Recorded at 3:35pm on the 1st December 2013 at the Hostess Club Weekender at the Yebisu Garden Hall in Tokyo, Japan. (via Soundcloud)
"Your Majesty | Randy Grskovic
I recently was included in a publication about fractured photography. You can read the issue online here.
Q and A with Emma Sheridan:
Can you describe the time when you first realised that creating was something you had to do?
I started very young, like most children I had to use my imagination to create things. I started drawing and was encouraged. Since I was introverted, I had a lot of time alone to hone my practice. Once I started school I was encouraged because I had been already practicing at home alone. I didn’t play any sports so I became marginalized as the kid who was good at drawing. I think it really all came from there. As I continued down this path it just became part of my life. By age 9 that is how I was known, as an artist.
What art do you most identify with?
I identify with Pop Art the most. We are all inundated with advertising everyday and I think it is important to battle against it. I think through pop art we can subvert advertising in all forms and take the power away from it.
You use old photographs as a medium in which to distort, how did this come about?
Photographs are documents, I look at them like advertising in a way. They are proof that something happened, but what is proof? Photographs sell the idealism of the past. It’s always framed and it’s never a whole picture, just an interpretation. I used to find old photographs to draw from but I decided to cut out the middle man and stopped drawing. I cut them up to distort them now.
Are you a fan of any other contemporary artists who use photography/photographs as the basis of their art?
John Balldessari uses old photographs and film stills in his work, I think he’s a big influence of mine.
What are you trying to communicate with your art?
I want people to reinvestigate the images they see every day. I want them to be critical of noise they have to deal with. Most people say they are not affected by images. This is the biggest lie that advertisers what you to believe.
What is your creative process like?
It’s pretty intuitive, I find images I’m drawn to and then I make problem solving decisions based on the images. I ask myself why after.
Is there anyone you would like to collaborate with?
What are you plans for the coming year?
I just moved across the country from Vancouver to Toronto (Canada) I’m hoping to expand my perspective of the world.
As an artist how would you define success?
I just added a new method to our declouding algorithm that removes all cloud shadows for our next version of Cloudless Atlas. Now the only dark patches are things that ought to be dark, like dense scrubland in parks, and the shady sides of mountains
"As a user I want to view a map without cloud shadows so that maps look amazing but I don’t exactly know why."
Make it so Mapbox. Make it so.
I saw Zombie Zombie at MUTEK 2009 in Montreal. They put on a fantastic live performance complete with piles of vintage synths. Like the previously posted Steve Moore they practice ritualistic-cosmic-space-synth but with more of a Kraut bent. The new album pictured above came out last year and I missed it, which I regret, because it is righteous.
Influenced by Krautrock (e.g., Can, Neu!) as well as horror soundtracks (e.g., Goblin, John Carpenter), Zombie Zombie is a French indie electronic duo with a penchant for vintage synthesizers. Comprised of Etienne Jaumet (synths) and Cosmic Neman (drums), the duo made their recording debut in 2006 with the Zombie-Zombie 12” EP on Boomboomtchak Records. The duo then moved to Versatile Records and released Driving This Road Until Death Sets You Free (2007), a 12” single that preceded the release of the accompanying full-length A Land for Renegades (2008).
This looks fantastic, check out the trailer on YouTube.
One of my favorite cross-device apps released a new version today.
"Writer Pro is a professional writing suite that introduces a simple workflow and syntax analysis. SYNTAX CONTROL™ scans English, French, German, Italian, and Spanish text, and highlights your adjectives, nouns, verbs, adverbs, prepositions, or conjunctions. On iPhone and iPad, Syntax Control currently works for English text only."
"This song is about dope.”
“Yeahhhhh,” an audience member interjects.
“It’s about what happens when you start getting high, and you find out that people you thought you knew, you don’t know anymore, because they don’t get high and you do.”
That banter, dripping with irony and accompanied by shrieking scrapes of a piano’s strings, forebodingly introduces the finale of the latest Neil Young archival release, Live at the Cellar Door. “Flying on the Ground is Wrong”, one of Young’s earliest songs, is a typically 60s piece of pharmacological us vs. them, a bittersweet song about how the squares just don’t understand the new mind-expanding potential of drugs. But even if the audience didn’t quite pick up on it on this December night, it’s not exactly a celebration anymore for Young by 1970.
The first line of “The Needle and the Damage Done”, which would start appearing in setlists the next month, is “I caught you knocking at my cellar door.” If the song is in fact referencing the famous, tiny D.C. club, it’s most likely not about these 1970 shows, but rather the 1969 run with Crazy Horse and the worsening heroin addiction of guitarist Danny Whitten. But amidst an accumulation of dark, druggy vibes, this solo acoustic set catches Young in a bleak, hollow mood, rudely awoken from the hippie dream his audience still wants to believe.
Listening to this on a Saturday afternoon.