![]() ![]() We start off at August 28th 2020 with the introduction guide to this pattern. The links to all the information and files available will be placed under here. Or you can just visit my website here to download the files you need. Here is the place on Ravelry where you will find the CAL pattern page. You can put the CAL in your library on Ravelry so each time there is a part added you’ll receive an update from my side. How will this CAL take place ? Well, as said this CAL is free and pattern parts will be added on the dates of the timeline we follow. ![]() If you want to read more about these subjects as they are already used for discussions, please visit my statement about it here. I also won’t make any profits out of this CAL just to respect a culture and tradition. Important to say…I only made a tribute to the Mexican holiday and I do not own any rights to the titles or Mexican heritage. Especially in times like this while the COVID virus has already taken so many loved ones from us, I think this idea and mini-CAL will help us go on in these times. ![]() Make it a tribute for him/her and have your own little day of the dead with a small ofrenda remembering this person. As we remember our passed loved ones and guide them to a good place in the afterlife, I suggest you take a beloved person you lost in mind while crocheting this piece of art. As this pattern is made out of free inspiration on this very special and beautiful Mexican holiday, I find it important to honor and respect the tradition and rituals of this day. In this four weeks you create this stunning mandala/doily and finish it right before the actual Day of the Dead. A crochet-a-long that will be hosted for free over four weeks of time. Three samples have been used with gratitude: (a) A low-timpani sample sourced from the Free Wave Samples site, hosted by Zeta Centauri (b) A sample of Clara Rockmore playing "The Swan" by Saint-Saëns (c) Herbert Morrison's broadcast of the Hindenburg Creator tag = Topics & Subjects keywords = Electronic, Industrial, Noise, Dark Ambient, Avant Garde, Electroacoustic, Experimental Music, Experimental, Sound Collage, Sound Art, Musique Concrète.This is the page where you can find all the information about the Dia de los Muertos mini-CAL. ![]() Track #12 attempts to break down stigmas concerning depression, by viscerally sonifying the bite of "the black dog" for those who have not experienced it.ĭMP gives his sincerest thanks to Anthony (Planetaldol) for the wonderful opportunity to contribute to Earsheltering. The Italian text in track #11 is from Canto I (lines 1-3) and Canto III (lines 1-11) of "Inferno" by Dante Alighieri. Track #10 closes with the opening words, in Greek, of Homer's "Iliad". The title to track #9 recalls Voltaire's exhortation to "écrasez l'infâme". The spoken words near the end of track #6 are a pastiche of: (i) "The unplumb'd, salt, estranging sea" (constituting the "echoing straits between us thrown") from "To Marguerite: Continued" by Matthew Arnold (ii) "The snotgreen sea" from James Joyce's "Ulysses", which is itself something of a parody of Homer's "wine-faced sea" (iii) "Arie, ye wretched of the Earth", which is tapped out in Morse-like code by one of the main character's fellow political prisoners in Arthur Koestler's "Darkness at Noon", always with the same mis-spelling of "Arise". Eliot's "The Waste Land" and echoing the Sibyl of Cumae asking to live for as many years as the number of grains in her handful of sand. Track #5 puns on "Hell in a handbasket" and "I will show you fear in a handful of dust", the latter quote being from T.S. Track #4 refers to the Tibetan Buddhist practice of making and then destroying sand mandalas. The title to track #3 invokes Percy Bysshe Shelley's "Ozymandias", together with "The remains of may-flies form a snowy layer on the ground" from Gustave Flaubert's "Temptation of Saint Anthony". The title to track #2 alludes to "the undifferentiated flux of existence", a phrase the author thought to be due to James Joyce but has been unable to trace. The spoken text in track #1 is a conflation of Revelation 17:5 and 18:2, in the koine Greek of two millennia past. ![]()
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