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Amazon Second Chance Pass it on, trade it in, give it a second life. Let us explain. A loop, according to a dictionary definition, is formed when a line curves back to cross itself, so, for instance, a strip of paper whose two ends are pulled together in such a way that they meet each other in a straight line would form a loop. A loop of this kind does not sufficiently describe a Deleuzean plane because one is able to apprehend it in an extensive mode, to measure the loop as the length or duration between two returns of the point at which the beginning and end meet.
It is in extensity, let us remember, that we apprehend the time of Chronos , that measuring, fixing, form-creating mode of time proper to a transcendent philosophical stance which believes itself able to apprehend all objects in existence from a remove, whilst the temporal mode which we have suggested might be usefully informed by the figure of the loop is the time of aeon , the time related to a philosophy of immanence, the time which eternally returns since it always contains within its present the virtual forms of all possible past and future events.
It might of course be objected that a loop formed in the manner described above can fuse its ends together so neatly that the break becomes impossible to ascertain.
However, in many of the cultural forms that employ a loop this ideal or pure loop would seem difficult to attain. For instance, the loop is often used in online artworks utilising a movie format because of the obvious advantages a short looped movie holds over a longer linear movie in terms of bandwidth. To create a looped movie of any kind whose break cannot be found is extremely difficult, however, especially if the movie takes as its subject matter objects in the world deployed in time and not simply objects created from digital code.
We must then search for a different kind of loop. For deployed as a material artefact, the loops on this record would, of course, have a beginning point, the moment at which the stylus drops into its groove.
And yet, given the nature of the medium on which the loop is inscribed, it is at the same time impossible to apprehend this groove as anything but a loop; it is not a circle since as even the most basic knowledge of a vinyl record will attest its deployment in time will never present the sonic content and thereby spatio-temporal co-ordinates because of the correlation between the two of all points of the groove at the same time; rather, successive moments will appear, all of which seem to be the same and thereby create a constant tone, but which, because of the inextricable relation to the progress of time that the loop has inscribed into its ontology, present difference in itself.
I appreciate it for what it is, which is a look at the band much like a sonic version of looking through a family album. This is less of a final goodbye from Pink Floyd and more of an Epilogue.
The package is extensive with Blu-ray DVD, 5. But it's the music that makes the point here. Culminated from over 20 hours of 'lost' or unused material from, "The Division Bell", it winds its way over eighteen songs, 6 video tracks and 3 audio tracks. It progresses with a tepid, but never boring pace. Throughout, you will hear what might be considered 'outtakes' from "The Division Bell" and other albums. In fact, there are obvious 'bridges' and 'transitions' sections that seem to have re-emerged from nearly all the Pink Floyd albums since the seventies.
Sometimes the sound is ethereal, moody and dream-like. At other times, it seems to start to rise into what might be a powerful culmination of musical excess, but it never quite seems to. That maybe the entire point of the album. It's a collection of reworked and re-imagined musical artwork that finally made it to the public's ears. Roger Waters influence seems to truly be lost here, but with the help in of David Gilmour, Nick Mason and Richard Wright, the magic is re-released. Gilmour's guitar takes hold whenever heard, but gives way to the famous ethereal and rocking keyboard work of albums past.
Whether rock, jazz or standard fare, the drumming continues to be a staple of the work - sometimes there and sometimes sneaking in and out, much like many of the instruments on this collection. Whatever seems to be lacking here is more than made up in other ways. Being almost an entirely instrumental of piece of work, Pink Floyd ends it with a magnificent song, the only one with lyrics, written by Polly Samson.
The album begs several listens, as the layered work is typical of any former Pink Floyd album, but this one seems to call back from the past some amazing sounds, acoustics, feelings and that lost stoned teenager in all of us. Pink Floyd's muisc will always be around - endless.
See all reviews. Top reviews from other countries. I really like this record! The pre-publicity suggested it was a beefed-up version of an ambient chill-out mix from out takes from The Division Bell but it is much more than that.
Essentially an instrumental record with only one vocal track. In a strange way this freed them from the latter day Floyd search for worthy lyrics and allowed them to focus on the music. And what music! Rooted in the sound of latter day post Waters Floyd but with numerous nods to their previous incarnations - the drums could be playing A Saucerful Of Secrets at one stage. It's a bit ambient, a bit psychedelic, a bit rocky, a bit poppy, a bit AOR and altogether something wonderful unto itself.
There are great dynamics from gentle piano bits to soaring ensemble pieces, loads of atmospherics and nothing is too long which helps it retain your interest. A fitting tribute to Rick Wright whose keyboards are always present in their usual supportive way. An interesting and different way to end the spectacular career of Pink Floyd. I can't believe Floyd fans can give this 5 stars?! I wonder how many of them actually still listen to it? Bloomsbury Publishing. Encyclopedia of Recorded Sound.
United States: Routledge Publishing. Big Cartel. Retrieved 23 May Retrieved Accessed 20 August July Journal of the Audio Engineering Society. CBS Labs. June Wireless World : — Retrieved 20 February Atlantic Records. The Billboard. Nielsen Business Media, Inc. Denver: Mainspring Press. Junkyard Clubhouse. Equalizing X Distort radio show.
Archived from the original on July 6, Boardgame Geek. Retrieved 1 October Retrieved 28 March Retro Thing Geek. Retrieved 20 August Stylus Magazine. Your Computer. Sutton Publishing. August November Archived from the original on Retrieved March 1, — via Archive. Retrieved March 15, Retrieved February 24, October 22, Retrieved March 1, Retrieved June 17, Third Man Records. Gawker Media. Rush's YouTube page. Infinity Light Science.
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Download as PDF Printable version. It was pressed on green vinyl and limited to copies, each wrapped in a page cover. Techno artist Jeff Mills released the single for "The Occurrence" on a disc that is a gramophone record on one side, and a compact disc on the other. Due to space restrictions of the grooves, both songs were mixed as monaural.
Children's records — 6-inch Little Golden Records made of bright yellow plastic were a common sight in children's playrooms in the United States from the late s to the early s. The 78 RPM speed was used for some children's records of all sizes well into the s, as nearly all record players still included it and it allowed an old disused only player to be put to work as a toy, expendable if it got damaged by rough handling.
For example, the American magazine National Geographic 's January issue included a 6-inch flexi disc of whale sounds called "Songs of the Humpback Whale. Early American shellac records — Prior to , Victor introduced 8-inch records to replace their inexpensive 7-inch product, but they were soon discontinued. A similar scenario occurred in Europe for Emerson and Melodiya discs. Priced at 10 cents, they were replaced by a inch Electradisk later that year, priced at 20 cents.
In other areas, flexi discs were usually square and often included in a magazine see Unusual materials below. Early American shellac records — Prior to , nine-inch brown shellac records were issued under the Zon-O-Phone label.
The record featured two songs on the first side, and an etching of the album's promotional logo a coiled centipede on the second side. Each record had a capacity of about 40 minutes per side. Underground hardcore punk bands in the s started releasing EPs on all sizes of vinyl including 13 inches in size. Early American shellac records — Between and , American companies made recordings of inch records that played at the unusual speed of 60 RPM.**Etched g fluoro pink vinyl housed in bespoke screen printed PVC sleeve. Limited edition of The edition has been created in celebration of the European premiere of Unicolor, a work from by Carsten Nicolai** The Vinyl Factory commemorate the opening of Carsten Nicolai's (a.k.a. Alva Noto) Unicolor installation in London with this crafty collection of stochastic .