Torrent Pro Landscape Version 18 Ita.rar
Regulo Akers
As was habitual in Leonardos studio, the materials are of extremely high quality and have survived in almost perfect condition. With the exception of the type of wood, which is walnut in the copy and poplar in the original, the other materials and the creation of the underlying work is similar. Both paintings have an oil-based, whiteish ground while the Prados has a orangeish priming, also with an oil binder, of a tone similar to that observed in works by Leonardo and the Milan studio. In formal terms, the two works are the same but the Prado panel is not comparable to the Mona Lisa in the Louvre in terms of quality and handling. The method of applying the paint is one of the most significant differences and the one that defines the final image of the sitters.
The Prado panel is a carefully painted portrait and despite its overall hardness, it has very subtle details that can be perceived from close up on the lips and hands. The copyist did not imitate Leonardos handling and aimed to dissimulate his brushstrokes, which are only perceptible in the unfinished areas and, under a microscope, in the flesh tones. The stroke is also individualised in the underlying, freehand drawing. Another interesting aspect of the pictorial technique revealed by a comparison between the two panels is that the shadows of the flesh tones in the original seem to have been constructed by adding thin, superimposed layers of umber over a reflective white ground. However, the copyist worked in the opposite sense and covered areas of the orangeish priming with a grey wash in order to construct the shadows, allowing it to show through under a lighter coloured glaze. The tonal transition on the cheeks is modified with small reddish brushstrokes.
The landscapes in both works have the same evanescent appearance but the one that has reappeared in the copy is unfinished. It includes rock formations that Leonardo drew in Milan around 1508-11 and which are present below the surface of the prototype. This detail supports the hypothesis that the Prado version corresponds to a moment prior to the completion of the original, which Leonardo modified at a moment when the copyist could no longer see it or that his panel remained in Milan when Leonardo went to Rome in 1513, and could not continue working on it. The copyist must have remained with Leonardo for a lengthy period, specialising in copying the works that the master most appreciated prior to his departure for Rome or France.
At the present time no independent works have been identified by this copyists hand. There is no doubt that the imprecision and delicacy of Leonardos painting is quite different to the precise technique of the artist who painted the Prado panel.
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The double album cover, one for each side and cycle on the record, features a collage created by the Welsh video artist James Richards that merges medieval iconography with snippets of queer memorabilia.
Production by Juliana Huxtable, Joe Rinaldo Heffernan, Fakethias
Vocals by Juliana Huxtable
Synthesizers by Joe Rinaldo Heffernan, Juliana Huxtable
Guitar, Drums, Backing Vocals by Joe Rinaldo Heffernan
Since its inception in 2014, Ville Haimala and Martti Kalliala have continued to evolve and redefine Amnesia Scanner through experimentation across online and IRL realms. This album brings them a step closer to the latter.
The opening track Tongue Demons perfectly summarizes this, with blaring synth stabs and frenetic drum patterns paving the way for a broken melody arranged through a digital brass chord progression. Giggle and Bounds follow right after: two outstanding pieces of introspection signaling the melodic turn of the album, with the latter almost posing as a weirdo 2-step ballad filled with deep pads and pitched-up and down vocals.
JUnQ, or the Journal of Unsolved Questions, is modeled on a parallel exercise: to sketch music and to score sculptures. Part exhibition, part book and part album release, JUnQ seeks to propose a collaborative language that binds the algorithmic needs of an artificial pop star to the performance of the artist himself. Boundaries between reality and artifice are blurred in a continuous chain of confrontation and sublimation, wherein a romance between analog evolution and digital experimentation is born.
Heith crafts a mesmerising and ritualistic subterranean soundscape, aresonant and eclectic collage of distinct sonic elements: from celestial percussion intertwined with jarring, mechanical oscillations to haunting vocals atop murky dubbed-out beats.
Daijing uncovers an essential, sometimes painful, music in all that surrounds us, inviting something like catharsis but also a greater understanding of the thing she and her cast conjure and draw close. A tissue, after all, is both a disposable object one uses to wipe away a tear, and the building block of our fleshy human forms. Daijing reaches and excavates the roiling core of what it is to be alive and full of feeling.
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