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Heavy Epic
No full textAlbum. Featuring previously on DEC 01 Nova Popularna, as a member of Donateller, Heavy Epic, Bonnie Camplin’s first and only solo LP to date is a collection of electronic compositions, working with lo-fi production, samples and simple editing programmes such as Fruityloops and Cool-edit Pro.
Words, Music, Producer – Bonnie Camplin
Artwork, Design – Enrico David
Mastered by – James Savag
Live Visuals: History, Theory, Practice
No full textThis volume surveys the key histories, theories and practice of artists, musicians, filmmakers, designers, architects and technologists that have worked and continue to work with visual material in real time.
Covering a wide historical period from Pythagoras’s mathematics of music and colour in ancient Greece, to Castel’s ocular harpsichord in the 18th century, to the visual music of the mid-20th century, to the liquid light shows of the 1960s and finally to the virtual reality and projection mapping of the present moment, Live Visuals is both an overarching history of real-time visuals and audio-visual art and a crucial source for understanding the various theories about audio-visual synchronization. With the inclusion of an overview of various forms of contemporary practice in Live Visuals culture – from VJing to immersive environments, architecture to design – Live Visuals also presents the key ideas of practitioners who work with the visual in a live context.
This book will appeal to a wide range of scholars, students, artists, designers and enthusiasts. It will particularly interest VJs, DJs, electronic musicians, filmmakers, interaction designers and technologists
Mazury w I wojnie światowej
No full textAn examination of the Masuria - a region once in East Prussia, Germany, today in Poland - during the First World War. The chapter focuses especially on the years 1914-15, when the region was invaded and much of it occupied by the Imperial Russian Army
Gardening, Mourning, Life-Writing
No full text‘Saying Ceanothus: the indefinite garden’ mediates between the psychoanalytic work of mourning and the practice of gardening as a space of play. Both ‘work’ and ‘play’ are transplanted across various contexts, philosophical and geographical. It draws upon the vegetal figures inherent to deconstruction as the common language at the verdurous heart of the lives on which it reflects – the author’s and that of her green-fingered parents – cultivating what she names as the indefinite garden growing on. In so doing it bridges photography (incorporating 7 photographs taken by the author) life-writing as autobiographical reflection on the work of mourning and theoretical insight regarding the relation between writing, literature, philosophy and the botanical world.
'Ray of Light’ was partly prompted by a reflection on mourning and writing with specific regard to the work of Prof Nicholas Royle, a world-renowned novelist and philosopher. It was developed for an article - published by invitation in a special issue of Textual Practice honouring his career. All 34 articles for the commissioned journal issue – from world-leading scholars – had a maximum word count of 2000 words