Conceptual Ideas – Akademija Art http://akademija-art.net/ Fri, 14 Jan 2022 06:24:58 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://akademija-art.net/wp-content/uploads/2021/06/icon-150x150.png Conceptual Ideas – Akademija Art http://akademija-art.net/ 32 32 Xbox: the 10 most breathtaking games released in 2022 https://akademija-art.net/xbox-the-10-most-breathtaking-games-released-in-2022/ Fri, 14 Jan 2022 03:00:00 +0000 https://akademija-art.net/xbox-the-10-most-breathtaking-games-released-in-2022/ Xbox has plenty more titles in store for fans in 2022. While some of them are continuations of well-known franchises, others are original ideas or licensed from non-console brands. With next-gen technology powering the visuals, alongside improvements to the engines these titles run on, there’s a remarkable shift in how games to come will look. […]]]>

Xbox has plenty more titles in store for fans in 2022. While some of them are continuations of well-known franchises, others are original ideas or licensed from non-console brands. With next-gen technology powering the visuals, alongside improvements to the engines these titles run on, there’s a remarkable shift in how games to come will look.

RELATED: 10 Best Games Added To Xbox Game Pass In 2021, According To Metacritic

Most of the projects debuting as Xbox exclusives are sure to be stunning, but some stand out for their imaginative design, clever character choices, immersive world-building, inclusion of brilliant colors, and intense graphics. These titles are sure to live on thanks to their cinematic appearance!

VIDEO OF THE DAY

Ark 2


vin diesel video game ark 2

Following Ark: Survival Evolved from Studio Wildcard and Snail promises to be even more gorgeous than the original episode thanks to the incredible way the title captured the human likeness. The emotions of the story are sure to reverberate on the screen thanks to the performances that have been displayed in these stunning character renders.

With huge names like Vin Diseal lending their faces to this survival title, it’s not just the heroes’ personalities that are well represented by cutscenes. The footage also showed a lush world to explore, with vibrant plant life that was both imaginatively created and realistic despite looking sci-fi.


STALKER 2: Heart of Chernobyl


stalker 2 ferris wheel

While Xbox fans will be familiar with the variety of shooters available on the platform and in particular Game Pass, the next installment of the HARLER The saga promises to be one of the most thrilling to date as it takes audiences through the eerie landscape of Chernobyl.

Creating a game based on a real-life location creates certain expectations, but thanks to the use of Unreal Engine 5, this GSC Game World production looks both accurate in its depiction while taking some bold creative license. Its muted and grungy aesthetic matches the tone of the room perfectly.

slime farmer 2


Slime Rancher 2 Biome Exploration Features

Many Xbox titles are murky and gritty, so it’s refreshing to see a release that offers a much more whimsical point of view. Slime Rancher 2, another sequel to Microsoft’s calendar, promises to be a colorful and eclectic change of pace for gamers.


RELATED: 5 Reasons The Xbox S Is The Best “Cheap” Console (& 5 Reasons It’s The Nintendo Switch)

It’s cartoonish and stylized in its design, but the simple use of shapes combined with its rainbow palette ensures there’s something interesting to look at in every shot. The ever-changing range of creatures and diversity of habitats are sure to give this Monomi Park game a much longer lifespan for players.

Tunic


Tunic wielding a sword

Xbox continued to win in 2021 thanks to its focus on indie titles, but the highly anticipated Tunic was still not on the agenda for its release. 2022 changes that as gaming finally begins to shine after the hard work of Andrew Shouldice and Finji.


The Unity engine allows this quirky title to reach its full potential as the action-adventure genre is about to get a complex addition to the archives. In many ways, the room’s visuals are much more like a Nintendo Switch exclusive, with the fox character in particular immediately standing out with his distinctive look.

Somerville


Somerville where the protagonists are in a forest by the water

Jumpship’s third-person adventure game has players controlling a family through an ongoing apocalypse. The platformer uses Unity as an engine to try and create a range of unique cinematic sequences that reflect an altered world, one that feels authentic despite the neon sci-fi elements embedded in it.


This is perhaps the environment in which the protagonists venture Somerville which really sells the tone of the game, with a startling range of techniques used to paint a planet on the brink of total annihilation. It’s an austere image, but one full of bold touches of natural beauty contrasted with harsher man-made infrastructure.

Replaced


Replacement of the Gampelay train

retro side scrolling, Replaced, focuses on a more cyberpunk aesthetic while taking advantage of both the limitations and benefits of relying on an 8-bit inspired system. A cornucopia of environments, both natural and concrete, provide a dark backdrop for this tale.

RELATED: 10 Best Co-op Games For Xbox Series X/S

Every shot, from the camera framing to the tiny inclusions in the background dressing and character animation, is clearly well thought out. There’s a cinematic edge to the game, which also has some surprisingly great costume choices that pop off the screen.

star field


Action-adventure games are easy to locate on Xbox Game Pass but star field pushes the genre in bold new directions with its ambition and scale. The piece’s concept art alone demonstrates the commitment to visual splendor Bethesda Game Studios is aiming for.

The creative engine is certainly going to do a lot of work to ensure that these intergalactic visuals retain their conceptual roots, as currently the game’s images look like paintings rather than a segment of an ongoing narrative. The imagination put into both the sets and the technological designs is a good sign of things to come.

red fall


Game Redfall Arkane Bethesda Xbox Gameplay Fight

Open-world first-person shooters have a mixed history on Xbox, but the legacy of Arkane Studios, backed by Bethesda Softworks, is hard to ignore. With the use of Unreal Engine 5, red fall seems like a title that can stand out among the best releases of 2022.

Maybe it’s the use of color that really sells the piece, or maybe it’s the customization of each character that draws attention to so many tiny inclusions that really build the individual. Admittedly, the creatures aren’t particularly interesting in their design, but the stylized elements of the rest of the action-adventure show great promise.


Grinders


image from the game Shredders showing people snowboarding in a snowy area

Sports titles have always been a key part of Xbox’s success; they largely master the genre. Grinders is an attempt by FoamPunch, I-Illusions and Let It Roll to bring the world of competitive and extreme snowboarding to the public.

There’s not much to work on when it comes to visuals in a game that relies so heavily on snowy settings. That’s exactly where the genius lies in this original concept, with the physics and interactions with the environment creating a title that feels like a cover of the sport itself. It is certainly not easy to make so much snow so attractive.

Lana’s Planet


Lana Planet Summer Game Fest 2021 Kick Off Live

Every once in a while, an indie game allows itself to create a truly unique space within the larger market, catching the attention of fans and earning critical acclaim for its artistic choices. Lana’s Planet potentially promises to be one of those projects, with Thunderful Publishing and Wishfully crafting a title that reflects a painting more than a video game.

The release appears to be a side-scroller of significant scale as it follows a young girl and her cat as they travel across this fantastical planet. There’s a uniformity to every shot and sequence in the game, but it continues to be jaw-dropping no matter what plants, creatures, or characters are in the frame. Subtle shadows, shapes and animations effortlessly tell this sci-fi story.


NEXT: 10 Games Expected To Come To Xbox Game Pass In 2022

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Sole Mates: SCRY ™ Lab on 3D printed sneakers https://akademija-art.net/sole-mates-scry-lab-on-3d-printed-sneakers/ Sat, 08 Jan 2022 15:00:49 +0000 https://akademija-art.net/sole-mates-scry-lab-on-3d-printed-sneakers/ 3D printing is nothing new, especially in the footwear industry, where it has quickly become a growing market. There’s Zellerfeld, the company Heron Preston hired to develop the HERON01, which tries to put a printed shoe on every foot in the world, and there’s adidas, which kicked things off with their 3D and 4D soles. […]]]>

3D printing is nothing new, especially in the footwear industry, where it has quickly become a growing market. There’s Zellerfeld, the company Heron Preston hired to develop the HERON01, which tries to put a printed shoe on every foot in the world, and there’s adidas, which kicked things off with their 3D and 4D soles. in 2015, since it became a three-stripe staple. And then there’s SCRY ™ Lab, which is taking a slightly different and forward-thinking direction.

Led by 22-year-old Zixiong Wei, SCRY ™ Lab is an emerging shoe brand based in Beijing. “Competing with others is never the goal,” Wei told HYPEBEAST in January 2021. Instead, SCRY ™ Lab wants to show what is possible in the areas of experimentation – if a prototype doesn’t work. no, it does not matter because it continues do something, he always pushes the boundaries of what could be possible.

However, if the SCRY ™ Lab Shuttle – its iconic silhouette – works, what does this mean for the industry at large? In this latest issue of unique companions, HYPEBEAST visited SCRY’s studio in Beijing to learn more about the 3D process, conceptual design and “Digital Embryo” philosophy that Wei adheres to, as well as to learn more about Wei’s passion for footwear.

HYPEBEAST: What first attracted you to the world of sneakers?

Zixiong Wei: When I was in middle school, I saw my friend wearing a pair of black and white striped basketball shoes with the three stripes on the side. I felt I didn’t really care about shoes before, but then I started to take the initiative to learn more about the design and history of each brand.

I started with sneaker magazines and then I paid attention to new products, posting about it or going to Google to look at historically unpopular shoes from different brands. [Finding them] made me feel like a treasure hunt.

What was your first pair?

My first pair of sneakers was the Reebok GL6000, a pair of regular running shoes. These shoes were purchased after I first told my dad about my shoe hobby. What’s interesting is that I thought my dad wouldn’t talk about these brands and shoes, but he knows a lot more about retro jogging shoes than I do.

I also took a closer look at my dad’s shoe cabinet and found a lot of old New Balance shoes there.

Is there a particular shoe that inspired you to do what you do today?

The Wind series from Nike. The visual impact brought by the integrated and rigid body made me realize the originality of the shoe. It’s not just the stitching and cutting of the fabric, but also the holes and curves, the beauty of it all.

In fact, since high school I have often thought about how to make a pair of my own shoes, but it wasn’t until college that I realized that the challenge of making a new pair of shoes was difficult. I know a lot of great designers, and they’re all capable, but a lot of people can be reduced to conceptual sketches due to cost and manufacturing issues.

Outside of a large company, it’s a big challenge and a big investment to make a new pair of shoes. Even so, I was determined to lower the threshold for shoe design and manufacture, and I created the SCRY brand. SCRY explored different future possibilities, rather than pursuing lighter, faster and more resilient directions in the traditional sense. Sometimes it’s not the internal things that disrupt an industry.

Does the name SCRY have a special meaning and what does the “Digital Embryo” concept represent?

SCRY is the abbreviation for my Instagram account “scccccry”. The literal translation is “looking to the future through a crystal ball”. I think this is a very interesting point, because the “crystal ball” can be understood as a technology that has not yet been understood, and it can also be understood as a future that is not linearly inferred.

I think SCRY is always exploring different possibilities in the future, rather than looking for lighter, faster and stronger possibilities. Sometimes it’s not the internal industry that is disrupting an industry.

The concept of “Digital Embryo” is a framework technology that aims to go through the entire process of designing and manufacturing a pair of shoes with a fully digital process, while achieving the mass production capacity of printing. 3D, thus ensuring the scalability of virtual shoes. It can also realize a transparent online and offline business model.

For example, I can produce a lot of virtual simulation conceptual shoes and let consumers choose and order shoes and then print them. In addition, the “digital embryo” as an underlying framework can achieve true modular customization. A shoe can have hundreds of combinations.

As soon as your first design – the SCRY shuttle – was unveiled, it sparked a lot of discussion on the internet.

The shuttle has a lot of openings and hollows in the front, back and sides. In fact, about 70% of the drainage grooves are designed in such a way that they can be completely printed.

There is a pair of pure transparent samples. This is a sample that printed unexpectedly. Because the print quality is closely related to the light transmittance of the material, the light transmittance of this version is too high, so this sample is almost two or three times heavier than the normal Shuttle. And finally broke at the tail. Although these test tubes are not really portable, they are very interesting.

How long does it take for a shoe to go from conceptualization to finished product?

Development of the product itself takes around two weeks, including new shoe styles and design languages. However, launching a pair of shoes requires market planning and formulating sales plans, so the current cycle for our new pair of shoes is around two months.

In my opinion, a brand vision equals a platform. In future products, more diverse design styles will be included.

SCRY is building an online design platform to open design rights to the public. If SCRY is the future, what do you think is the next wave of sneaker design trends?

Free and diverse. The technology will promote the advancement and collision of shoe design. In the near future, we will launch an online design platform and open it to the public. I sincerely hope that the culture and ideas of other industries collide with the footwear industry.

Outside of your brand and focusing more on yourself, what pair of shoes do you wear most often?

The most worn daily is the New Balance M1500SG. These 1,500 British-made colors surprised me at first glance, and British-made shoes really don’t crumble no matter how they are worn, so I have worn them for the recent daily commute.

Which pair of shoes are you the most reluctant to wear?

This pair of New Balance MT580PUG – they are from 2010 and the midsole is about to start to crumble. Wearing it one more time will make that pair of shoes scrapped.

Which pair of shoes is your most expensive?

The most expensive pair should be this pair of Rombaut Embryo Future Leathers. I rarely buy boots. This pair is eye-catching and I wear them often.

And finally, what’s your last pair of shoes?

These last shoes of mine are also from Rombaut. These Drone regenerated nylon slippers are made from the above pair of boots. Most of the slippers on the market are pretty much the same – they really grab my attention.

This issue of Sole Mates originally appeared on HYPEBEAST ZH and has been adapted accordingly.



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“So many people have lost all the mystery of music” https://akademija-art.net/so-many-people-have-lost-all-the-mystery-of-music/ Wed, 05 Jan 2022 05:00:00 +0000 https://akademija-art.net/so-many-people-have-lost-all-the-mystery-of-music/ If you name your independent record company after the name of a funeral director whose name has been verified in an acclaimed work of British literature from the 1950s, then, according to British songwriter Vinny Peculiar, you not only signal your wares to a particular group of people with a particular cultural mindset, but also […]]]>

If you name your independent record company after the name of a funeral director whose name has been verified in an acclaimed work of British literature from the 1950s, then, according to British songwriter Vinny Peculiar, you not only signal your wares to a particular group of people with a particular cultural mindset, but also set yourself a trap by being recognized by fewer and fewer people over the years. The fictional funeral director, Shadrack & Duxbury, plays a central role in Keith Waterhouse’s 1959 novel Billy Liar. The main character, real name William Fisher, is trapped in a fictional Yorkshire town and works as a humble employee for Shadrack & Duxbury. He spends his time dreaming of glory and success in London, much like any teenager who wants something, anything, beyond the boredom and constraints of provincial life.

Vinny Peculiar, born and raised in rural Worcestershire, understood this. So was Alan Wilkes, who in the mid-1990s moved from his rural Worcestershire home to Liverpool and Manchester, quickly settling in the cultural heart of these two cities. Many recordings were made during this period, but nothing was released. The groups he was in, Wilkes said, were waiting to be discovered and signed. It happened to some of his peers, he admits, but never to him. He was a late comer in releasing solo music (in 1998 now known as Vinny Peculiar and in his early forties he released his debut album, Gone) and he said that when it came to to write songs, he only looked for an angle to distort it.

The results are best viewed as an amalgamation of 1960s pop shots, sardonic humor (he has been described, with some justification, as the “Tony Hancock of pop music”), heartwarming memories and full nostalgia. of life and self-aware. Wilkes is, of course, a cult artist who is unlikely to have much commercial success, because that’s how it is. That reference to Billy Liar? “The professions section of my Facebook page has ‘Office Clerk, Shadrack & Duxbury undertakers’, but of course some people don’t know the reference at all. I get messages saying it must be horrible to be surrounded by all this death. Those who know the benchmark, however, understand it and support my music, but it’s a tricky thing to try to maintain a presence.

Wilkes says he views everything he does “as a work in progress and a process.” Photography: Paul Cliff

He should know. Although he knows and works with former members of The Smiths (Mike Joyce, Andy Rourke) and Oasis (Paul Arthurs), and is held in high regard by anyone who recognizes the value of classical pop music , it seems that maintaining a presence is always a problem. . Like many musicians – and not just his generation – Wilkes’ creativity and business paths vary widely.

“I got really used to being a foreigner, so I tend to get involved in a variety of music-related activities. For example, this afternoon I’m doing a ukulele workshop for six year olds in their elementary school. And in the mental health sector, I give workshops on creativity and self-confidence. It’s fun, sure, but it’s a far cry from working on my own songs, and I guess life is a bit of day to day. It’s true for so many artists now. In Manchester there are so many bands that have to do this. A fairly well-known group, he says, sleep on each other’s sofas. “They are absolutely skinny. They’ve spent all their money on equipment, recording and rehearsing, and when they go on tour they lose money. He knew Elbow before covering himself in commercial clover (they were each signed to the indie label from Mancun, Ugly Man Records). When he got to know them, he says, “it was a bunch of tramps on the street. . . Seriously, the days of making music full time for a living are over for many musicians. “

Artists Only, by Vinny Peculiar, is now available.  Photography: Paul Cliff

Artists Only, by Vinny Peculiar, is now available. Photography: Paul Cliff

Like Vinny Peculiar, Wilkes has released over a dozen solo albums, the best of which are conceptual. Yet from 2016 Silver Meadow: Institutional Fables (about her experiences working in the NHS mental health services) and 2018 Return of the Native (about her return, after a relationship ended. long-term, in his native Worcestershire) in his new album, Artists Only (mostly on contemporary visual artists), he also incorporates intensely personal autobiographical elements of growing up, falling in love and falling in love and insightful what could have been.

He says he sees everything he does “as a work in progress and a process” and that “elements of autobiography always enter the songs, whether or not they are themed around a specific idea. . The thing with Artists Only is that I wrote quite a few songs about the artists – I consider Rothko to be the visual equivalent of Sonic Youth – and I was a little afraid that I would end up copying and pasting their lives into songs. The songs on the album are therefore, in a way, linked to my life as well as to theirs. He’s the kind of person, he admits, who revisits the past not necessarily with enthusiasm but with more thought than concern for the future. “There’s a solace in that, and in trying to make sense of this and our place in this thing called life. It sounds pretty bad, but it’s true.

Between albums I’m no different from anyone else – I have moments of huge doubt and questioning

Wilkes is also one of those rare songwriters who can wring genuine, pathetic smiles from ordinary memories. Personalized commonplace, he says – be it from The Kinks’ heyday to the powerful but short-lived Pulp’s reign – is the only thing songwriters have to offer. Mixed in with the stories of mundane life, it’s a rare honesty – though he thinks some songs fail to capture that the way he originally wanted to. “I listen to Artists Only again,” he offers, “and I know there are a few songs where I could have nailed the punchlines, but I just went to the bar and I couldn’t be mad. It can happen sometimes. I try to bring in a bit of humor, which I think helps as well. “

Vinny Peculiar, aka Alan Wilkes, was born and raised in rural Worcestershire, UK.  Photography: Paul Cliff

Vinny Peculiar, aka Alan Wilkes, was born and raised in rural Worcestershire, UK. Photography: Paul Cliff

Like many low-key artists, Wilkes / Peculiar is waging what some might reasonably think is a battle of Sisyphean proportions. A long-haired, bespectacled father and grandfather in his early sixties, he’s nowhere near what money-hungry labels, streaming services, or music promoters expect from musicians. And yet, an air of courage hovers above his shoulders. “I am calmly determined,” he admits, half timidly, half affirmative. “Between albums I’m no different from the rest – I have moments of enormous doubt and questioning. I wonder why I invest so much time in what I do, why I spend half the night polishing an idea, but I go through these moments.

“Venues and promoters don’t really want to risk small gigs, so I think maybe it’s better to do less but promote it.” Photography: Joe Singh

The new year sees a little more of the same as the old. Concerts, he says, will hopefully increase as 2022 progresses. “Venues and promoters don’t really want to risk small gigs, so I think maybe it’s better to do less but promote it.” Self-promotion is the thorn in the side of many musicians of all ages, he adds wearily.

“It seems if you don’t hammer your social media hard enough, everything just blows up really quickly.” He wants so much to improve himself to shamelessly plug in his music. “I’m still aiming, but I fade away a lot. In Manchester not too long ago the Musicians Union ran a class on using Twitter, and the guy was saying tweeting about 12-15 times a day would start to make a difference. An air of innocent disbelief passes over her face.

“He gave people ideas about what to tweet about – variations on a theme, I guess. And then he said if you had the money you could buy thousands of likes and followers for not that much. It should be a simpler process, and I mean this in a psychological way, but it isn’t. I think for musicians there isn’t much to tell people how good the music or the album is. People just have to find it somehow. Without being the old guy here, so many people have lost all the mystery of music we had when we were kids.

He looks over the edge of his glasses. “There’s no intrigue these days – they’re taking it over.”

Artists Only, by Vinny Peculiar, is available for purchase at vinnypeculiar.com. It is also available on the usual streaming services.


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Security, role of the media in Nigerian democracy | The Guardian Nigeria News https://akademija-art.net/security-role-of-the-media-in-nigerian-democracy-the-guardian-nigeria-news/ Mon, 03 Jan 2022 03:37:00 +0000 https://akademija-art.net/security-role-of-the-media-in-nigerian-democracy-the-guardian-nigeria-news/ “In the end, we will remember not the words of our enemies but the silence of our friends” -Dr. Martin Luther King introductionThe democratic structure of the Nigerian state has benefited from the massive contributions of the Nigerian media for its survival and development. The Nigerian media rank high on the stakeholder pedestal of the […]]]>

“In the end, we will remember not the words of our enemies but the silence of our friends” -Dr. Martin Luther King

introduction
The democratic structure of the Nigerian state has benefited from the massive contributions of the Nigerian media for its survival and development. The Nigerian media rank high on the stakeholder pedestal of the Nigerian project, indeed, a lot of positives could rightly be credited to the Nigerian media in terms of the sustainability of this nation. I consider the subject under reference highly imperative given the multifaceted challenges that currently beset this nation; it is my humble opinion that many beneficial nation-building ideas can be intersected through the instrument of this meeting today.

My approach here today to the topic is to conceptually clarify key terms and freely expose the role of the media in our current democratic system by assessing the delicate balance between national security and press freedom. As I close this introductory session, let me stress that Nigeria is in dire straits and that only dialogue, constructive engagement, and the amplification of our common humanity can reverse the grim extinction that hangs over us all in face.

Conceptual clarifications
Like most other concepts, security does not admit of a simple or comprehensive definition, it is a robust concept with a constraint without borders. However, in layman’s terms, security is the absence of the potentialities and existences of evil, of injury at the behest of hostile forces. It is protection against violence, coercion and fear.

Historically, there has been an evolution of the concept of security since the end of the Cold War, which consisted mainly of proxy wars waged by allies of the United States on the one hand and the Soviet Union on the other. . Thus, security as a term of interest when referenced in this historical context would mean the increase or decrease in the level of hostilities between nations after WWII. The field of security therefore covers contexts such as global security, human security, border security, cybersecurity, environmental security, economic security, business security, food security, internal security, security. national, among others.

By contemplating this conference, it is opportune, in my opinion, to highlight the definitional framework of security using these three sub-contexts, namely: human security, internal security and national security. Human security simply means the protection of fundamental freedoms, that is, freedoms which are the very essence of life. Human security encompasses three freedoms: to be free from fear, free from want and free from indignity. It suggests a situation where an individual can aspire to the desired level of happiness and peace in society. Human security is characterized by the absence of both violent and non-violent threats to the rights of individuals, their security and their lives.

This again emphasizes the universal principle of self-preservation above other security concepts such as national security, global security, food security, among others. However, it is respectfully submitted that there is an interaction between these concepts and the concept of human security. It is almost implausible that each of these security sub-concepts can be isolated.

Homeland security, on the other hand, is largely concerned with keeping the peace within the confines of a sovereign state by ensuring that there is citizen observation, compliance and adherence to the laws of the land. . Internal security ensures that internal attacks and threats within a nation’s borders are repelled or confronted with monopolized state violence. Responsibility for internal security falls primarily within the constitutional mandate of the police. Other paramilitary agencies also share this responsibility and they are all guided by the laws that establish them.

National security, as the name suggests, is concerned with the security of the nation as a legal person. It encompasses everything, but the main objective is the defense of the corporate existence of a country. In this perspective, the armed forces are empowered by the Constitution to defend the territorial integrity of the nation. They assume the important duty of defending the nation against external aggressors and, in some cases, internal aggressors. National security could also extend to the defense of a nation’s economy from saboteurs and traitors.

To be sure, the basis of national security is the maintenance of the political structure of a nation-state that carries with it a label of non-negotiation. To go further in the chapter, the term media has received several definitions, however simple the term connotes any communication channel. This can include anything from printed paper to digital data. It refers to television, radio, newspapers, the Internet and other forms of communication. I dare say that any other definition is an extension of the previous ones.

The role of the media in Nigerian democracy
Democracy has been commonly defined as government of the people by the people and for the people. This invariably means that democracy is about popular choices; the general expression of the will of the majority, while ensuring that the minority is not prevented from expressing itself. It is the system of government that opens the electorate to a perspective of choice and how those choices should be made without fear or coercion.

Indeed, democracy is a big deal because it practically puts the socio-economic fortune of the people in the hands of a few decision-makers. More often than not, efforts are dissipated by referring to the executive, the legislature and the judiciary as the three arms of government in a democracy because they are explicitly named as beneficiaries of the power-sharing structure as contained. in the constitution of any democratic state, however, the media is the pillar that sustains that structure. This is what informs the media crowning as the kingdom’s fourth estate. The existence of the media is linked to the sovereignty of the people from which the government derives its constitutional powers in exchange for the fundamental freedom of expression of the people.

To be continued tomorrow.

Ajulo, FCIArb. The UK, Managing Partner of Castle of Law and Executive Director of the Egalitarian Mission for Africa presented the document during Chapel’s Week at NUJ NTA Headquarters in Abuja.


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NS Gundur Reviews Ancient India: A Culture of Contradictions, by Upinder Singh https://akademija-art.net/ns-gundur-reviews-ancient-india-a-culture-of-contradictions-by-upinder-singh/ Sat, 01 Jan 2022 11:10:00 +0000 https://akademija-art.net/ns-gundur-reviews-ancient-india-a-culture-of-contradictions-by-upinder-singh/ A historian studies ancient India and discovers radical tensions and oppositions, between inequality and salvation, desire and detachment, goddesses and misogyny, violence and non-violence At a place in his last book Ancient India: culture of contradictions, Upinder Singh invokes “the indulgent lovers in metropolitan cities inviting a reaction from the moral police who maintain that […]]]>

A historian studies ancient India and discovers radical tensions and oppositions, between inequality and salvation, desire and detachment, goddesses and misogyny, violence and non-violence

At a place in his last book Ancient India: culture of contradictions, Upinder Singh invokes “the indulgent lovers in metropolitan cities inviting a reaction from the moral police who maintain that this kind of celebration of love is contrary to Indian culture”. It was these contemporary issues that led Singh to explore, What is Indian Culture? One of the results is to bring to light, in the present work, certain contradictions in ancient India.

Tensions in the past

Singh’s historical accounts of ancient and medieval India examine who we are and how we got here. Singh teaches history at Ashoka University and her main interest as a historian is ancient Indian history and archeology. Among several of his books on different themes of the region,A History of Ancient and Medieval India: From the Stone Age to the 12th Century (2008) has become a classic textbook for Indian history lessons, and its Political violence in ancient India (2017) attempted to respond to the myth created that India had a non-violent culture when building a modern independence movement on the principle of non-violence (ahimsa).

This volume examines the contradictions of ancient Indian civilization, continuing its epistemic belief that the ideas and attitudes of ancient Indian history are still noticeable in India today and, therefore, why it is not only relevant but essential to study ancient India. Singh is not interested in “offering a detailed chronological history of ancient India, or rather of South Asia.” Instead, she chose a few key themes for understanding ancient Indian history, culture and thought, focusing on the coexistence of certain radical tensions and oppositions – between social inequality and salvation, desire and detachment, goddesses and misogyny, violence and non-violence, debates and conflicts.

These tensions, organized into five chapters, are illustrated by an informed understanding of primary and secondary sources, including visual materials. The book’s introduction invites readers to let go of simplistic stereotypes and try to grasp some of the complexities of Indian culture, and the epilogue touches on the current state: in India, according to Singh, “it has become fashionable to talk of the ancient Indian tradition of debate. and dissent and portray this as an inherent aspect of Indian culture and civilization. But we must not forget that participation in these was circumscribed by the unequal and hierarchical nature of social structures.

Relying on textual resources, in particular Manusmriti, Mahabharata, Ramayana, Jain and Buddhist texts, vachanas, sangam literature, Kamasutra, Kalidasa Raghuvamsa, Sudraka Mrichhakatika, that of Kautilya Arthashastra, among others, Singh shows tensions, conflicts, complexities, rival philosophies and readings of texts in India. We also come across local traditions such as the Virashaiva or Lingayat sect and the Shramana cultures contributing to the making of counter-cultures in Indian history.

It is impossible to explore all the practices and ideas that have contributed to creating contradictions in the subcontinent, but one is astonished at the absence of references to Sikhism, and also to the works of those who could be its interlocutors in about Hinduism such as Wendy Doniger, SN Balagangadhara and Manu V. Devadevan, whose A prehistory of Hinduism (2016) is missing from the bibliography.

Theory and practise

Singh tries to understand the complexity of Indian civilization with the category of “contradiction”. She reads, for example, the Manusmriti as “a text that makes pro-women as well as misogynistic statements, and tries to explain the contradiction in terms of the gap between theory and practice; the juxtaposition of different opinions; the context in which the statements are made; and the point we were trying to emphasize. According to Singh, while Rama is an example of virtue for some, in Periyar’s writing he is a symbol of the northern Aryan tyranny. Likewise, Singh reveals diametrically different views and practices coexisting in India.

Singh’s conceptual framework of contradiction follows a long tradition of historical analysis. To use Walter Benjamin’s formulation, “there is no document of civilization which is not at the same time a document of barbarism”. All cultures involve power relations and resistance, and therefore tensions and contradictions are evident.

A beautiful story

What Singh has achieved in the volume is a compelling account of religious practices, ideas and traditions in India by interestingly organizing his material. Therefore, Ancient india provides an engaging reference book for Indian students and students of Indian studies, combining different strands on Indian history, philosophy and culture. Singh offers a vignette of India’s past in lucid prose that neither hinders the reader’s pace nor straining patience. It is indeed a beautiful story that gives the experience of reading the history of India.

In addition, Singh is quite clear about the profession of historian and the limits of writing history. For example, references to Mahabharata and the Ramayana abound in her illustrations, but she knows how much they can be considered historical documents. Likewise, it is cautious about the retrospective application of our current standards and norms when reading old texts. If the past is a foreign land, Singh knows how to navigate it, but her feet are resolutely turned towards contemporary India: she writes: “In ancient India, there were several religious communities, but no religious religion. State. Perhaps there is a lesson for our own time.

Ancient India: culture of contradictions; Upinder Singh, Aleph, 799.

The reviewer teaches English literature at Tumkur University.


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Valley News – Proposed Apartment Buildings in Downtown Lebanon near Colburn Park https://akademija-art.net/valley-news-proposed-apartment-buildings-in-downtown-lebanon-near-colburn-park/ Wed, 29 Dec 2021 01:23:21 +0000 https://akademija-art.net/valley-news-proposed-apartment-buildings-in-downtown-lebanon-near-colburn-park/ LEBANON – Upper Valley owner Mike Davidson has unveiled an ambitious mixed-use project that would create nearly 150 new apartments on the site of the old village market and redesign the skyline at the entrance to Colburn Park in downtown Lebanon. Davidson’s company, Execusuite, which has redeveloped some old schools and commercial buildings in the […]]]>

LEBANON – Upper Valley owner Mike Davidson has unveiled an ambitious mixed-use project that would create nearly 150 new apartments on the site of the old village market and redesign the skyline at the entrance to Colburn Park in downtown Lebanon.

Davidson’s company, Execusuite, which has redeveloped some old schools and commercial buildings in the upper valley into housing, showed renderings of the project earlier this month to the Lebanon Planning Council in what the council chairman, Bruce Garland, described it as an opportunity “just to bounce some ideas back and forth.

Village Market, which has long served the elderly residents of Rogers House across Colburn Park, closed in 2018 and Davidson finalized the purchase of the two-acre property this month.

Davidson, who lives abroad much of the year, was not present in person or remotely at the planning board meeting, but his COO, Tim Sidore, along with architect Jim Wasser of the company White River Junction Studio Nexus, took the members of the board of directors. through their conceptual plans.

The first stages of the project would be two apartment buildings, one a six-story, 48,000 square foot, 72-unit building and the other a 6½-storey, 55,000 square foot, 75-unit building constructed. in two separate phases. The phase I building would be hidden behind the village market building. The Phase 2 building would be constructed at the corner of Mascoma Street and Water Street.

A third and final phase, described in an account submitted with returns to the board as “a longer-term redevelopment plan”, would replace the village market building – which is currently occupied by a tanning salon, a video game store and laundry room – with a six-story L-shaped building containing 21,000 square feet of retail and dining space on the lower level with 86 apartment units totaling 71,000 square feet of the five upper levels.

If all three phases were completed, the project would include more than 240 housing units.

Sidore said the redevelopment proposal is designed to be in line with Lebanon’s “master plan and vision study” which calls for new residential housing to be concentrated in high-density areas of the city.

“We see this particular land as an ideal site for this purpose” which “will really help revitalize downtown Lebanon,” Sidore told the board. He said via email that the three-building project would be the largest Execusuite undertaken to date.

Wasser, the architect, said the first building that would stand on the other side of the old village market building “would be easiest to build at this point” and with the second building “would soon follow. time after “.

The third phase would depend to a large extent on how things go in the first two phases and would include retail space for what Sidore described as a “community market”, although he did. covered by adding “I can’t say that would definitely happen” but “every effort” would be made to “bring a market here to the city center“.

“Our main motivation is to bring density and activity to the pedestrianized city center. In order to add a grocery store and a restaurant, we need that density, ”Sidore said by email on Tuesday.

He said about 80% of the units would be studios and 20% would be one-bedroom apartments with rental rates of around $ 3.50 per square foot.

Preliminary renderings show studios are around 433 square feet in size, and one-bedroom units up to 929 square feet.

The first phase, which is the smallest, is expected to cost around $ 12 million to build, Sidore said.

The first and second phase would take around two years, “barring unforeseen circumstances,” he said.

Throughout the approximately 30-minute board presentation on December 13, Sidore and Wasser pointed out that the model of what Execusuite wants to do at the village market in Lebanon is supported by what the company has designed and built in the 69 unit complex on South Main Street in White River Junction and, earlier, the conversion of the former Lebanon Junior High School building on Bank Street into 43 rental units.

“We have proven at White River Junction that we can create great buildings downtown and that they work very well in the fabric of the city,” said Wasser, whose company Studio Nexus also designed Davidson’s recently completed South Main Street apartment complex in White River Junction and other Execusuite projects.

At the same time, the comparison to the South Main Street project aroused an acute challenge from a longtime Planning Council member, who wanted to know if Execusuite was doing more than just importing a formula from the other side. from the river.

Calling the renderings of the buildings “truly wonderful,” Board member Joan Monroe said “I can’t see downtown Lebanon at all” and observed that the design was “almost exactly the same. “as the South Main Street project and asked” how does this complement the character of the existing downtown “Lebanon”?

Wasser countered that the brick on the facade and window details would reflect the style and color of the buildings around the Colburn Park neighborhood.

But he also noted that there are cost and hardware considerations that also come into play and it wouldn’t be possible to recreate the architecture of another century.

“We’re not going to be able to recreate the buildings that are downtown… modern technology has taken us a little beyond that,” he said. “But it is no longer profitable to make this kind of buildings. We will therefore have to reinterpret them in a more modern way. “

Contact John Lippman at jlippman@vnews.com.


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Who will we be when we can be anything? https://akademija-art.net/who-will-we-be-when-we-can-be-anything/ Mon, 27 Dec 2021 07:24:00 +0000 https://akademija-art.net/who-will-we-be-when-we-can-be-anything/ William Gibson first described it: “Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in each nation, by children learning mathematical concepts. A graphical representation of the data extracted from the banks of each computer in the human system. Unthinkable complexity. Lines of light stretched out in the non-space of the mind, clusters […]]]>

William Gibson first described it: “Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in each nation, by children learning mathematical concepts. A graphical representation of the data extracted from the banks of each computer in the human system. Unthinkable complexity. Lines of light stretched out in the non-space of the mind, clusters and constellations of data. Like the city lights receding.

In the days of the analog glory of the early 1980s, when exciting new arcade releases such as Pac-Man stoked the public’s hunger for the joyous escape from computer games, Gibson extrapolated where all that harmless fun could be. lead.

Its science fiction novel Neuromancer would consolidate cyberpunk as a genre and spawn a whole new virtual dystopia in which to play our technological paranoia. A decade later, Neal Stephenson’s novel Snow Crash – now a staple on Silicon Valley’s reading list – would take over and use cyberspace..

Foreshadowing both cryptocurrencies and the concept of the internet based on virtual reality, the author gave us the buzzword of our time – “Metaverse”.

In science fiction, the digitally connected environment has remained a place of both fear and intrigue, a man-made network in which we become self-slaves in a matrix beyond our control.

Yet as we conceptualize the closest iteration to what Gibson and Stephenson envisioned, the anticipation is off the chain.

The nascent metaverse may be several years away, but several players are gearing up to define our brand new unreality. If the initial promise is anything to keep, things are about to get visually spectacular and candy-colored.

The Metaverse, a universe of persistent virtual spaces that will form the immersive iteration of the Internet, in which we will interact, process, and experience, currently keeps developers and coders on the planet deeply connected to their keyboards.

Epic Games, creators of multiplayer giant Fortnite, is the name most often dropped as a favorite in space and is beta testing our appetite for virtual spell by serving digital wow after wow to experienced gamers.

Epic’s big name gigs in Fortnite’s “Party Royale” mode have inspired millions of people to throw their guns into the game and be transported on beautifully imagined 3D journeys, featuring artists Marshmello, Travis Scott and Ariana Grande.

With each musician portrayed as a dominant avatar in landscapes of images that bring their sound and aesthetic to life, the craziness of visual technology in each concert is a commitment to wow minds; the predicted digital dystopia reinterpreted as joyous excitement.

If we take a moment to step away from the dazzling imagery, it is the avatars themselves that we should stop to consider.

These particular digital twins were born for entertainment and are mostly faithful recreations of their human counterparts, created for instant recognition by their fans.

However, in the metaverse, in an existence beyond physics and boundaries, all options are on the table, and we are about to have a banquet of expressive possibilities. If the lines of identity blur IRL as we embrace broader notions of gender, imagine the debate when we can picture ourselves as an entirely new species.

As we all become digi-sapiens, will the politics of real-world identity become meaningless or will it be digitally amplified to become more vital than ever?

Now that RenaiXance technology is upon us and we wander wide-eyed into the magical hinterland between being and non-being, it is worth considering which aspects of our “selves” will pass into the realm. digital and which we will keep in the solid ground of physical reality.

These aren’t necessarily thoughts many are losing sleep on right now, but for The Manufacturer, as a digital fashion house that only creates non-physical garments, it’s these kinds of questions that inform our process as we go. let’s iterate the metaverse wardrobe.

Creating a fashion for the non-physical space requires us to simultaneously press our own neural buttons while we code the drape and fit of a digital garment. From our perspective, the 3D fashion we create is not just about digital dressing, but a way to convey emotions as we journey through humanity into a new realm of existence.

It sounds like a lot, but fashion has always been the front line of our identity, and it is the means by which we will realize ourselves in environments where we are no longer tied to genetics or the need to decide whether a garment flatters or fails. The data looks good for everyone.

Transcending physicality also means transcending self-judgment and allows us to take experimental steps that we would otherwise be afraid to take. If the Metaverse lives up to its conceptual height, in its realms we will be beyond age, beyond gender, and when skin becomes a matter of choosing between fish scales or bark. tree, beyond ethnicity.

The scope of digital fashion will include more than trying on clothes; we will try new bodies, new experiences, new ideas and new lives. Those unexpressed corners of our identity that we have hidden for fear of straying from an “appropriate” presentation are about to spend their day in the data sun. Prepare to take a walk on the wild side. After all, there is no danger of a twisted ankle in digital ten-inch stilettos.

With blockchain and crypto fueling our metaverse experiences, the spirit of decentralization will underpin its philosophy and manifest itself in resistance to old world systems. On the fashion side, we will say goodbye to the historical guardians of style and their velvet cords, who will not have much to say in the democratic space of digital fashion creativity.

The data will influence the design, and those who do not currently consider themselves fashion connoisseurs will create their own looks.

New tribes will form as clothing becomes tools of communication and connection. Want to signal your love of all things Rick and Morty? Then you can rehearse like Rick’s disembodied white lab coat scrolling through dialogue from your favorite episodes, ready for outings to 3D worlds that recreate the duo’s intergalactic escapades.

Dedicated digital fashionauts will find new ways to explore individuality with clothing that communicates hopes, dreams and desires. Digi-couture collections coded with personality types defined by Carl Jung could detect traits that match those of your soul mate.

Translucent ambient clothes made of changing color landscapes could go from deaf to bright in response to your emotions. Physical pieces that have long since crumbled to dust can be digitally revived to create new stories, and physically impossible figures will take shape in spaces beyond gravity.

Algae, glass, light beams and blood cells will become digital fabrics for clothing containing playlists, stories, hidden messages or belief systems. All of this, if an interoperable open metaverse becomes the norm, will flow seamlessly through virtual worlds to be worn, traded and collected.

The vast creative possibilities of digital fashion will spark an ongoing process of experimentation to discover the most meaningful ways to display our innermost being. What we can predict with certainty is the sheer volume of digital clothing that will be required when we are voicing not one but many of us in a range of characters, from professional to gamer.

This pressing capacity issue is something The Manufacturer is addressing right now by unlocking the ability for anyone, anywhere to become a digital fashion designer through collaborative creation. It is our goal to initiate a fashion revolution for a more democratic, fair and sustainable industry, adapted to our technological age.

Our co-creation studio is starting its first seasons and allows digital fashion newbies to craft and craft limited edition clothing in NFT form, requiring no knowledge of 3D software. The designers and brands experienced in the 3D space deposit blank clothes ready to be personalized.

Users collaborate on the design by selecting from the multiple fabrics, textures and colors available for each, creating a unique new piece. No two are alike, providing scarcity to give the clothes a value that will benefit everyone involved in their creation in perpetuity.

The intention is to create a virtuous circle of creativity, participation and compensation that will improve the lives of our digital and physical selves.

In our physical reality, billionaires build rockets to transport themselves on ego-trips to the far reaches of our atmosphere. However, in the digital realm, it is the universes that we ourselves will create that will allow each of us to experience new ways of being.

As we speculate on who we will become as humanity focuses on the potential of the non-physical, it is wise to revisit the original meaning of the word “avatar” as defined in Sanskrit, the ancient native language of the Hinduism. It means “descent”, meaning the manifestation or incarnation of a released deity on Earth.

Perhaps rightly so, this is the word we use now to describe how we will self-create to become the gods and goddesses of our own imaginations.


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Trivium’s Matt Heafy covers “Jack’s Lament” https://akademija-art.net/triviums-matt-heafy-covers-jacks-lament/ Sat, 25 Dec 2021 15:55:32 +0000 https://akademija-art.net/triviums-matt-heafy-covers-jacks-lament/ Are you tired of listening to the same old Christmas songs year after year? Looking for something to spice up your family’s Christmas party? Look no further, Trivium’s Matt Heafy has you covered. He released a cover of “Jack’s Lament” by The nightmare before Christmas. You can listen to the song below. The track was […]]]>

Are you tired of listening to the same old Christmas songs year after year? Looking for something to spice up your family’s Christmas party? Look no further, Trivium’s Matt Heafy has you covered. He released a cover of “Jack’s Lament” by The nightmare before Christmas. You can listen to the song below.

The track was originally written by Danny Elfman for the iconic 1993 film. Heafy created a heavier version of the original, adding aggressive bass and distorted electric guitar sounds.

heavy debuted on his Facebook, writing, “Who else loves #nightmarebeforechristmas and it’s an amazing #dannyelfman soundtrack ?! I’ve always wanted a Christmas release AND a nightmare release. So now you can have both in one single song.

Cover of “Jack’s Lament” by Matt Heafy

Outside of his Christmas outing, Heafy took care of Trivium as well as his own solo work. The band released their 10th studio album, In the Court of the Dragon, in October. Heafy also revealed in August that he will finally unveil his long-awaited black-metal solo album, featuring Emperor’s Ihsahn and Behemoth’s Nergal, next year.

The 35 best metal songs of 2021

We count the 35 best metal songs of 2021.


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The Crazy Concept gaming mouse from XPG has a built-in SSD https://akademija-art.net/the-crazy-concept-gaming-mouse-from-xpg-has-a-built-in-ssd/ Thu, 23 Dec 2021 15:44:23 +0000 https://akademija-art.net/the-crazy-concept-gaming-mouse-from-xpg-has-a-built-in-ssd/ PC gamers know that storing or moving around with their favorite games can be a challenge. This is because portable SSDs or external hard drives can be quite expensive. XPG, a supplier of accessories and gaming systems, is looking to make this easier with a crazy concept that combines two things in one: a gaming […]]]>

PC gamers know that storing or moving around with their favorite games can be a challenge. This is because portable SSDs or external hard drives can be quite expensive. XPG, a supplier of accessories and gaming systems, is looking to make this easier with a crazy concept that combines two things in one: a gaming mouse and an integrated SSD.

The XPG Vault concept is one of many products XPG expects to showcase at the 2022 edition of the Consumer Electronics Show (CES). end of a press release and looks pretty promising, although details on how the wired gaming mouse work are sparse.

According to XPG, the wired USB-C mouse can be “your game library in the palm of your hand.” The company claims that the current mouse prototype can accommodate up to 1TB of solid-state memory operating at 985 megabytes per second. As for how data from mouse SSD is transferred between mouse and computer, there is Gaming Launcher software that can be used on your PC.

Seen to the right in the image above, the conceptual mouse design is quite comparable to the industry standard. There is a standard black finish and a scroll wheel accented with green and blue highlights. Even the XPG logo has the same color. XPG also plans to launch the Alpha series of new gaming mice (top left), which feature an ergonomic design and a high-performance optical sensor.

Along with the Vault Conceptual Gaming Mouse, XPG hopes to launch additional products at CES that are expected to hit the market in 2022. This includes PCIe Gen5x 4 SSDs and DDR5 DRAM. Other products include the XPG Cybercore, a new power supply unit, as well as the XPG Battlecruiser Pro tower PC chassis. A new gaming laptop, as well as two new Ultrabooks, are also planned.

CES is known for its crazy concept ideas like this. While they’re not really gaming related, some of our favorite concepts from the past include the Brink Bionics Impulse neuro-controller, the Razer Project Brooklyn gaming chair, and a roll-up smartphone.

Editor’s recommendations







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Review “Intimate Strangers”: travel companions through a world without borders https://akademija-art.net/review-intimate-strangers-travel-companions-through-a-world-without-borders/ Tue, 21 Dec 2021 22:20:00 +0000 https://akademija-art.net/review-intimate-strangers-travel-companions-through-a-world-without-borders/ In the foreword to ‘A Stranger’s Pose’ – Nigerian author Emmanuel Iduma’s 2018 travel memoir and poetry blending with meditations on migration and displacement – writer Teju Cole described the book with a musical metaphor: “Imagine a ballad. . . where the text unfolds like a melody. . . . Imagine such a ballad serving […]]]>

In the foreword to ‘A Stranger’s Pose’ – Nigerian author Emmanuel Iduma’s 2018 travel memoir and poetry blending with meditations on migration and displacement – writer Teju Cole described the book with a musical metaphor: “Imagine a ballad. . . where the text unfolds like a melody. . . . Imagine such a ballad serving as an atlas of a world without borders. . . . with fellow travelers coming in and out like instrumental vocals, so you don’t know if you’re hearing something improvised or composed, so the distinction between the two becomes irrelevant.

We don’t need to imagine. With her new album “Intimate Strangers” (Biophilia), singer and songwriter Sara Serpa offers such a song. In fact, 13 of them, created in collaboration with Mr. Iduma. Some of these songs take the form of a ballad. All meet Mr. Cole’s description and take the words from Mr. Iduma’s pages. Sometimes Ms. Serpa sings Mr. Iduma’s lyrics in direct tones, unfussy and naturally radiant, her English nuanced by her Portuguese accent. Sometimes she recites them as careful statements. Sometimes she is joined by two other singers, Sofía Rei and Aubrey Johnson, their vocal lines braided in tight harmonies that often result in startling dissonance. Or Mr. Iduma reads his own work in a calm, resonant voice. The music, uncluttered, but rich in superimposed sound details, alternately soft and hard, draws rhythms from the phrasing of the sentences and the moods of Mr. Iduma from his ideas, conveyed by journalistic observations and poetic allusions.

Emmanuel Iduma


Photo:

Ayobami Adebayo

“Intimate Strangers” premiered at the National Sawdust in Brooklyn, NY in November 2018 as a multimedia piece combining music by Ms. Serpa, narration by Mr. Iduma, and photographs from the author’s book. For this new recording, Ms. Serpa combined pieces recorded in New York with her fellow vocalists, with pianist Matt Mitchell and Qasim Naqvi on modular synthesizer. Mr. Iduma’s lyric pieces were recorded in Lagos, Nigeria.

Ms. Serpa first discovered Mr. Iduma’s work while researching her own family history for “Recognition”, a project on Portuguese colonialism in Africa for which she drew on Super 8 footage shot by his grandfather, a Portuguese settler who had moved to Angola. (Ms. Serpa was born in Portugal and moved to the United States in 2005.) On the 2020 album, accompanied by saxophone, piano and harp, she tackled through mostly silent voices a colonial history left largely under silence during his childhood.

“Intimate Strangers” deepens Ms. Serpa’s search for ways to communicate complicated ideas about identity and iniquity, displacement and desire, through conceptual works that research their own languages ​​and musical forms. The story here is that of Mr. Iduma, so Ms. Serpa leans on her words. Each piece becomes a journey – things happen, sometimes in unexpected ways – via his tales of travels across the African continent, but also in the unfolding of the music.

“First Song” opens the album with street sounds – car horns, muffled conversations, reggae from a distant radio – recorded by Mr. Iduma on a trip. Soon the voices trace simple patterns, circling and landing in startling moments of three-part harmony, underscored by the percussive sounds resulting from Mr. Mitchell stepping inside his piano to manipulate its strings. . Bolder and weirder synth sounds begin to fill the silences. Here, Ms. Serpa puts Mr. Iduma’s words on a melody that takes on an unusual and angular shape but sounds pleasant. She stumbles upon a phrase: “The only thing a man needs / is a suitcase and a soul.”

Mr. Iduma’s book focuses on dualities. Bodies of water are pathways to new lives and burial grounds. Border crossings are either open doors or dead ends prohibiting (depending on the paperwork). Language itself is “an intermediary straddling the known and the unknowable”. Ms. Serpa’s carefully arranged music explores sonic dualities: spoken and sung; acoustics and electronics; marked and improvised; sound and silence. Like the texts of Mr. Iduma, his music mesmerizes, comforting and confronting his audience at the same time. The well-crafted vocal score is both complemented and complicated by the fluid improvisations of Mr. Mitchell and the sounds that bubble or seep from Mr. Naqvi’s modular synthesizer to suggest both the exotic and the familiar.

On the last track, “For You I Must Become a Tree”, Ms. Serpa’s voice seems fragile, almost broken, while reconciling the loneliness and disorientation of moving home. The words she sings — Mr. Iduma’s words are resolved: “I must become a tree. Every tree is the opposite of wandering. Ms. Serpa’s work draws on the legacy of many experimental artists on more than one continent. Here, as if rooted in Mr. Iduma’s experiences, it branches out and blooms again.

Copyright © 2021 Dow Jones & Company, Inc. All rights reserved. 87990cbe856818d5eddac44c7b1cdeb8


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