ANTRONAUT

[ANTRONAUT @antronaut]

DIETER ROTH: COLLECTED INTERVIEWS https://t.co/Mqb2TB6Ujp

[ANTRONAUT @antronaut]

Paris Review - Italo Calvino https://t.co/22RETUFrT4

[ANTRONAUT @antronaut]

Reconnecting with Andy Goldsworthy: The 'Rivers & Tides' Artist Returns in 'Leaning into the Wind' https://t.co/UHhGly2Auq

[Critical Inquiry @CriticalInquiry]

Autumn 2024 issue is coming soon!

[ANTRONAUT @antronaut]

How an Eight-Month Trip Shifted the Course of Art History
https://t.co/FKWzMEceRQ

[ryuichi sakamoto @ryuichisakamoto]

SKMT | dig

In August 1986, Ryuichi had three short weeks at The Wool Hall Studio in England to write and produce Virginia Astley's album, "Hope In A Darkened Heart." Ryuichi performed and recorded the base instrumentals for six tracks on the album. 

The backing track for 'Some Small Hope' was sequenced on the Fairlight 3, the synth pad from the Prophet 5, and the 'woodwind' (shakuhachi flute) sections originating from the Emulator II. Additionally, Ryuichi scratched the strings of the piano with his fingers in the studio, captured by engineer Tony Phillips, and included in the final mix.

Ryuichi's equipment:
Emulator II, Fairlight 3 (with Fairlight 1 sounds disc), Prophet 5, AKAI S-900, Yamaha DX7-2, Computer.

Link to the full album:
https://t.co/B8KR5XpWzk

1, 2 - Photo by Ryuichi Sakamoto 
3, 4 - Photo by Masaki Sekijima
From Sessions at The Wood Hall Studio, England

Sources:
Virginia Astley website
https://t.co/SosjORh1OY

David Nibloe's interview with Masaki Sekijima, 2019
https://t.co/QHyyqKwasF

#skmtnews
#ryuichisakamoto
#坂本龍一
#SKMTDIG
#virginiaastley
#hopeinadarkenedheart

[ANTRONAUT @antronaut]

Buren and Paris https://t.co/4rCETP9FVM

[ANTRONAUT @antronaut]

Neo Rauch’s Creature Discomforts https://t.co/y5JG4xDcI5

[ANTRONAUT @antronaut]

Science Is Fiction
: Inside the Wondrous Early Films of Jean Painlevé https://t.co/e6WdMpLXPU

[ANTRONAUT @antronaut]

Rene Daniëls
https://t.co/evwGaAdQtK

[Barry Flanagan @JBFinfo]

'The Native Land' poster advertising an exhibition held at The Mostyn Art Gallery, Llandudno, 11 Aug- 15 Sep 1979. Colour screen print designed by Robert Henderson Burn, illustrated by Barry Flanagan and printed by David Fortune.
The poster is in the collection of V&A.

[ANTRONAUT @antronaut]

Erica Baum by Rajesh Parameswaran https://t.co/WwMq6vyE7W

[ANTRONAUT @antronaut]

Enfants du Monde - Dominique Darbois https://t.co/QOhvYRmAF2

[ANTRONAUT @antronaut]

Mira Schendel’s Gesture
: On Art in Vilém Flusser’s Thought, with ‘Mira Schendel’ by Flusser
https://t.co/yCiHsFgCPp

[peter foolen @PeterFoolen]

Bas Jan Ader, from the series ‘In Search of the Miraculous (One Night in LA), 1973.
Art & Project Bulletin 44, 1971 and Bulletin 89, 1975.
Art & Project at @krollermuller.

[ANTRONAUT @antronaut]

"My Website is a Shifting House Next to a River of Knowledge.
What Could Yours Be?"
https://t.co/m6GULwEsNe

[ANTRONAUT @antronaut]

In Situ: Henry Moore, David Finn, and the Experience of Location
https://t.co/PzQVHt1kz9

[ANTRONAUT @antronaut]

"I treat the photograph as an object, an object to scan." – Vija Celmins
https://t.co/NTlwBpp8nq

[ANTRONAUT @antronaut]

... Polke embarked on an increasingly complex journey in which he attempted to find new meaning in the medium by bringing about unexpected interventions on the painted surface. ... combines the rigid formality of ... with a looseness of brushstrokes...
https://t.co/IueKtHYYma

[ANTRONAUT @antronaut]

Jirí Kovanda https://t.co/9uPsAr48BM