syn·site
in pseudoscientific terms: A dynamic phenomenon which manifests in the compounding reconfiguration of fragments from selves, sites, and associations. It activates at the intersection of disparate elements, forming a crystallized, collaborative consciousness akin to a superposition state in quantum mechanics, where the specific and the abstract, the internal and external, the actual and the virtual, the organic and the synthetic exist simultaneously.
in pseudoscientific terms: A dynamic phenomenon which manifests in the compounding reconfiguration of fragments from selves, sites, and associations. It activates at the intersection of disparate elements, forming a crystallized, collaborative consciousness akin to a superposition state in quantum mechanics, where the specific and the abstract, the internal and external, the actual and the virtual, the organic and the synthetic exist simultaneously.
SYN (along with, at the same time | from Greek SYN, with | ~SYNTHETIC) + SITE (N: point of event, occupied space, internet address; V: to place in position | from Latin SITUS, location, idleness, forgetfulness | ~WEBSITE ¬cite ¬sight), cf. SITE/NON-SITE (from Robert Smithson, A PROVISIONAL THEORY OF NONSITES, 1968)
Sanko-time is a concept developed by [Larry Achiampong] that relates to the Ghanaian Twi word Sankofa, which roughly translates as ‘to go back for what has been left behind’ and alludes to using the past to prepare for the future. [...] Sanko-time takes the listener through a rich soundscape connected by the Greenwich Meridian.
Threaded with a powerful narrative about the legacy of colonialism from Achiampong, Sanko-time is a hypnotic synthesis of poetry, field recordings and music, including drum loops by the late Tony Allen an Afrobeat pioneer who brought together elements of Ghanaian Highlife and Jazz. The work is infused with the sounds and rhythms of Accra and London, including the lapping waves of Jamestown (the fishing harbour in Accra) and the water of the Royal Docks, as well as the street sounds of Accra’s Makola Market. The tides and empires explored in Sanko-time rise and fall to reveal the imprints of histories and the colonial past in our present.
Sanko-time is a concept developed by [Larry Achiampong] that relates to the Ghanaian Twi word Sankofa, which roughly translates as ‘to go back for what has been left behind’ and alludes to using the past to prepare for the future. [...] Sanko-time takes the listener through a rich soundscape connected by the Greenwich Meridian.
Threaded with a powerful narrative about the legacy of colonialism from Achiampong, Sanko-time is a hypnotic synthesis of poetry, field recordings and music, including drum loops by the late Tony Allen an Afrobeat pioneer who brought together elements of Ghanaian Highlife and Jazz. The work is infused with the sounds and rhythms of Accra and London, including the lapping waves of Jamestown (the fishing harbour in Accra) and the water of the Royal Docks, as well as the street sounds of Accra’s Makola Market. The tides and empires explored in Sanko-time rise and fall to reveal the imprints of histories and the colonial past in our present.
Sanko-time is a concept developed by [Larry Achiampong] that relates to the Ghanaian Twi word Sankofa, which roughly translates as ‘to go back for what has been left behind’ and alludes to using the past to prepare for the future. [...] Sanko-time takes the listener through a rich soundscape connected by the Greenwich Meridian.
Threaded with a powerful narrative about the legacy of colonialism from Achiampong, Sanko-time is a hypnotic synthesis of poetry, field recordings and music, including drum loops by the late Tony Allen an Afrobeat pioneer who brought together elements of Ghanaian Highlife and Jazz. The work is infused with the sounds and rhythms of Accra and London, including the lapping waves of Jamestown (the fishing harbour in Accra) and the water of the Royal Docks, as well as the street sounds of Accra’s Makola Market. The tides and empires explored in Sanko-time rise and fall to reveal the imprints of histories and the colonial past in our present.
“Glitch” is conjectured as finding its etymological roots in the Yiddish glitch (“slippery area”) or perhaps German glitschen (“to slip, slide”); it is this slip and slide that the glitch makes plausible, a swim in the liminal, a trans-formation, across selfdoms.
“Glitch” is conjectured as finding its etymological roots in the Yiddish glitch (“slippery area”) or perhaps German glitschen (“to slip, slide”); it is this slip and slide that the glitch makes plausible, a swim in the liminal, a trans-formation, across selfdoms.
“Glitch” is conjectured as finding its etymological roots in the Yiddish glitch (“slippery area”) or perhaps German glitschen (“to slip, slide”); it is this slip and slide that the glitch makes plausible, a swim in the liminal, a trans-formation, across selfdoms.
