from e:/music/drone/demo, released 18 April 2014
#ΠΑΝΘΕΟΝ
pantheophania.bandcamp.com/album/va-e-music-drone-demo
#GV Sound
music.gvsound.org/album/e-music-drone-demo
А́пейрон (греч. ἄπειρον, «бесконечное, беспредельное») — понятие древнегреческой философии, введённое Анаксимандром, означающее неопределённое, беспредельное и бесконечное первовещество. Апейрон у Анаксимандра является основой мира и существует в вечном движении. Апейрон — это бескачественная материя, всё возникло путём выделения из апейрона противоположностей (например, горячее и холодное).
Согласно Александру Афродизийскому, апейрон — это нечто промежуточное между воздухом, водой, огнём и землёй. Пифагорейцы называли апейроном беспредельное бесформенное начало, которое вместе с противоположным ему «пределом» является основой сущего.
Некоторые историки философии, возводящие происхождение материализма к древнегреческим мыслителям, указывают, что понятие апейрон стало одним из первых выражений для идеи о неопределённой субстанции, в дальнейшем приведшей к возникновению философского понятия материи. При этом выделяются «две линии материализма»: атомистическая, возводимая к Демокриту, согласно которой материя дискретна, состоит из конечных определённых атомов, являющихся пределом делимости вещества, и возводимая к Аристотелю, согласно которой материя есть сплошная неопределённая протяжённость, потенциально делимая до бесконечности. При учёте такого разделения понятие апейрон оказывается, действительно, в некотором смысле предшественником аристотелевского определения материи.
Прикосновение к вечности. Здесь я именно это и хочу показать. Некое прикосновение к метафизическому, невидимому. Все соответствует вечному, бесконечному. Змея, кусающая хвост, в виде круга, символизирует это. Неопределенность показана сбивчивостью, резкими помехами и звуками, типичными для дарк эмбиента. Вечность - для дрон эмбиента. Я делал всю композицию по частям, но она является единым целым. Там использован мой вокал, все звуки и прочее записаны мной, трек-катарсис состоит из 90% шумов, которые я собирал. Я перенял и научился некоторым приемам, используемым у лотофаговских коллективов, как House of Low Culture, Old Man Gloom и Lotus Eaters.
Идея построения пришла со временем сама собой, это объединение схожих идей. Общий стиль композиции охарактеризовать сложно, и мне проще причислить творение к экспериментальному эмбиенту. Там взято много всяких примочек из разных направлений и, думаю, это придает особое волновое звучание, во-первых, из разряда "самозабвенных". Цель и смысл - добиться максимального ощущения погружения в сомнамбулу метафизики и различать контуры всех напичканных там странностей.
Сейчас музыка для меня, как для художника, значит многое. Ранее я писал картины на образы от музыки, теперь я визуализирую собственные картины в мозгу и преображаю в звуки. Думаю, это много значит, и это новый уровень для меня. Искать наиболее подходящее место для некого возвышения, обзора подсознательного и погружения в свой мир. И это вкратце :) Люблю Вас, приятного прослушивания и погружения в метафизику :)
The apeiron is central to the cosmological theory created by Anaximander in the 6th century BC. Anaximander's work is mostly lost. From the few existing fragments, we learn that he believed the beginning or ultimate reality (arche) is eternal and infinite, or boundless (apeiron), subject to neither old age nor decay, which perpetually yields fresh materials from which everything we can perceive is derived. Apeiron generated the opposites, hot-cold, wet-dry etc., which acted on the creation of the world. Everything is generated from apeiron and then it is destroyed by going back to apeiron, according to necessity. He believed that infinite worlds are generated from apeiron and then they are destroyed there again.
His ideas were influenced by the Greek mythical tradition and by his teacher Thales (7th-6th century BC). Searching for some universal principle, Anaximander retained the traditional religious assumption that there was a cosmic order and tried to explain it rationally, using the old mythical language which ascribed divine control on various spheres of reality. This language was more suitable for a society which could see gods everywhere; therefore the first glimmerings of laws of nature were themselves derived from divine laws. The Greeks believed that the universal principles could also be applied to human societies. The word nomos (law) may originally have meant natural law and used later to mean man-made law.
Greek philosophy entered a high level of abstraction, adopting apeiron as the origin of all things, because it is completely indefinite. This is a further transition from the previous existing mythical way of thought to the new rational way of thought which is the main characteristic of the archaic period (8th-6th century BC). This way of thought is correlated with the new political conditions in the Greek city states during the 6th century BC.
Apeyron (Greek ἄπειρον, "infinite, boundless") — the concept of Ancient Greek philosophy entered by Anaksimandr, meaning an uncertain, boundless and infinite pervoveshchestvo. Apeyron at Anaksimandr is a basis of the world and exists in perpetual motion. Apeyron — is a beskachestvenny matter, everything arose by allocation from an apeyron of contrasts (for example, hot and cold).
According to Alexander Afrodiziysky, apeiron — it something intermediate between air, water, fire and the earth. Pythagoreans called apeyrony the boundless shapeless beginning which together with "limit" opposite to it is a basis real.
Some historians of philosophy building a materialism origin to Ancient Greek thinkers specify that the concept apeiron became one of the first expressions for idea about the uncertain substance which further led to emergence of philosophical concept of a matter. Thus "two lines of materialism" are allocated: the atomistic, built to Democritus, according to which matter is discrete, consists of the final certain atoms which are a limit of divisibility of substance, and the matter built to Aristotle, according to which is continuous uncertain extent, potentially divisible indefinitely. At the accounting of such division the concept apeiron appears, really, somewhat the predecessor of Aristotelean definition of a matter.
The apeiron has generally been understood as a sort of primal chaos. It acts as the substratum supporting opposites such as hot and cold, wet and dry, and directed the movement of things, by which there grew up all of the host of shapes and differences which are found in the world. Out of the vague and limitless body there sprang a central mass — this earth of ours — cylindrical in shape. A sphere of fire surrounded the air around the earth and had originally clung to it like the bark round a tree. When it broke, it created the sun, the moon and the stars.The first animals were generated in the water. When they came to earth they were transmuted by the effect of the sun. The human being sprung from some other animal, which originally was similar to a fish.The blazing orbs, which have drawn off from the cold earth and water, are the temporary gods of the world clustering around the earth, which to the ancient thinker is the central figure.
Touch to eternity. Here I want to show it. A certain touch to something metaphysical, invisible. Everything corresponds eternal, infinite. The snake biting a tail in the form of a circle symbolizes it. Uncertainty is shown by inconsistency and sharp hindrances and typical dark ambient sounds. Eternity goes for drone ambient sounds. I made the composition in parts, but it is a whole one. There my vocal is used, all sounds and other stuff are written by me, the track-catharsis consists of 90% of noise which I picked together. I adopted and learned some methods used at the lotophagi bands as Old Man Gloom, Lotus Eaters, and House of Low Culture.
The idea of construction came by itself, this is and association of similar ideas. It is difficult to characterize the general style of composition, and it is more simple to me to rank creation to the experimental ambient. Many tools are taken from the different directions and I think it give special wave sounding, well, first, from the category of "selfless ones". The purpose and the sense is to achieve the maximum feeling of immersion into the sleep-walker of metaphysics and to distinguish the contours of all strangenesses stuffed there.
Now music means to me as to an artist a lot. Earlier I painted pictures for the images from music, now I visualize my own pictures in a brain and transform to the sounds. I think, it means a lot and it's a new level for me. To look for the most suitable place for some rise, the review of subconscious, and immersions into my own world. And that's in brief :) Love you, have a pleasant listening and immersion into metaphysics :)
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