The production of cloud rap music has been described as “hazy”, often including “ethereal vocal samples” and the “aesthetics of bedroomelectronic producers”. In a 2010 article, Walker Chambliss presumed that the term was invented by music writer Noz while interviewing rapper Lil B, but the interview in question did not actually include the phrase. Cloud rap artists have been noted to employ “chant-like” vocal samples, as to create a “surreal” effect. According to Nico Amarca of Highsnobiety, the genre was initially defined by the use of “nonsensical catchphrases and Twitter baits”, as to parody and embrace internet culture, from which it was created. Amarca also believed Yung Lean to have changed cloud rap through his “melancholic, dreamy rapping”. According to FACT, the genre describes “pretty much any lo-fi, hazy rap that makes its way to the net” (read more: wiki)
Ambient 4: On Land is the eighth solo studio album by British ambient musician Brian Eno. It was the final edition in Eno’s ambient series, which began in 1978 with Music for Airports.
On Land is a mixture of synthesizer-based notes, nature/animal recordings, and a complex array of other sounds, most of which were unused, collected recordings from previous albums and the sessions that created them. As Eno explained, “… the making of records such as On Land involved feeding unheard tape into the mix, constant feeding and remixing, subtracting and “composting”. (…) “instrumentation shifted gradually through electro-mechanical and acoustic instruments towards non-instruments like pieces of chain and sticks and stones … I included not only recordings of rooks, frogs and insects, but also the complete body of my own earlier work”.
Despite the music’s dark leanings, it is in a sense still highly “ambient” in that the tracks tend to blend into each other and thus fulfill all of Eno’s original expectations of what the term means. Nevertheless, there is still room for the occasional surprise, such as Jon Hassell‘s recognisable effect-laden trumpet in “Shadow“. Eno, cognizant of the deeper aural qualities, said, “On the whole, On Land is quite a disturbed landscape: some of the undertones deliberately threaten the overtones, so you get the pastoral prettiness on top, but underneath there’s a dissonance that’s like an impending earthquake”.
The album makes reference to definite geographical places, such as “Lizard Point“, named after the exposed, southernmost tip of mainland Britain, close to Land’s End in South-West England.
“Tal Coat” refers to Pierre Louis Jacob (1905–1985), aka Pierre Tal-Coat, a proponent of the French form of abstract expressionism, Tachisme. This interest in painting is reflected in his statement that the album was “… an attempt to transpose into music something that you can do in painting: creating a figurative environment. At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art because it was abstract, not figurative. In contrast, my intention in On Land was to make music that was like figurative painting, but without referring to the history of music – more to a “history of listening””
“Lantern Marsh” was a place in East Anglia where he grew up. He remarks, “My experience of it derives not from having visited it (although I almost certainly did) but from having subsequently seen it on a map and imagining where and what it might be”.
“Leeks Hills“, Eno explains, “is a little wood (much smaller now than when I was young, and this not merely the effect of age and memory) which stands between Woodbridge and Melton. There isn’t a whole lot left of it now, but it used to be quite extensive. To find it you travel down the main road connecting Woodbridge and it lies to your left as you go down the hill”.
“Dunwich Beach, Autumn, 1960” is named after the once prosperous seaport of Dunwich, England, which eroded into the sea over a period of three hundred years. (wiki <3)
Boots has maintained that the film offers a radical class analysis of capitalism, rather than a specific analysis of America under President Trump, clarifying that he wrote the initial screenplay during the Obama administration, and that the target was never any specific elected official or movement, but rather a broader look at “the puppetmasters behind the puppets.” While the majority of the final script remained the same, minimal changes were made prior to shooting in order to avoid the film appearing to be a critique of Trump specifically, including removing a line where a character says “Worry Free is making America great again,” written before Trump would use the line in his 2016 presidential campaign.
False consciousness
The title of the film has a double meaning, referencing both the phrase’s use by telemarketers and its general usage when telling a person something you know they might not like to hear, such as the Communist themes present in the film. According to Boots, “…the other side of it is, is that often when you’re telling someone something that is different from how they view things, different from how they view the world, it feels like an annoyance or a bother. And that’s where that comes from.” The theme of the strike was used to reflect the need to “organize people in the workplace” and for workers to recognize their power. When asked on his choice to cast Armie Hammer as Steve Lift, Boots stated that Armie was a “lovable dude,” whose casting reflects the current state of “new capitalism,” where the realities of working conditions are hidden, referencing lines such as “I’m not your boss, I’m your friend.” (wiki)
Discworld is a 1995 point-and-click adventure game developed by Teeny Weeny Games and Perfect 10 Productions for MS-DOS, Macintosh, and the Sony PlayStation. A Sega Saturn version was released the following year. The game stars Rincewind the Wizard (voiced by Eric Idle) and is set onTerry Pratchett‘s Discworld. The plot is based roughly around the events in the book Guards! Guards!, but also borrows elements from other Discworld novels. It involves Rincewind attempting to stop a dragon terrorising the inhabitants of Ankh-Morpork.
The game was developed because the designer Gregg Barnett wanted a large adventure for CD-based systems. A licence was difficult to obtain; Pratchett was reluctant to grant one as he wanted a Discworld game to be developed by a company with a reputation and who cared about the property. An original story was created due to Barnett having difficulty basing games on one book. Discworld was praised for its humour, voice-acting and graphics, though some criticised its gameplay and difficult puzzles. Discworld was followed by a sequel, Discworld II: Missing Presumed…!?, in 1996. (wiki)
Ankh-Morpork lies on the River Ankh (the most polluted waterway on the Discworld and reputedly solid enough to walk on), where the fertile loam of the Sto Plains (similar to Western Europe) meets the Circle Sea (the Discworld’s version of the Mediterranean). This, naturally, puts it in an excellent trading position. Lying approximately equidistant from the cold Hub and tropical Rim, Ankh-Morpork is in the Discworld’s equivalent of the temperate zone. The name “Ankh-Morpork” refers to both the city itself, a walled city about five miles (8 km) across, and the surrounding suburbs and farms of its fiefdom. The central city divides more or less into the more affluent Ankh and the poorer Morpork which includes the slum-like “Shades”, which are separated by the River Ankh. Ankh-Morpork is built on black loam, broadly, but is mostly built on itself; pragmatic citizens simply built on top of the existing buildings when the sediment grew too high as the river flooded, rather than excavate them out. There are many unknown basements, including an entire “cave network” below Ankh-Morpork made up of old streets and abandoned sewers (it has been continuously stated that anyone with a pickaxe and a good sense of direction could reach anywhere in Ankh-Morpork by knocking walls down in a straight line, though in Thud! it is added that they would also need to breathe mud). Recently, the underground regions have been extended by the city’s dwarf population to get around unimpeded. It has recently been made municipal property. Ankh-Morpork is also the city with the most dwarfs on the whole disc outside of Überwald, largely considered the dwarfen homeland, with over 50,000 dwarfs living there. (wiki)
Making Sense of “The Weird and the Eerie” By Roger Luckhurst
(…) “You have probably heard of “the weird” by now, but you may not quite know what it is, or why so many genre critics, cultural theorists, and philosophers are keen to engage with it. It might once have been quarantined as a subgenre associated with sullen Goths and all those arrested-adolescent readers of H. P. Lovecraft, but it has long slithered free of those confines, and now leaves a trail not just straight across the internet, but on the page and in mainstream TV shows and movie screens.
Fisher’s guide to this terrain is an excellent place to start your orientation. The book displays his signature knack for reading popular culture (principally music, fiction, and film) in an expressive, demotic way that is still vigorously political and philosophical. Somehow, Fisher magically renders post-Lacanian, post-ŽižekianMarxism and the radical anti-subjectivist philosophy of Gilles Deleuze entirely accessible. Only Fisher can enthuse about old QuatermassTV shows in terms of their “cosmic Spinozism” and still (mostly) make sense. With typical disdain for cultural boundaries, Fisher moves crab-wise from Lovecraft and H. G. Wells to the impenetrable mumblings of punk band The Fall; obscure Rainer Werner Fassbinder TV shows from Germany; Lynch, Stanley Kubrick, and Andrei Tarkovsky films; NigelKneale TV series from the 1970s; the music of Joy Division; The Shining; the unclassifiable fiction of Alan Garner and Christopher Priest; Jonathan Glazer’s extraordinary avant-garde SF film Under the Skin; and surprising appearances of Margaret Atwood’s early fiction Surfacingand Christopher Nolan’s portentous quantum SF blockbuster Interstellar(which receives a great defense).” (read morehere)
(…) “In music, literature, art, film and photography, as well as in new and hybrid forms and media, the English eerie is on the rise. A loose but substantial body of work is emerging that explores the English landscape in terms of its anomalies rather than its continuities, that is sceptical of comfortable notions of “dwelling” and “belonging”, and of the packagings of the past as “heritage”, and that locates itself within a spectred rather than a sceptred isle.
Such concerns are not new, but there is a distinctive intensity and variety to their contemporary address. This eerie counter-culture – this occulture – is drawing in experimental film-makers, folk singers, folklorists, academics, avant-garde antiquaries, landscape historians, utopians, collectives, mainstreamers and Arch-Droods alike, in a magnificent mash-up of hauntology, geological sentience and political activism. The hedgerows, fields, ruins, hills and saltings of England have been set seething.”
“What are those pressing concerns, though, and what are the sources of this unsettlement? Clearly, the recent rise of the eerie coincides with a phase of severe environmental damage. In England, this has not taken the form of sudden catastrophe, but rather a slow grinding away of species and of subtlety. The result, as James Riley notes, is “a landscape constituted more actively by what is missing than by what is present”. This awareness of absence is expressing itself both in terms of a vengeful nature (a return of the repressed) and as delicate catalogues of losses.”
“Digging down to reveal the hidden content of the under-earth is another trope of the eerie: what is discovered is almost always a version of capital. Keiller’s Robinson tracks the buried cables and gas-pipes of Oxfordshire, following them as postmodern leylines, and tracing them outwards to hidden global structures of financial ownership. Wheatley’s deserters rapaciously extract “treasure” from the soil, by means of enslavement and male violence. In his cult novel Cyclonopedia (2008), the Iranian philosopher Reza Negarestani figured oil as a sentient entity, developing Marx’s implication that capital possesses emergent and self-willed properties, that it is somehow wild.” / see: 771-robinson-in-ruins-2010
Daft Punk’s Electroma (also known as Electroma) is a 2006 science fiction film directed by the French electronic music duo Daft Punk. The story revolves around the quest of two robots (the band members, played by Peter Hurteau and Michael Reich) to become human. The film premiered at the 2006 Cannes Film Festival, and was later released in France on March 24, 2007. While initially receiving mixed reviews, Electroma has gained a cult following.
Discworld is a 1995 point-and-click adventure game developed by Teeny Weeny Games and Perfect 10 Productions for 
TimeSpace Warps 