"Samhain is the threshold to the Season of Death. The fertile fields of summer give way to the bare forests of autumn. As crops slowly die and winter takes over, the cycle of life is once again approaching a renewal." Dacha Avelin
Dancing nymph of dreams
Cold smile, dressed in ice
All is gone, frozen heart
Nightmare nymph of death
Lead me into the night
Let me dance with the shadows
The moonlight lights up my empty eyes
I dance in frozen stilettos
Look at me, a princess dressed in ice
With an icicle crystal crown
It sparkles so beautiful, glittery bright
That it even, almost, hides my black heart
Such a great video, vintage clips from the golden age of television.
"In works like Ghosts of My Life, Fisher used Jacques Derrida’s term hauntology to describe how contemporary culture is haunted by the unfulfilled potentials and futures promised by 20th-century modernism—futures that neoliberalism subsequently canceled."
Commenter just translated the "Phenomenology."
Crazy French pop from 1980 about ice cream. Extremely happy! 🍨🍌
French disco of 80s. So nice! Bouncing syntesizer.
In 2001
A Life code:
It pays to talk to no one.
Proliferating across the earth.
Also Sprach Zarathustra
Faction Europa
Free Range.
2001
Also Sprach Zarathustra
Proliferating across the earth
Pressure guilt
Grudge match
12 cm flak unit
Range 1 stroke 35
This is the spring without end
This is the summer of malcontent
This is the winter of your mind
By 2001
Also Sprach Zarathustra
It pays to talk to no one
Europa, faction
Proliferating across the earth
Free Range
This is the spring without end
This is the summer of malcontent
This is the winter of your mind
Insect posse
will be crushed
Moravia, trouble
Moldavia
Europa
Every second third word
Europa
It pays to talk to no one.
Free Range.
A Hegelian understanding of irony and satire will allow us to grasp historically, as a replaying of the moment of art’s dissolution, the advent of Marcel Duchamp. For better or for worse, it is in large part Duchamp’s synthesis of the satirical and ironic dissolutions of art that define contemporary art. The revised Hegelian approach that emerges is not merely critical of the contemporary, however, but is also equipped to understand and appreciate it, prepared to retain its most valuable possibilities, and thereby able to remain hopeful about what lies beyond.
http://hegelmusing.blogspot.com/2015/02/jeff-koons-2011-oil-on-canvas-259.html
Released on 1988. Really strong house beat with great synth. I actually like Skinny Puppy when they're a little slower. Deceptively simple arrangements and so many sonic layers.
Way ahead of its time. Beautiful oscillator and a lovely composition.
If you love to dance, and you love the dark, and you dig Gary Numan as much as I do, then this is for you.
Call me Deadliner
Nothing in here but dust.
Are you afraid dear listener?
Nothing in here but us.
I'll give you black rumours
'Stay away from everything I've seen.'
I'll give you black rumours
'Stay away from everyone I've been.'
The broken sound of love and lies
Still fill your room.
Faded memories of shame
Will find you soon.
I'll give you corrosion
Miracles are never what they seem
I'll give you corrosion
Welcome to the nightmare, not the dream.
I can remember everything.
Every promise, every lie,
And how the words of strangers made me cry.
All the pride, all the shame,
All the friends that came from nowhere
And then hurried back again.
I collected scars like a man at war
And I thought 'Isn't life peculiar,
Desire takes you there, but not back.'
No more. I'm just another old story.
When God heard your prayer
It said 'I am not your friend.'
Laughed like a fallen angel
And said 'I've no love to send.'
It keeps a photograph
It likes to overdose on time
It said 'Time to leave'
Like other friends of mine.
I'll give you dark wonders
You are all invited to the show.
I'll give you dominions
You are all invited to the show.
I'll give you dead hereos
You are all invited to the show.
I'll give you love and napalm
You are all invited to the show.
'Godard (mis)attributes to Breton a position aligned with the French Communist Party and their instrumentalization of art in the name of a political cause—what we will call “objective denunciation.” In the latter, by citing Guernica Godard enters into a dialogue with Jean-Paul Sartre and his theories on political engagement and aesthetic autonomy, especially his debate with Adorno about the effectiveness of images versus words in transmitting political messages'.