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Novus Magnificat. Constance Demby
The title Novus Magnificat is Latin for "New Magnificat". Inspired by Western classical and sacred music, Novus Magnificat was self-defined as "A Magnificat and Exaltate for digital orchestra, choral voices, and special electronic images" and "Dedicated to the Infinite One..."
The music was performed using the Emulator II, one of the first digital sampling synthesizers available: this provided and combined the sound of real symphonic instruments and choirs under a single keyboard, hooked to a Roland Juno 60 "for arpeggiated effects and enhanced sounds".
Nothing being written down or scored in advance, the album was directly composed and recorded in 1985 by Demby at the keyboard. The music was further enhanced with electronic textures by composer Michael Stearns and refined with record co-producer and label co-founder Anna Turner. The result was termed, "Music conjured by the future, rooted in the Western sacred tradition."
en.wikipedia.org...
Stalker: The Film
Stalker (Russian: Сталкер) is a 1979 science fiction film directed by Andrei Tarkovsky, with a screenplay written by Boris and Arkady Strugatsky, loosely based on their novel Roadside Picnic. It depicts an expedition led by the Stalker to bring his two clients to a site known as the Zone, which has the supposed potential to fulfill a person's innermost desires.
The title of the film, which is the same in Russian and English, is derived from the English word to stalk in the long-standing meaning of approaching furtively, much like a hunter.
In the film The Stalker (Alexander Kaidanovsky) works as a guide who leads people through "the Zone" – an otherwise mundane rural area scattered with ruined buildings, where normal laws of physics no longer apply – to encounter "the Room", said to grant the deepest, innermost wishes of anyone who steps inside. In his home with his wife and daughter, the Stalker's wife (Alisa Freindlich) urges him not to go into the Zone because of the legal consequences, but he ignores her pleas.
The Stalker goes to a bar, where he meets the Writer (Anatoly Solonitsyn) and the Professor (Nikolai Grinko), who will be his clients on his next trip into the Zone. The three of them evade a military blockade that guards the Zone using a Land-Rover – attracting gunfire from the guards as they go – and then ride into the heart of the Zone on a railway work car. In a single shot, almost 7 minutes long, the 3 sit motionless, looking in 3 opposite directions on the railway work car, with the only sound accompaniment being the squeaking of its winch. As they pass from urban setting to rural, their surroundings grow strikingly colorful in contrast to the urban setting.
The Stalker tells his clients that they must do exactly as he says to survive the dangers that, while invisible, are all around them. The Stalker tests various routes by throwing metal nuts tied with strips of cloth ahead of him before walking into a new area. The Zone appears peaceful and harmless. The Writer is skeptical that there is any real danger, while the Professor generally follows the Stalker's advice...
...continued
en.wikipedia.org...
Stalker: The Album
Stalker (1995) is a collaborative album by ambient musicians Robert Rich and B.Lustmord (Brian Williams). It was inspired by the 1979 film of the same name by Andrei Tarkovsky.The cover image is a photograph by the critically acclaimed landscape photographer Brad Cole.