatossically blasted beats stuffed with nuclear reactor failures and Aztec whistles.’

 

 

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p.s. Hey. ** David, Yeah, very tough stuff. I don’t know what death’s like, obviously, but you certainly don’t seem like you’re dead. ** Dora, Oh, you’re spam. How did you get in here? ** David Ehrenstein, Ha ha, maybe in a scene where Foucault is doing a fight scene in pitch black. ** Misanthrope, Hm, well, it certainly does seem like your dentist is an A-1 rip off artist, it’s true. Lie and tell him your lawyer is drawing up papers to take legal action against him? I don’t know. Seems illegal, though. ** Sypha, I can’t believe you would like ‘Batman vs. Superman’, but then you do like things that I can’t believe you like fairly often, ha ha. ** Dominik, Hi!!! Okay, I’m going to the store tomorrow. End of story. I’ve got a friend lined up to go with me. So, barring the apocalypse occurring in-between, I’m there. I too would take a bean and cheese burrito over a big dick any day of the week. No contest even. Ha ha, not being a fan of Croc clogs — actually, I can’t remember the last time I saw someone wearing them, but it is winter — I second your love with a cherry on top. Love trying to melt a pad of butter with a magnifying glass because he’s a weird nerd, G. ** T, Hi. I miss crazy golf. It’s depressing to me that the French aren’t into crazy golf courses. There are only about six in the whole country, and they’re not crazy in the slightest. It’s definitely not weirdly hot in my arrondissement. I’m still wearing my scarf. Curious. That is kind of eerie: that spitting thing. As I’m sure I’ve mentioned, I only dream about people trying to kill me, so thank god your dream-to-real thing hasn’t happened to me. Uh, not too much going on with me. Writing, applying for a grant, blog post making, making plans. I’ll let you know what I think of ‘Drive My Car’. I have to watch it by a week from Saturday. Might be a while before I see ‘Worst Person in the World’. No motivation thereby at the moment. Thanks for the elephantine rock! I hope your Wednesday snaps its fingers and magically reverses global warming. xo. ** Maria, Isabella, Camila, Malaria, Gabriela, Hi. I haven’t seen two fused dogs like that in forever. I really, really need money for my new film, so I pray that I’m the fated one. I’ll keep my eyes fixed on the ground. And on the sides of every chair. Thank you, swami. ** Shane, Me too, re: one of those slides. It wasn’t long enough. That’s all I can remember. There’s a log/water ride in Dubai that lasts 45 minutes! I’m almost tempted to travel to that horrible city just to ride it. ** Steve Erickson, Hi. Everyone,Steve has reviewed the new Big Thief album hence. Well, yeah, go back to that monologue.Seems like a total keeper of an idea, especially since you’re fired up. ** Brian, Hey, Brian. ‘Moonfall’ was supposed to be the first in a trilogy?! Oh, no, that it surely won’t be is so violently depressing! I’m not kidding! The Quandt book on Bresson is the major book, I think. There are a bunch of others, of course, some excellent, but the Quandt is really great and comprehensive. Needless to say I’m thrilled to my bones that you loved ‘L’Argent’ so much. And got the special Bresson effect. I usually can’t talk for hours after I’ve watched a Bresson film. I’m a goner. Don’t be prettified, man, even though, yeah, I’d be petrified. But not you. You can do it! Do, don’t think. The golden rule. I’m going to rev my mid-week’s engine and see what happens. I’m waving a chequered flag at yours. ** Okay. I made you a gig of some music I’ve been listening to and digging lately, and I hope you’ll find things therein that conform with your own personal tastes. See you tomorrow.