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„Sozomena“ bedeutet auf Griechisch „Gerettetes“. Die Reihe widmet sich der Erschließung von Texten, die aus der griechischen und römischen Antike nur durch ausserordentliche Fund-Umstände erhalten geblieben sind - allen voran durch Papyri, von denen Tausende in Universitäten und Bibliotheken unentziffert vorhanden sind. Die Reihe soll hauptsächlich Texte edieren und interpretieren, aber auch die Methoden der Erschließung diskutieren. Verschiedene Buchtypen werden daher hier veröffentlicht: Texteditionen, Kommentare, Monographien und Sammelbände. Die Hauptsprache der Publikationen ist Englisch, daneben auch Deutsch und Italienisch. Herausgegeben werden die Sozomena von Alessandro Barchiesi (Harvard, MA), Robert Fowler (Bristol), Dirk Obbink (Oxford und Ann Arbor, MI) und Nigel Wilson (Oxford) im Namen der Herculaneum Society, die zur Förderung der Erschließung des wichtigsten Fundkomplexes antiker Papyri gegründet wurde: der Villa dei Papiri im Pompeji benachbarten antiken Herculaneum mit ihren zum Teil noch nicht ausgegrabenen Schätzen an Textrollen.
Extravagantly opaque, willfully vaporous - Aphex Twin's Selected Ambient Works Volume II, released by the estimable British label Warp Records in 1994, rejuvenated ambient music for the Internet Age that was just dawning. In the United States, it was Richard D. James's first full length on Sire Records (home to Madonna and Depeche Mode) under the moniker Aphex Twin; Sire helped usher him in as a major force in music, electronic or otherwise. Faithful to Brian Eno's definition of ambient music, Selected Ambient Works Volume II was intentionally functional: it furnished chill out rooms, the sanctuaries amid intense raves. Choreographers and film directors began to employ it to their own ends, and in the intervening decades this background music came to the fore, adapted by classical composers who reverse-engineered its fragile textures for performance on acoustic instruments. Simultaneously, “ambient” has moved from esoteric sound art to central tenet of online culture. This book contends that despite a reputation for being beatless, the album exudes percussive curiosity, providing a sonic metaphor for our technologically mediated era of countless synchronized nanosecond metronomes.
Inspired by experience in the music industry and origins as an aspiring pop star, British artist Michael Gillette delivers his greatest hits, demos, and rare cuts of the past three decades in DRAWN IN STEREO. Showcasing pieces produced for Beastie Boys, Paul McCartney, MGMT, and Beck--among many others--DRAWN IN STEREO focuses on Gillette's ability to channel music into compelling visual art. Gillette shares a curated collection of artistic approaches, including installations, fashion sketches, music video animation stills, and magazine contributions for SpinandThe New Yorker. Filled with selections from more than 20 years of work created in Britain and America, DRAWN IN STEREO encompasses a wide spectrum of visual directions and celebrates many key projects. Featuring a foreword by Fred Deakin and interview by Elastica's Justine Frischmann, DRAWN IN STEREO reveals an inspired life, ranging from Britpop London and rooming with the Aphex Twin to a decade of creativity in San Francisco. "Life needs a backbeat, and that rhythm needs some visuals. So, I'll keep sharpening the pencils, listening for the muse to sing me a new song." --Michael Gillette
The rapid pace of technological change over the last decade, particularly the rise of social media, has deeply affected the ways in which we interact as individuals, in groups, and among institutions to the point that it is difficult to grasp what it would be like to lose access to this everyday aspect of modern life. The Oxford Handbook of Social Media and Music Learning investigates the ways in which social media is now firmly engrained in all aspects of music education, providing fascinating insights into the ways in which social media, musical participation, and musical learning are increasingly entwined. In five sections of newly commissioned chapters, a refreshing mix of junior and senior scholars tackle questions concerning the potential for formal and informal musical learning in a networked society. Beginning with an overview of community identity and the new musical self through social media, scholars explore intersections between digital, musical, and social constructs including the vernacular of born-digital performance, musical identity and projection, and the expanding definition of musical empowerment. The fifth section brings this handbook to full practical fruition, featuring firsthand accounts of digital musicians, students, and teachers in the field. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a musical community member in an age of technologically mediated relationships that break down the limits of geographical, cultural, political, and economic place.
Love music? Love illustration? Want to know more about some of the best musicians ever to record—from Bowie and the Beastie Boys to The Smiths and St. Vincent? Then Sound and Vision is for you. Love music? Love illustration? Want to know more about some of the best musicians ever to record—from Bowie and the Beastie Boys to The Smiths and St. Vincent? Then�Sound and Vision�is for you. Featuring 100 of the coolest artists from the last five decades, Sound and Vision reveals the influencers and tastemakers who have helped to shape the contemporary music scene. Award-winning illustrator and comic artist John Riordan profiles cult musicians from genres including punk, indie, alternative, hip-hop, and electronic music. Not only does John create amazing illustrations, he also outlines key works from the artists and provides engaging trivia to accompany each entry. Enlightening, often amusing, and always stunning to look at,�Sound and Vision is a unique blend of the aesthetic and the acoustic and is an essential addition to any music fan’s collection.
How do you explain a mystery? This opaque mythology is something that pervades a lot of the poems here, inspired by the sideways, the askew, the fables of Aphex Twin. This isn't intended to be a discovery of who Aphex is, nor necessarily what he means to the contributors, rather an attempt to introduce the mythos and aura of Richard D. James. You won't get to know Aphex Twin better through these poems, but you will be intrigued, all over again. The most emotional of musicians, this Aphex Twin anthology provides a reminder that brain and heart can get pulled at by the unexpected as much as the nostalgic familiar.
Offers interviews with the artists and groups behind electronica music, including Trent Reznor of Nine Inch Nails, Bjork, Kraftwerk, and others, along with background and technical details on the equipment they use.
From Black Sabbath to Big Black, a ride through the evolution, diversity, and influence of genre-defying heavy music. It began with the Beatles’ “Helter Skelter.” It was distilled to its dark essence by Black Sabbath. And it has flourished into a vibrant modern underground, epitomized by Newcastle’s Pigs Pigs Pigs Pigs Pigs Pigs Pigs. This is the evolution of heavy music. The voyage is as varied as it is illuminating: from the lysergic blunt trauma of Blue Cheer to the locked grooves of Funkadelic, the aural frightmares of Faust to the tectonic crush of Sleep, alighting on post-punk, industrial, grunge, stoner rock, and numerous other genres along the way. Ranging from household names to obscure cult heroes and heroines, Electric Wizards demonstrates how each successive phase of heavy music was forged by what came before, outlining a rich and eclectic lineage that extends far beyond the usual boundaries of heavy rock or heavy metal. It extols those who did things differently, who introduced something fresh and exciting into this elemental tradition, whether by design, accident, or sheer chance. In doing so, Electric Wizards weaves an entirely new tapestry of heavy music.
The corpus of astrological material ascribed to the Egyptian priest Manetho consists of six books of poetry. This book serves as the companion to the one published by OUP in 2020, which was the first commentary in any language on the earliest three books of Manetho's poetry (two, three, and six as they appear in the manuscript). This volume supplies the remainder (books four, one, and five). Manetho was credited with a series of didactic poems which list outcomes for planetary set-ups in a birth chart. The books covered in this volume are not as easily dated as those in the first volume, but the most recent is probably no later than the fourth century and they are still Egyptian. As in the first volume, their descriptions of the kinds of person who are born under happy and unhappy configurations of stars speak to the lived realities, aspirations, and fears of the astrologer's clientele. Unlike in the first volume, however, the individual books treated here have different authors, and there is more emphasis on profiling individual poets in terms of style, metre, and mannerisms. As in the first volume, there is a Greek text with English translation and an apparatus with parallel material to enable comparison with related works. But this volume pays more attention to the transmission of traditional material from one author to another, and to the special approach required of an editor of material which, being in practical use, circulated in unstable and minutely-varying textual forms.