@tyleretters/discography 1.0.3 β 1.0.4
This diff represents the content of publicly available package versions that have been released to one of the supported registries. The information contained in this diff is provided for informational purposes only and reflects changes between package versions as they appear in their respective public registries.
- package/dist/discography.js +104 -13
- package/dist/discography.js.map +1 -1
- package/dist/discography.yml +1702 -1656
- package/dist/index.js +104 -13
- package/dist/index.js.map +1 -1
- package/package.json +1 -1
- package/src/convert.py +1 -1
- package/src/discography.yml +1702 -1656
package/src/discography.yml
CHANGED
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@@ -1,3 +1,51 @@
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- title: KOWLOON WALLED CITY GIGA MIX
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project: DJ STUXNET
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released: 02024-12-21
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type: Mix
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format: Digital
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role: DJ
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label: Intertext
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mp3: false
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wav: false
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tracks:
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- number:
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title: "π‘ππ²π«π±π©π’π°π° π π₯π¬π¦π―"
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length: 00:58:19
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- number:
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title: "ππΆππΆπ·πΆππΎπΈ ππΎππΉ"
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length: 00:59:59
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- number:
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title: "π΅ππ πππππ"
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length: 00:59:52
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- number:
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title: "broken promise (for timm)"
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length: 00:59:06
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- number:
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title: "THE CONTINUANCE"
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length: 01:00:00
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- number:
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title: "γγ©γ³γΉ"
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length: 00:59:29
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- number:
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title: "Elegies for Anja"
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length: 01:01:30
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- number:
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title: "Π―Ξ£BΠ―Σ¨ΞDCΞΖ§Ζ¬ [1/2] πππ’π΄π© ππ³π’π΄π© ππͺπ³π’π΅π¦ ππ’π₯πͺπ° ππͺπΉ π΅π¦π©π―"
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length: 00:58:39
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- number:
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title: "Π―Ξ£BΠ―Σ¨ΞDCΞΖ§Ζ¬ [2/2] πππ’π΄π© ππ³π’π΄π© ππͺπ³π’π΅π¦ ππ’π₯πͺπ° ππͺπΉ + π΅π¦π©π―"
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length: 00:59:32
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- number:
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title: "Kowloon City: οΌ¬ο½
ο½ο½ο½ο½ο½
"
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length: 00:58:49
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streams:
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- platform: Direct
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url: https://stuxnet.me
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- platform: Untitled Stream
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url: https://untitled.stream/library/project/5Dni4VMX9Qyt1ZvokMYqq
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notes: May we rave atop burning oil derricks... and sink into the sea.
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credits: STUXNET is Tyler Etters.
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- title: List of Stars in Cancer
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project: They Became What They Beheld
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released: 02024-07-10
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mp3: true
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wav: false
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59
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+
- number: 1
|
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60
|
+
title: Beta Cancri
|
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61
|
+
length: 00:00:36
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62
|
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- number: 2
|
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63
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title: Delta Cancri
|
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64
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length: 00:00:36
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65
|
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- number: 3
|
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66
|
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title: Iota Cancri A
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67
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length: 00:00:36
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68
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- number: 4
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69
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title: Alpha Cancri
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70
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length: 00:00:36
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71
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- number: 5
|
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72
|
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title: Gamma Cancri
|
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73
|
+
length: 00:00:36
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74
|
+
- number: 6
|
|
75
|
+
title: Zeta Cancri
|
|
76
|
+
length: 00:00:36
|
|
77
|
+
- number: 7
|
|
78
|
+
title: HD 71115
|
|
79
|
+
length: 00:00:36
|
|
80
|
+
- number: 8
|
|
81
|
+
title: 8 Cancri
|
|
82
|
+
length: 00:00:36
|
|
83
|
+
- number: 9
|
|
84
|
+
title: Chi Cancri
|
|
85
|
+
length: 00:00:36
|
|
86
|
+
- number: 10
|
|
87
|
+
title: Xi Cancri
|
|
88
|
+
length: 00:00:36
|
|
89
|
+
- number: 11
|
|
90
|
+
title: Omicron1 Cancri
|
|
91
|
+
length: 00:00:36
|
|
92
|
+
- number: 12
|
|
93
|
+
title: Rho2 Cancri
|
|
94
|
+
length: 00:00:36
|
|
95
|
+
- number: 13
|
|
96
|
+
title: Sigma3 Cancri
|
|
97
|
+
length: 00:00:36
|
|
98
|
+
- number: 14
|
|
99
|
+
title: Kappa Cancri
|
|
100
|
+
length: 00:00:36
|
|
101
|
+
- number: 15
|
|
102
|
+
title: Mu2 Cancri
|
|
103
|
+
length: 00:00:36
|
|
104
|
+
- number: 16
|
|
105
|
+
title: Theta Cancri
|
|
106
|
+
length: 00:00:36
|
|
107
|
+
- number: 17
|
|
108
|
+
title: Eta Cancri
|
|
109
|
+
length: 00:00:36
|
|
110
|
+
- number: 18
|
|
111
|
+
title: 82 Cancri
|
|
112
|
+
length: 00:00:36
|
|
113
|
+
- number: 19
|
|
114
|
+
title: 57 Cancri
|
|
115
|
+
length: 00:00:36
|
|
116
|
+
- number: 20
|
|
117
|
+
title: Tau Cancri
|
|
118
|
+
length: 00:00:36
|
|
119
|
+
- number: 21
|
|
120
|
+
title: 60 Cancri
|
|
121
|
+
length: 00:00:36
|
|
122
|
+
- number: 22
|
|
123
|
+
title: Sigma2 Cancri
|
|
124
|
+
length: 00:00:36
|
|
125
|
+
- number: 23
|
|
126
|
+
title: Nu Cancri
|
|
127
|
+
length: 00:00:36
|
|
128
|
+
- number: 24
|
|
129
|
+
title: 27 Cancri
|
|
130
|
+
length: 00:00:36
|
|
131
|
+
- number: 25
|
|
132
|
+
title: Phi1 Cancri
|
|
133
|
+
length: 00:00:36
|
|
134
|
+
- number: 26
|
|
135
|
+
title: 3 Cancri
|
|
136
|
+
length: 00:00:36
|
|
137
|
+
- number: 27
|
|
138
|
+
title: 15 Cancri
|
|
139
|
+
length: 00:00:36
|
|
140
|
+
- number: 28
|
|
141
|
+
title: 45 Cancri
|
|
142
|
+
length: 00:00:36
|
|
143
|
+
- number: 29
|
|
144
|
+
title: 49 Cancri
|
|
145
|
+
length: 00:00:36
|
|
146
|
+
- number: 30
|
|
147
|
+
title: Sigma1 Cancri
|
|
148
|
+
length: 00:00:36
|
|
149
|
+
- number: 31
|
|
150
|
+
title: Omicron2 Cancri
|
|
151
|
+
length: 00:00:36
|
|
152
|
+
- number: 32
|
|
153
|
+
title: Upsilon1 Cancri
|
|
154
|
+
length: 00:00:36
|
|
155
|
+
- number: 33
|
|
156
|
+
title: Psi2 Cancri
|
|
157
|
+
length: 00:00:36
|
|
158
|
+
- number: 34
|
|
159
|
+
title: 1 Cancri
|
|
160
|
+
length: 00:00:36
|
|
161
|
+
- number: 35
|
|
162
|
+
title: HD 69994
|
|
163
|
+
length: 00:00:36
|
|
164
|
+
- number: 36
|
|
165
|
+
title: HD 77445
|
|
166
|
+
length: 00:00:36
|
|
167
|
+
- number: 37
|
|
168
|
+
title: Omega1 Cancri
|
|
169
|
+
length: 00:00:36
|
|
170
|
+
- number: 38
|
|
171
|
+
title: 50 Cancri
|
|
172
|
+
length: 00:00:36
|
|
173
|
+
- number: 39
|
|
174
|
+
title: 66 Cancri
|
|
175
|
+
length: 00:00:36
|
|
176
|
+
- number: 40
|
|
177
|
+
title: HD 72945
|
|
178
|
+
length: 00:00:36
|
|
179
|
+
- number: 41
|
|
180
|
+
title: Lambda Cancri
|
|
181
|
+
length: 00:00:36
|
|
182
|
+
- number: 42
|
|
183
|
+
title: 36 Cancri
|
|
184
|
+
length: 00:00:36
|
|
185
|
+
- number: 43
|
|
186
|
+
title: 20 Cancri
|
|
187
|
+
length: 00:00:36
|
|
188
|
+
- number: 44
|
|
189
|
+
title: 29 Cancri
|
|
190
|
+
length: 00:00:36
|
|
191
|
+
- number: 45
|
|
192
|
+
title: 75 Cancri
|
|
193
|
+
length: 00:00:36
|
|
194
|
+
- number: 46
|
|
195
|
+
title: 1 LMi
|
|
196
|
+
length: 00:00:36
|
|
197
|
+
- number: 47
|
|
198
|
+
title: 55 Cancri
|
|
199
|
+
length: 00:00:36
|
|
200
|
+
- number: 48
|
|
201
|
+
title: Mu1 Cancri
|
|
202
|
+
length: 00:00:36
|
|
203
|
+
- number: 49
|
|
204
|
+
title: 5 Cancri
|
|
205
|
+
length: 00:00:36
|
|
206
|
+
- number: 50
|
|
207
|
+
title: HD 68461
|
|
208
|
+
length: 00:00:36
|
|
209
|
+
- number: 51
|
|
210
|
+
title: HD 72617
|
|
211
|
+
length: 00:00:36
|
|
212
|
+
- number: 52
|
|
213
|
+
title: 79 Cancri
|
|
214
|
+
length: 00:00:36
|
|
215
|
+
- number: 53
|
|
216
|
+
title: RS Cancri
|
|
217
|
+
length: 00:00:36
|
|
218
|
+
- number: 54
|
|
219
|
+
title: HD 65257
|
|
220
|
+
length: 00:00:36
|
|
221
|
+
- number: 55
|
|
222
|
+
title: HD 65522
|
|
223
|
+
length: 00:00:36
|
|
224
|
+
- number: 56
|
|
225
|
+
title: 28 Cancri
|
|
226
|
+
length: 00:00:36
|
|
227
|
+
- number: 57
|
|
228
|
+
title: 67 Cancri
|
|
229
|
+
length: 00:00:36
|
|
230
|
+
- number: 58
|
|
231
|
+
title: HD 68099
|
|
232
|
+
length: 00:00:36
|
|
233
|
+
- number: 59
|
|
234
|
+
title: 21 Cancri
|
|
235
|
+
length: 00:00:36
|
|
236
|
+
- number: 60
|
|
237
|
+
title: 25 Cancri
|
|
238
|
+
length: 00:00:36
|
|
239
|
+
- number: 61
|
|
240
|
+
title: 46 Cancri
|
|
241
|
+
length: 00:00:36
|
|
242
|
+
- number: 62
|
|
243
|
+
title: Phi2 Cancri A
|
|
244
|
+
length: 00:00:36
|
|
245
|
+
- number: 63
|
|
246
|
+
title: HD 80546
|
|
247
|
+
length: 00:00:36
|
|
248
|
+
- number: 64
|
|
249
|
+
title: HD 76508
|
|
250
|
+
length: 00:00:36
|
|
251
|
+
- number: 65
|
|
252
|
+
title: Phi2 Cancri B
|
|
253
|
+
length: 00:00:36
|
|
254
|
+
- number: 66
|
|
255
|
+
title: HD 76629
|
|
256
|
+
length: 00:00:36
|
|
257
|
+
- number: 67
|
|
258
|
+
title: HD 66552
|
|
259
|
+
length: 00:00:36
|
|
260
|
+
- number: 68
|
|
261
|
+
title: HD 66684
|
|
262
|
+
length: 00:00:36
|
|
263
|
+
- number: 69
|
|
264
|
+
title: 4 LMi
|
|
265
|
+
length: 00:00:36
|
|
266
|
+
- number: 70
|
|
267
|
+
title: HD 67959
|
|
268
|
+
length: 00:00:36
|
|
269
|
+
- number: 71
|
|
270
|
+
title: 12 Cancri
|
|
271
|
+
length: 00:00:36
|
|
272
|
+
- number: 72
|
|
273
|
+
title: 53 Cancri
|
|
274
|
+
length: 00:00:36
|
|
275
|
+
- number: 73
|
|
276
|
+
title: 61 Cancri
|
|
277
|
+
length: 00:00:36
|
|
278
|
+
- number: 74
|
|
279
|
+
title: HD 72505
|
|
280
|
+
length: 00:00:36
|
|
281
|
+
- number: 75
|
|
282
|
+
title: HD 69478
|
|
283
|
+
length: 00:00:36
|
|
284
|
+
- number: 76
|
|
285
|
+
title: Epsilon Cancri
|
|
286
|
+
length: 00:00:36
|
|
287
|
+
- number: 77
|
|
288
|
+
title: HD 65735
|
|
289
|
+
length: 00:00:36
|
|
290
|
+
- number: 78
|
|
291
|
+
title: FZ Cancri
|
|
292
|
+
length: 00:00:36
|
|
293
|
+
- number: 79
|
|
294
|
+
title: 4 Cancri
|
|
295
|
+
length: 00:00:36
|
|
296
|
+
- number: 80
|
|
297
|
+
title: HD 72943
|
|
298
|
+
length: 00:00:36
|
|
299
|
+
- number: 81
|
|
300
|
+
title: HD 65757
|
|
301
|
+
length: 00:00:36
|
|
302
|
+
- number: 82
|
|
303
|
+
title: Upsilon2 Cancri
|
|
304
|
+
length: 00:00:36
|
|
305
|
+
- number: 83
|
|
306
|
+
title: 54 Cancri
|
|
307
|
+
length: 00:00:36
|
|
308
|
+
- number: 84
|
|
309
|
+
title: HD 68776
|
|
310
|
+
length: 00:00:36
|
|
311
|
+
- number: 85
|
|
312
|
+
title: 39 Cancri
|
|
313
|
+
length: 00:00:36
|
|
314
|
+
- number: 86
|
|
315
|
+
title: HD 78175
|
|
316
|
+
length: 00:00:36
|
|
317
|
+
- number: 87
|
|
318
|
+
title: X Cancri
|
|
319
|
+
length: 00:00:36
|
|
320
|
+
- number: 88
|
|
321
|
+
title: HD 80064
|
|
322
|
+
length: 00:00:36
|
|
323
|
+
- number: 89
|
|
324
|
+
title: HD 75469
|
|
325
|
+
length: 00:00:36
|
|
326
|
+
- number: 90
|
|
327
|
+
title: HD 69629
|
|
328
|
+
length: 00:00:36
|
|
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|
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- number: 91
|
|
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|
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title: HD 73710
|
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|
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length: 00:00:36
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|
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- number: 92
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|
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title: Psi1 Cancri
|
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|
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length: 00:00:36
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|
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- number: 93
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|
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title: HD 73599
|
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|
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length: 00:00:36
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|
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- number: 94
|
|
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|
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title: HD 77660
|
|
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|
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length: 00:00:36
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|
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- number: 95
|
|
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|
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title: HD 67542
|
|
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|
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length: 00:00:36
|
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|
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- number: 96
|
|
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|
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title: HD 68703
|
|
346
|
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length: 00:00:36
|
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|
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- number: 97
|
|
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|
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title: HD 78234
|
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|
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length: 00:00:36
|
|
350
|
+
- number: 98
|
|
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|
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title: 34 Cancri
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length: 00:00:36
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- number: 99
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title: HD 78661
|
|
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|
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length: 00:00:36
|
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|
+
- number: 100
|
|
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|
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title: HD 79248
|
|
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|
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length: 00:00:36
|
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|
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- number: 101
|
|
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|
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title: HD 76908
|
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|
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length: 00:00:36
|
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|
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- number: 102
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|
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length: 00:00:36
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- number: 103
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title: HD 72115
|
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length: 00:00:36
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|
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- number: 104
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|
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title: 24 Cancri A
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length: 00:00:36
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- number: 105
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|
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|
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title: 37 Cancri
|
|
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|
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length: 00:00:36
|
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|
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- number: 106
|
|
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|
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title: 35 Cancri
|
|
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|
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length: 00:00:36
|
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|
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- number: 107
|
|
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|
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title: Iota Cancri B
|
|
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length: 00:00:36
|
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|
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- number: 108
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|
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|
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title: 40 Cancri
|
|
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length: 00:00:36
|
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|
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- number: 109
|
|
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|
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title: 83 Cancri
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length: 00:00:36
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- number: 110
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|
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|
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title: 38 Cancri
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length: 00:00:36
|
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- number: 111
|
|
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|
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title: 70 Cancri
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length: 00:00:36
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|
+
- number: 112
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|
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|
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title: 2 LMi
|
|
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|
+
length: 00:00:36
|
|
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|
+
- number: 113
|
|
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|
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title: 3 LMi
|
|
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|
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length: 00:00:36
|
|
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|
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- number: 114
|
|
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|
+
title: EP Cancri
|
|
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|
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length: 00:00:36
|
|
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|
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- number: 115
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|
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|
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title: 42 Cancri
|
|
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|
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length: 00:00:36
|
|
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|
+
- number: 116
|
|
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|
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title: 7 Cancri
|
|
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|
+
length: 00:00:36
|
|
407
|
+
- number: 117
|
|
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|
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title: 80 Cancri
|
|
409
|
+
length: 00:00:36
|
|
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|
+
- number: 118
|
|
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|
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title: 11 Cancri
|
|
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|
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length: 00:00:36
|
|
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|
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- number: 119
|
|
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|
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title: 78 Cancri
|
|
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|
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length: 00:00:36
|
|
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|
+
- number: 120
|
|
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|
+
title: VZ Cancri
|
|
418
|
+
length: 00:00:36
|
|
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|
+
- number: 121
|
|
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|
+
title: ADS 7284
|
|
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|
+
length: 00:00:36
|
|
422
|
+
- number: 122
|
|
423
|
+
title: 52 Cancri
|
|
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|
+
length: 00:00:36
|
|
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|
+
- number: 123
|
|
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|
+
title: 68 Cancri
|
|
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|
+
length: 00:00:36
|
|
428
|
+
- number: 124
|
|
429
|
+
title: V Cancri
|
|
430
|
+
length: 00:00:36
|
|
431
|
+
- number: 125
|
|
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|
+
title: T Cancri
|
|
433
|
+
length: 00:00:36
|
|
434
|
+
- number: 126
|
|
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|
+
title: BU Cancri
|
|
436
|
+
length: 00:00:36
|
|
437
|
+
- number: 127
|
|
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|
+
title: BN Cancri
|
|
439
|
+
length: 00:00:36
|
|
440
|
+
- number: 128
|
|
441
|
+
title: HD 72490
|
|
442
|
+
length: 00:00:36
|
|
443
|
+
- number: 129
|
|
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|
+
title: 24 Cancri B
|
|
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|
+
length: 00:00:36
|
|
446
|
+
- number: 130
|
|
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|
+
title: BY Cancri
|
|
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|
+
length: 00:00:36
|
|
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|
+
- number: 131
|
|
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|
+
title: HD 74028
|
|
451
|
+
length: 00:00:36
|
|
452
|
+
- number: 132
|
|
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|
+
title: 44 Cancri
|
|
454
|
+
length: 00:00:36
|
|
455
|
+
- number: 133
|
|
456
|
+
title: HD 79498
|
|
457
|
+
length: 00:00:36
|
|
458
|
+
- number: 134
|
|
459
|
+
title: 71 Cancri
|
|
460
|
+
length: 00:00:36
|
|
461
|
+
- number: 135
|
|
462
|
+
title: CY Cancri
|
|
463
|
+
length: 00:00:36
|
|
464
|
+
- number: 136
|
|
465
|
+
title: BQ Cancri
|
|
466
|
+
length: 00:00:36
|
|
467
|
+
- number: 137
|
|
468
|
+
title: HD 73534
|
|
469
|
+
length: 00:00:36
|
|
470
|
+
- number: 138
|
|
471
|
+
title: BR Cancri
|
|
472
|
+
length: 00:00:36
|
|
473
|
+
- number: 139
|
|
474
|
+
title: S Cancri
|
|
475
|
+
length: 00:00:36
|
|
476
|
+
- number: 140
|
|
477
|
+
title: BW Cancri
|
|
478
|
+
length: 00:00:36
|
|
479
|
+
- number: 141
|
|
480
|
+
title: TW Cancri
|
|
481
|
+
length: 00:00:36
|
|
482
|
+
- number: 142
|
|
483
|
+
title: U Cancri
|
|
484
|
+
length: 00:00:36
|
|
485
|
+
- number: 143
|
|
486
|
+
title: BS Cancri
|
|
487
|
+
length: 00:00:36
|
|
488
|
+
- number: 144
|
|
489
|
+
title: R Cancri
|
|
490
|
+
length: 00:00:36
|
|
491
|
+
- number: 145
|
|
492
|
+
title: BV Cancri
|
|
493
|
+
length: 00:00:36
|
|
494
|
+
- number: 146
|
|
495
|
+
title: RZ Cancri
|
|
496
|
+
length: 00:00:36
|
|
497
|
+
- number: 147
|
|
498
|
+
title: HD 74721
|
|
499
|
+
length: 00:00:36
|
|
500
|
+
- number: 148
|
|
501
|
+
title: HD 77065
|
|
502
|
+
length: 00:00:36
|
|
503
|
+
- number: 149
|
|
504
|
+
title: UU Cancri
|
|
505
|
+
length: 00:00:36
|
|
506
|
+
- number: 150
|
|
507
|
+
title: HIP 41378
|
|
508
|
+
length: 00:00:36
|
|
509
|
+
- number: 151
|
|
510
|
+
title: RX Cancri
|
|
511
|
+
length: 00:00:36
|
|
512
|
+
- number: 152
|
|
513
|
+
title: HD 80653
|
|
514
|
+
length: 00:00:36
|
|
515
|
+
- number: 153
|
|
516
|
+
title: WY Cancri
|
|
517
|
+
length: 00:00:36
|
|
518
|
+
- number: 154
|
|
519
|
+
title: TX Cancri
|
|
520
|
+
length: 00:00:36
|
|
521
|
+
- number: 155
|
|
522
|
+
title: RU Cancri
|
|
523
|
+
length: 00:00:36
|
|
524
|
+
- number: 156
|
|
525
|
+
title: TU Cancri
|
|
526
|
+
length: 00:00:36
|
|
527
|
+
- number: 157
|
|
528
|
+
title: SY Cancri
|
|
529
|
+
length: 00:00:36
|
|
530
|
+
- number: 158
|
|
531
|
+
title: EX Cancri
|
|
532
|
+
length: 00:00:36
|
|
533
|
+
- number: 159
|
|
534
|
+
title: TT Cancri
|
|
535
|
+
length: 00:00:36
|
|
536
|
+
- number: 160
|
|
537
|
+
title: ES Cancri
|
|
538
|
+
length: 00:00:36
|
|
539
|
+
- number: 161
|
|
540
|
+
title: HAT-P-31
|
|
541
|
+
length: 00:00:36
|
|
542
|
+
- number: 162
|
|
543
|
+
title: CU Cancri
|
|
544
|
+
length: 00:00:36
|
|
545
|
+
- number: 163
|
|
546
|
+
title: WASP-65
|
|
547
|
+
length: 00:00:36
|
|
548
|
+
- number: 164
|
|
549
|
+
title: SS Cancri
|
|
550
|
+
length: 00:00:36
|
|
551
|
+
- number: 165
|
|
552
|
+
title: EW Cancri
|
|
553
|
+
length: 00:00:36
|
|
554
|
+
- number: 166
|
|
555
|
+
title: HV Cancri
|
|
556
|
+
length: 00:00:36
|
|
557
|
+
- number: 167
|
|
558
|
+
title: EV Cancri
|
|
559
|
+
length: 00:00:36
|
|
560
|
+
- number: 168
|
|
561
|
+
title: AD Cancri
|
|
562
|
+
length: 00:00:36
|
|
563
|
+
- number: 169
|
|
564
|
+
title: Gliese 299
|
|
565
|
+
length: 00:00:36
|
|
566
|
+
- number: 170
|
|
567
|
+
title: HAT-P-43
|
|
568
|
+
length: 00:00:36
|
|
569
|
+
- number: 171
|
|
570
|
+
title: AH Cancri
|
|
571
|
+
length: 00:00:36
|
|
572
|
+
- number: 172
|
|
573
|
+
title: HU Cancri
|
|
574
|
+
length: 00:00:36
|
|
575
|
+
- number: 173
|
|
576
|
+
title: AC Cancri
|
|
577
|
+
length: 00:00:36
|
|
578
|
+
- number: 174
|
|
579
|
+
title: AC Cancri G 9-38
|
|
580
|
+
length: 00:00:36
|
|
581
|
+
- number: 175
|
|
582
|
+
title: YBP 1194
|
|
583
|
+
length: 00:00:36
|
|
584
|
+
- number: 176
|
|
585
|
+
title: DX Cancri
|
|
586
|
+
length: 00:00:36
|
|
587
|
+
- number: 177
|
|
588
|
+
title: AT Cancri
|
|
589
|
+
length: 00:00:36
|
|
590
|
+
- number: 178
|
|
591
|
+
title: LHS 2090
|
|
592
|
+
length: 00:00:36
|
|
593
|
+
- number: 179
|
|
594
|
+
title: YZ Cancri
|
|
595
|
+
length: 00:00:36
|
|
596
|
+
- number: 180
|
|
597
|
+
title: EG Cancri
|
|
598
|
+
length: 00:00:36
|
|
599
|
+
- number: 181
|
|
600
|
+
title: DW Cancri
|
|
601
|
+
length: 00:00:36
|
|
602
|
+
- number: 182
|
|
603
|
+
title: AZ Cancri
|
|
604
|
+
length: 00:00:36
|
|
605
|
+
- number: 183
|
|
606
|
+
title: GY Cancri
|
|
607
|
+
length: 00:00:36
|
|
608
|
+
- number: 184
|
|
609
|
+
title: AR Cancri
|
|
610
|
+
length: 00:00:36
|
|
611
|
+
- number: 185
|
|
612
|
+
title: RX J0806.3+1527
|
|
613
|
+
length: 00:00:36
|
|
614
|
+
- number: 186
|
|
615
|
+
title: AK Cancri
|
|
616
|
+
length: 00:00:36
|
|
617
|
+
- number: 187
|
|
618
|
+
title: CC Cancri
|
|
619
|
+
length: 00:00:36
|
|
620
|
+
- number: 188
|
|
621
|
+
title: PSR B0823+26
|
|
622
|
+
length: 00:00:36
|
|
575
623
|
streams:
|
|
576
|
-
|
|
577
|
-
|
|
578
|
-
|
|
579
|
-
|
|
580
|
-
|
|
581
|
-
|
|
582
|
-
|
|
583
|
-
|
|
584
|
-
|
|
585
|
-
|
|
586
|
-
|
|
587
|
-
|
|
588
|
-
|
|
589
|
-
|
|
624
|
+
- platform: Amazon
|
|
625
|
+
url: https://www.amazon.com/music/player/albums/B0D8V39RMN
|
|
626
|
+
- platform: Apple Music
|
|
627
|
+
url: https://music.apple.com/us/album/list-of-stars-in-cancer-stream-version/1755897818
|
|
628
|
+
- platform: Bandcamp
|
|
629
|
+
url: https://theybecamewhattheybeheld.bandcamp.com/album/list-of-stars-in-cancer
|
|
630
|
+
- platform: Deezer
|
|
631
|
+
url: https://www.deezer.com/us/album/611710552
|
|
632
|
+
- platform: iHeartRadio
|
|
633
|
+
url: https://www.iheart.com/artist/they-became-what-they-beheld-42962881/albums/list-of-stars-in-cancer-stream-277679332/
|
|
634
|
+
- platform: Spotify
|
|
635
|
+
url: https://open.spotify.com/album/5gSOw9RxtadvemdqcV7YV2
|
|
636
|
+
- platform: YouTube
|
|
637
|
+
url: https://www.youtube.com/watch?v=mx_rRm2eaYE&list=OLAK5uy_nl3yolGwKAHk2b9epn1NE96rtsWKbv6OM
|
|
590
638
|
notes: |
|
|
591
639
|
An infinite salve. The 188 charted stars are presented in order of magnitude descending. Listen on infinite shuffle because Cancer looks very different from elsewhere in the Milky Way.
|
|
592
640
|
credits: |
|
|
@@ -605,24 +653,24 @@
|
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|
605
653
|
mp3: true
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|
wav: false
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655
|
tracks:
|
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|
-
|
|
609
|
-
|
|
610
|
-
|
|
656
|
+
- number: 1
|
|
657
|
+
title: Distance
|
|
658
|
+
length: 00:19:28
|
|
611
659
|
streams:
|
|
612
|
-
|
|
613
|
-
|
|
614
|
-
|
|
615
|
-
|
|
616
|
-
|
|
617
|
-
|
|
618
|
-
|
|
619
|
-
|
|
620
|
-
|
|
621
|
-
|
|
622
|
-
|
|
623
|
-
|
|
624
|
-
|
|
625
|
-
|
|
660
|
+
- platform: Amazon
|
|
661
|
+
url: https://amazon.com/music/player/albums/B0D7QVWXFC
|
|
662
|
+
- platform: Apple Music
|
|
663
|
+
url: https://music.apple.com/us/album/distance-ep/1753530892
|
|
664
|
+
- platform: Bandcamp
|
|
665
|
+
url: https://theybecamewhattheybeheld.bandcamp.com/album/distance
|
|
666
|
+
- platform: Deezer
|
|
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To honor the memory of someone you loved and lost is by becoming great and doing well and good in their honor/memory - live as you would know them to be proud of.
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On February 20, 1974, while recovering from the effects of sodium pentothal administered for the extraction of an impacted wisdom tooth, [Philip K.] Dick received a home delivery of Darvon from a young woman. When he opened the door, he was struck by the dark-haired girl's beauty, and was especially drawn to her golden necklace. He asked her about its curious fish-shaped design. As she was leaving, she replied: "This is a sign used by the early Christians." Dick called the symbol the "vesicle pisces". This name seems to have been based on his conflation of two related symbols, the Christian ichthys symbol (two intersecting arcs delineating a fish in profile), which the woman was wearing, and the vesica piscis.
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Dick recounted that as the sun glinted off the gold pendant, the reflection caused the generation of a "pink beam" of light that mesmerized him. He came to believe the beam imparted wisdom and clairvoyance, and also believed it to be intelligent. On one occasion, he was startled by a separate recurrence of the pink beam, which imparted the information that his infant son was ill. The Dicks rushed the child to the hospital, where the illness was confirmed by professional diagnosis.
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The seven movements of this symphonic suite need to be heard in their entirety; it is a mistake to isolate movements from the whole, for the work owes much to the strongly contrasted moods suggested by the character of each planet.
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β The Decca Record Company, Ltd., 1962
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Thanks to ... a ... tape deck ... original ... everything stalled out ... changed ... that was closer to ... my dad ... I was a kid ... this strange ... audience ... Memorial ... landfill ... library ...
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Audio sourced from Holst's The Planets performed by Herbert Von Karajan, Vienna Philharmonic, 1962.
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One minute it was Ohio winter, with doors closed, windows locked, the panes blind with frost, icicles fringing every roof, children skiing on slopes, housewives lumbering like great black bears in their furs along the icy streets.
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And then a long wave of warmth crossed the small town. A flooding sea of hot air; it seemed as if someone had left a bakery door open. The heat pulsed among the cottages and bushes and children. The icicles dropped, shattering, to melt. The doors flew open. The windows flew up. The children worked off their wool clothes. The housewives shed their bear disguises. The snow dissolved and showed last summer's ancient green lawns.
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The fundamental audio loop is more Gabrieli.
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The DV tape loop is from Fireflies & Fields, a deeply personal series shot straight out of camera. Summer, 2009. Just after sunset. "Night Mode" enabled camera on a tripod facing south-south-east. Fairfield Road a bit to my back and right. A solid two-minute hike across the prairie to touch the first oaks in the shot. Macro lens on. Optical zoom maxed. Digital zoom zero. The key: auto-focus enabled to force the beacons into a duel until dawn. The loop you see employs neither dissolve nor crossfade. It is the same hard cut over and over until the song ends. After originally releasing a zoomed and cropped version at 1920x1080, I have decided to delete and repost at 720x480. Once you see the Taraxacum mote ascending you will never unsee it.
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But this is already the point of view requiredβgiven a change of perspectiveβfor examining the primitive socius, the territorial machine for declining alliances and filiations. This machine is segmentary because, through its double apparatus of tribe and lineage, it cuts up segments of varying lengths: genealogical filiative units of major, minor, and minimal lineages, with their hierarchy, their respective chiefs, their elders who guard the stocks and organize marriages; territorial tribal units of primary, secondary, and tertiary sections, also having their dominant roles and their alliances. "The point of separation between the tribal sections becomes the point of divergence in the clan structure of the lineages associated with each section. For, as we have seen, clans and their lineages are not distinct corporate groups, but are embodied in local communities, through which they function structurally." The two systems intersect, each segment being associated with the flows and the chains, with the stocked flows and the passing flows, with selections from the flows and detachments from the chains (certain production projects are executed in the framework of the tribal system, others in the framework of the lineage system). The variability and relativity of the segments are responsible for all sorts of penetrations between the inalienable elements of filiation and the mobile elements of alliance. This is explained by the fact that the length of each segmentβor even its existence as suchβis determined only by its opposition to other segments in a series of interrelated stages. The segmentary machine mixes rivalries, conflicts, and ruptures throughout the variations of filiation and the fluctuations of alliance. The whole system evolves between two poles: that of fusion through opposition to other groups, and that of scission through the constant formation of new lineages aspiring to independence, with capitalization of alliances and filiation. From one pole to the other, all the misfirings and failures in a system that is constantly reborn of its own disharmonies. What does Jeanne Favret mean when she shows, along with other ethnologists, that "the persistence of a segmentary organization requires paradoxically that its mechanisms be ineffectual enough so that fear remains the motor of the whole"? And what is this fear? It would appear that social formations experienced a morbid and mournful foreboding of things to come, although what comes to them always comes from without, rushing in through their opening. Perhaps it is even for this reason that it arrives from without; they suffocate its inner potentiality, at the cost of the dysfunctions that constitute an integral part of the functioning of their system.
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β Deleuze & Guattari, 1972
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After a harrowing border crossing out of the Special Economic Zone, Coyote lies low. His world is hardened, Metal Gear, long drag of cigarette, pushing limits of body to transport mind. Licking his wounds, drinking warm Modelo, watching cargo ships queue up for port, he contemplates getting out of the game for good.
|
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But when money runs out (like it always does) he's forced to accept an impossible gig: US/APAC. The cargo is a Tiresias figure, some aged clairvoyant who, having struck their staff at two copulating serpents, was then blinded, given the gift of prophecy (visions), and transformed into a woman for seven years.
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Migrants are often between two worlds that do not really have a place for them: fleeing economic or political hardship and entering a place (ostensibly the U.S.) that fundamentally demands their labour yet officially outlaws them and treats them as sub-human. The coyote is doing a kind of extraordinary favor by rendering an extra-legal service, and putting themselves in harm's way to do so.
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Why choose this particular job?
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Perhaps because the coyote is "between," themselves. This casts them as a kind of archetypical shamanistic figure: a psychopomp, a guide of souls like Anubis, Charon, Hermes, Mercury, or Tarkovsky's Stalker. But, unlike this Jungian pantheon of tricksters, our coyote is not bound by divinity or magicks β they are a mercenary; they are bound by cash.
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In Nomadology: The War Machine, Deleuze & Guattari "redefine the relation between the state and its war machine. Far from being a part of the state, warriors (the army) are nomads who always come from the outside and keep threatening the authority of the state. In the same vein, nomadic science keeps infiltrating royal science, undermining its axioms and principles. Nomadology is a speedy, pocket-sized treatise that refuses to be pinned down. Theorizing a dynamic relationship between sedentary power and schizophrenic lines of flight, this volume is meant to be read in transit, smuggled into urban nightclubs, offices, and subways."
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It then follows the special economic zone is a stage for our coyote, our trickster, to turn logics and fortunes of capitalism inside out and upside down. The interior shared-self which persists through ultra time flow is, yes: dancing in place to move forward... and the special economic zone suspends the rules to incentivize a certain dancing, a particular folding back into itself to realize commerce, competition, fucking, running, transgressing, renewing.
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If the trickster makes this world, it follows the mercenary makes the state.
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If the trickster makes this world, it follows the mercenary makes the state.
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credits: |
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PrΓ©cis by Cory Salveson. Music by Tyler Etters.
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Selected samples: Dark Souls III, Mission: Impossible 4 β Ghost Protocol, X-Files, Metal Gear Solid, Underoath, Fortnite "Fracture" Event, Black Hawk Down.
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url: https://www.youtube.com/watch?v=frMqtZ9c4u0&list=OLAK5uy_lpd0VhMA9BCkt-7sKKgQOxzR5yx28n7Lg
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Within the philosophies of time, three oppositional schools compete: Eternalism describes the phenomenon of time like a strip of film - the past and the future do exist, are real, but the present is merely a human concept. The growing block theory, maybe the most intuitive of the three, states that the present continually creates the past, but the future is unwritten. Presentism on the other hand argues that the only thing irrefutable is the present and that the past and the future are both unreal. By applying these three concepts to music, we may end up with a number of strategies to rethink what we consider as given.
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I would like to propose that there has been has been a slow shift in how music was perceived. Improvised music, prior to notation, can be considered as presentistic, manifesting itself only in the present, itβs only traces of existence written in memory. With interpretation and notation, the perception shifts more to a growing block. The mind got a hold of the past, but the future still remained a very unstable realm - once the hand made a mistake with an instrument or the voice was interrupted to catch a breath. Obviously the advent of the recording introduced an absolute future and with it the concept of eternalism in music. Furthermore the introduction of the loop, applied in its most extreme way within techno, embeds the listener in a coherent body of past and future, even with a view of the timeline - first on the record, later on the waveform. A car, racing on the Autobahn, free to move in both directions. Of course, one could argue that the state of ecstasy in which techno is consumed compresses time into a perfect present, the psychological present, which is defined as 2-3 seconds with the equivalent of 1 bar by 120 bpmβ¦
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Over the course of their first journey (which started months before they realized they would become a band), the humans created many auditory things together and separately. Some of this was good but had found itself in a βstuckβ state. Some things extended a bit earlier than the boundary of acquaintance but felt appropriate for inclusion. At any rate, both humans were in an exorcising mood. They decided it was time to release these peach fuzz laden demons. The exorcism exercise would be comprised of a continuous sort of mix tape or DJ mix containing these demons occupying the auditory plane.
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As is becoming their custom, the humans again took turns weaving the structures. This time the structures were on a somewhat larger scale. They pulled in beats, basslines, melodies, and scraps of texture. Both humans expected the final product to be quite rhythmic and beat-driven. To their credit, this does appear to accurately describe much of what the three of us arrived at. They did manage to sneak in some free-meter synth jams, which provided some loose [a]rhythmic accompaniment to the more musically adherent elements.
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Dub is a refraction of alien consciousness
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Flash Crash was approaching. The folks running the event wanted dub in their interstitial program. I complied.
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It began with failure.
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Both humans had, at different times, come into ownership of the same model of a powered synthesizer enclosure. At different times, the power supply of either enclosure failed in identical fashion. The second time, the steward of the enclosure discovered that the power supply had, in fact, not completely failed. It could still deliver some power, albeit at an attenuated amperage. Perhaps as a test, perhaps enthused at the novelty of the small enclosure, perhaps simply to amuse himself, he assembled a nonsensical menagerie of modules.
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The Human Interference Task Force was a team of engineers, anthropologists, nuclear physicists, behavioral scientists and others convened on behalf of the U.S. Department of Energy and Bechtel Corp. to find a way to reduce the likelihood of future humans unintentionally intruding on radioactive waste isolation systems. Specifically, the task force was to research the use of long-time warning messages to prevent future access to the planned, but stalled, deep geological nuclear repository project of Yucca Mountain.
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2. that dangerous material is stored in a given location
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3. information about the type of dangerous substances
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ANSWERS
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To determine how to convey these three things, the "Zeitschrift fΓΌr Semiotik" (TΓΌbingen, Germany) issued a poll in 1982 and 1983 asking how a message might be communicated for a duration of 10,000 years. The poll asked the following question: "How would it be possible to inform our descendants for the next 10,000 years about the storage locations and dangers of radioactive waste?" leading to the following answers...
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To determine how to convey these three things, the "Zeitschrift fΓΌr Semiotik" (TΓΌbingen, Germany) issued a poll in 1982 and 1983 asking how a message might be communicated for a duration of 10,000 years. The poll asked the following question: "How would it be possible to inform our descendants for the next 10,000 years about the storage locations and dangers of radioactive waste?" leading to the following answers...
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The musician would like to express his deepest thanks to @license for their critical ear and honest heart.
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Mapcore is a viable solution for surveying the world.
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Dear listener,
|
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During the turn of the century in Chicago there was a radio station called WNRG Energy 92.7/5 . I was 12 or so and would always fall asleep listening to the likes of DJ Sammy, DJ Encore, PPK, D-Devils, Armin van Buuren, Sylver, ATC, and countless others. I pictured the radio waves blanketing Chicagoland's orange phosphorous haze from Kenosha to Kankakee; euphoric FM signals in an adjacent dimension. Compressed audio. The crackle of static. It was spiritual.
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Everything is going to be different from here out.
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Once again, we must learn to dance.
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Yours,
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Tyler
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credits: |
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Album title by Cory Salveson, encryption key by Matthew Marx, distress signals by Dan Derks, music by Tyler Etters.
|
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Album art: "Kuwaiti oil wells set on fire by retreating Iraqi forces during Operation Desert Storm darken the sky with smoke, March 25, 1991. This image could have imperfections as itβs either historical or reportage."
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length: 00:08:07
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title: Fractal's Edge
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length: 00:11:02
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At the behest of an anonymous agent, the Northern Information Applied Sciences & Phantasms Working Division agreed to the impossible: rationalize the numogram for the post-pandemic age.
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It is accepted that the numogram first manifested in the 90s via research from the CCRU. However, newly unearthed forensic evidence from The tf.nist.gov Timeserver Incident has cast a shadow of doubt on the true provenance.
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title: The Payload Appeared Yesterday Due to a Zero Day Timezone Conversion Vulnerability
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length: 00:02:14
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title: 'A White USB Drive With "HEXAGON" iStock Logo #1135496271'
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length: 00:03:09
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title: At Least One Reseller of Microsoft Cloud Services Was Compromised
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length: 00:02:44
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title: Matryoshka Shell 1 - Ransomware Was Discovered on the Executiveβs Peloton
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length: 00:02:13
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length: 00:02:06
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length: 00:01:22
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title: Matryoshka Shell 4 - International Date Line
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length: 00:02:46
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title: Matryoshka Shell 5 - η·δΌε± (deepfake.S)
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length: 00:03:21
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title: Matryoshka Shell 6 - Schanuel's Conjecture (Evidence of Non-Human Origin)
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length: 00:02:29
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title: The Media Confused the Matter With Container Ships
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length: 00:02:13
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πͺπͺπͺπͺπͺπͺπͺπͺπͺπͺπͺ
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Download includes "64chain-3.3.wav" to use with your own sampler. This sample is an assemblage of all the samples synthesized for this release.
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title: Forced Disclosure of Encryption Keys
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length: 00:02:31
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- number: 4
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title: Chinese Remainder Theorem
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length: 00:02:11
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- number: 5
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title: Hash Collision
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length: 00:04:52
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monospaceNotes: true
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notes: |
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|
% ssh-keygen -t ed25519
|
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made after they sieged the capitol
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made with elektron, make noise, mannequins, monome, others
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length: 00:04:39 video
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title: death is the only way out of the information age
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length: 00:01:29
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length: 00:03:26
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title: The Arecibo Lamentations
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length: 00:12:59
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length: 00:00:48
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title: time's arrow, our north star
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length: 00:00:58
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title: COMbyne jlu13_0016
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length: 00:03:32
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url: https://www.amazon.com/music/player/albums/B08XMB77BZ
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- platform: Apple Music
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url: https://music.apple.com/us/album/the-arecibo-lamentations/1545199026
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- platform: Bandcamp
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url: https://northerninformation.bandcamp.com/album/the-arecibo-lamentations
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- platform: Deezer
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url: https://www.deezer.com/us/album/611728042
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- platform: iHeartRadio
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url: https://www.iheart.com/artist/northern-information-43479567/albums/the-arecibo-lamentations-277686047/
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- platform: Spotify
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url: https://open.spotify.com/album/3VV1dbNwOz5zZ7YN3RuLjU
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- platform: YouTube
|
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+
url: https://www.youtube.com/watch?v=i0ynniBYrto&list=OLAK5uy_k7d0iRfvZ1cFoSfkHX1rTncaTvt44sTKo
|
|
1396
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|
notes: |
|
|
1397
1444
|
-13,800,000,000: the universe forms.
|
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|
-4,500,000,000: the moon forms.
|
|
@@ -1414,7 +1461,6 @@
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|
Thanks to Dan Derks, Brian Crabtree, Ryan Laws, Zack Scholl, Cory Salveson, Sage Etters, & Pasha Petrosyan.
|
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|
Augured, coded, patched, written, performed, lamented, and engineered by Tyler Etters in 2020.
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-
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- title: EP1
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project: They Became What They Beheld
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released: 02019-03-03
|
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title: Everything is everywhere now
|
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length: 00:09:01
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title: Back when things made sense
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- platform: Amazon
|
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url: https://www.amazon.com/music/player/albums/B0D8V2M7BW
|
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- platform: Apple Music
|
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url: https://music.apple.com/us/album/ep1-single/1755907154
|
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- platform: Bandcamp
|
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url: https://theybecamewhattheybeheld.bandcamp.com/album/ep1
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- platform: Deezer
|
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url: https://www.deezer.com/us/album/611728112
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- platform: iHeartRadio
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url: https://www.iheart.com/artist/they-became-what-they-beheld-42962881/albums/ep1-277686632/
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- platform: Spotify
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url: https://open.spotify.com/album/0O2h5MUv7EKTDEvBNGBGr3
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- platform: YouTube
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url: https://www.youtube.com/watch?v=oAOs-j61goA&list=OLAK5uy_n5jqrvL-9PzHsfrMqxg7NV0rSpmDdU3UM
|
|
1449
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|
notes: |
|
|
1450
1496
|
I recently came across the following rules of communication, posted in a School of Journalism:
|
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1. Know your audience and address yourself directly to it.
|
|
@@ -1461,7 +1507,7 @@
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|
The young today shun the hardware of the past. Marx thought the big question was: Who owns the presses? Software makes hardware obsolete, an encumbrance, creating a false sense of power and security. The young package their messages in media that fit their messages, that is, they create new media to fit their messages. In so doing, they create their own audiences. Some of these audiences may be very small at the beginning. In Houston I met film makers producing films for audiences of no more than six. The point was that they would reach the right people in the right way with the right message.
|
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|
It is one of the curiosities of a new medium, a new format, that at the moment it first appears, it's never valued, but it is believed. What it offers, I believe, is a sudden insight, an unexpected glimpse into a reality that, at most, was merely suspected but never before seen with such clarity.
|
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|
Like guerrillas, the young are in a favored position; they don't need or want the hardware and audiences of yesterday.
|
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-
β Edmund Snow Carpenter, 1970
|
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β Edmund Snow Carpenter, 1970
|
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|
credits: |
|
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|
Thanks to Emily for finding this strange book and making me her audience of one. Thanks to the Adriance Memorial Library for first stocking the book and later stamping it with DISCARD. Thanks to Hippo Books who succeeded in diverting it from a landfill and otherwise help to fund library sustainability and provide meaningful solutions to the global problem of illiteracy.
|
|
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|
About text, icon, and name sourced from They Became What They Beheld written by Edmund Snow Carpenter, photographed by Ken Heyman, designed by Hess and/or Antupit, 1970.
|
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- number: 1
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title: the snail shell graveyard (w/ david)
|
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length: 00:03:30
|
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1531
|
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- number: 2
|
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1532
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title: fiddler's green
|
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1533
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length: 00:02:51
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- number: 3
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title: yes, these paths were promised
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length: 00:18:04
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title: cometary
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length: 00:00:28
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- number: 5
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title: unnamed seasons (w/ sage)
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length: 00:09:45
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- number: 6
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title: this is hallowed ground
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length: 00:01:16
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- number: 7
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title: hope on the western sky
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length: 00:01:47
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- number: 8
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title: in standstill destiny
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length: 00:03:10
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- number: 9
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title: fireflies & fields
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length: 00:01:59
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- number: 10
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title: beacons of light
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length: 00:03:57
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- number: 11
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title: where the grass is uncut by blades of men
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length: 00:02:59
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streams:
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- platform: Amazon
|
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url: https://www.amazon.com/music/player/albums/B08XM796SK
|
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- platform: Apple Music
|
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+
url: https://music.apple.com/us/album/reverence/1547745922
|
|
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- platform: Bandcamp
|
|
1567
|
+
url: https://northerninformation.bandcamp.com/album/reverence
|
|
1568
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+
- platform: Deezer
|
|
1569
|
+
url: https://www.deezer.com/us/album/611752092
|
|
1570
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- platform: iHeartRadio
|
|
1571
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url: https://www.iheart.com/artist/northern-information-43479567/albums/reverence-277684348/
|
|
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- platform: Spotify
|
|
1573
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url: https://open.spotify.com/album/0ynd2S883zsBUNKA5cKZK8
|
|
1574
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+
- platform: YouTube
|
|
1575
|
+
url: https://www.youtube.com/watch?v=U4WW5x3a4kw&list=OLAK5uy_kH23BzGril-nWMYZOJzBuXB0CxWUGJq7o
|
|
1530
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|
notes: |
|
|
1531
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|
- - - - - - - - - -
|
|
1532
1578
|
chapter ix
|
|
@@ -1544,7 +1590,7 @@
|
|
|
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|
9. fireflies & fields
|
|
1545
1591
|
10. beacons of light
|
|
1546
1592
|
11. where the grass is uncut by blades of men
|
|
1547
|
-
- - - - - - - - - -
|
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+
- - - - - - - - - -
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|
credits: |
|
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|
released the day after the winter solstice, when the light begins her steady march to summer.
|
|
1550
1596
|
written and recorded by tyler etters from an indeterminate point in the past through december 2017. featuring guitar by david kvistad on the snail shell graveyard and field recordings by sage etters on unnamed seasons. painting of cornfields in illinois (1994) by lynda wallis (tyler ettersβs mom) with additional treatment by tyler etters.
|
|
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+
- number: 1
|
|
1609
|
+
title: surveillance industrial complex
|
|
1610
|
+
length: 00:03:21
|
|
1611
|
+
- number: 2
|
|
1612
|
+
title: twilight in shape
|
|
1613
|
+
length: 00:02:58
|
|
1614
|
+
- number: 3
|
|
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|
+
title: a cyan destiny
|
|
1616
|
+
length: 00:04:25
|
|
1617
|
+
- number: 4
|
|
1618
|
+
title: some more dreams from the hive
|
|
1619
|
+
length: 00:02:32
|
|
1620
|
+
- number: 5
|
|
1621
|
+
title: apophenia
|
|
1622
|
+
length: 00:03:24
|
|
1623
|
+
- number: 6
|
|
1624
|
+
title: later heaven
|
|
1625
|
+
length: 00:03:47
|
|
1626
|
+
- number: 7
|
|
1627
|
+
title: future shock
|
|
1628
|
+
length: 00:02:51
|
|
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|
+
- number: 8
|
|
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|
+
title: olympus mons
|
|
1631
|
+
length: 00:01:42
|
|
1632
|
+
- number: 9
|
|
1633
|
+
title: the path of many returns
|
|
1634
|
+
length: 00:06:40
|
|
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|
streams:
|
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-
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|
+
- platform: Amazon
|
|
1637
|
+
url: https://www.amazon.com/music/player/albums/B08XMN8ZKB
|
|
1638
|
+
- platform: Apple Music
|
|
1639
|
+
url: https://music.apple.com/us/album/dispatches-from-the-prime-meridian/1547708878
|
|
1640
|
+
- platform: Bandcamp
|
|
1641
|
+
url: https://northerninformation.bandcamp.com/album/dispatches-from-the-prime-meridian
|
|
1642
|
+
- platform: Deezer
|
|
1643
|
+
url: https://www.deezer.com/us/album/611503632
|
|
1644
|
+
- platform: iHeartRadio
|
|
1645
|
+
url: https://www.iheart.com/artist/northern-information-43479567/albums/dispatches-from-the-prime-meridian-277678961/
|
|
1646
|
+
- platform: Spotify
|
|
1647
|
+
url: https://open.spotify.com/album/6TI5MU6WaicHjEuGtCloeW
|
|
1648
|
+
- platform: YouTube
|
|
1649
|
+
url: https://www.youtube.com/watch?v=qJ9DB6RT7V0&list=OLAK5uy_khnUjK_jTK1IvTeFhnECZ0jo8OPmztnRY
|
|
1604
1650
|
notes: |
|
|
1605
1651
|
- - - - - - - - - -
|
|
1606
1652
|
chapter viii
|
|
@@ -1616,7 +1662,7 @@
|
|
|
1616
1662
|
7. future shock
|
|
1617
1663
|
8. olympus mons
|
|
1618
1664
|
9. the path of many returns
|
|
1619
|
-
- - - - - - - - - -
|
|
1665
|
+
- - - - - - - - - -
|
|
1620
1666
|
credits: |
|
|
1621
1667
|
released on the winter solstice, when both darkness and light hang in a wary balance.
|
|
1622
1668
|
written and recorded by tyler etters from an indeterminate point in the past through december 2017. featuring pasha petrosyan on surveillance industrial complex, later heaven, and the path of many returns. numerous samples, videos, storyline components and album title by cory salveson. album cover polaroid of stone henge on the summer solstice (2017) by cory salveson with additional treatment by tyler etters.
|
|
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|
|
|
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|
mp3: false
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|
wav: false
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|
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|
tracks:
|
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|
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|
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1659
|
-
|
|
1660
|
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|
1680
|
+
- number: 1
|
|
1681
|
+
title: arcadian nights
|
|
1682
|
+
length: 00:05:22
|
|
1683
|
+
- number: 2
|
|
1684
|
+
title: leaving home
|
|
1685
|
+
length: 00:03:12
|
|
1686
|
+
- number: 3
|
|
1687
|
+
title: the emptiness will always follow you
|
|
1688
|
+
length: 00:02:38
|
|
1689
|
+
- number: 4
|
|
1690
|
+
title: shanzhai (guerilla fortress)
|
|
1691
|
+
length: 00:02:01
|
|
1692
|
+
- number: 5
|
|
1693
|
+
title: full steam
|
|
1694
|
+
length: 00:04:53
|
|
1695
|
+
- number: 6
|
|
1696
|
+
title: holy mountain hymn
|
|
1697
|
+
length: 00:06:41
|
|
1698
|
+
- number: 7
|
|
1699
|
+
title: reaver, yggdrasil, the thing at the end of the woods
|
|
1700
|
+
length: 00:06:07
|
|
1701
|
+
- number: 8
|
|
1702
|
+
title: bridges of terabithia
|
|
1703
|
+
length: 00:05:10
|
|
1704
|
+
- number: 9
|
|
1705
|
+
title: unscarred land
|
|
1706
|
+
length: 00:05:03
|
|
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|
streams:
|
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|
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|
+
- platform: Amazon
|
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|
+
url: https://www.amazon.com/music/player/albums/B08XLXRKWY
|
|
1710
|
+
- platform: Apple Music
|
|
1711
|
+
url: https://music.apple.com/us/album/the-legacy-of-our-lost-cause/1547101505
|
|
1712
|
+
- platform: Bandcamp
|
|
1713
|
+
url: https://northerninformation.bandcamp.com/album/the-legacy-of-our-lost-cause
|
|
1714
|
+
- platform: Deezer
|
|
1715
|
+
url: https://www.deezer.com/us/album/611504142
|
|
1716
|
+
- platform: iHeartRadio
|
|
1717
|
+
url: https://www.iheart.com/artist/northern-information-43479567/albums/the-legacy-of-our-lost-cause-277678822/
|
|
1718
|
+
- platform: Spotify
|
|
1719
|
+
url: https://open.spotify.com/album/5DKUx4qlnrYl0iLYhy8vY8
|
|
1720
|
+
- platform: YouTube
|
|
1721
|
+
url: https://www.youtube.com/watch?v=UimL693T3Ho&list=OLAK5uy_mrHa-mRdz93XlzEwawxGPXjzYX2IyfdF0
|
|
1676
1722
|
notes: |
|
|
1677
1723
|
- - - - - - - - - -
|
|
1678
1724
|
chapter vii
|
|
@@ -1688,7 +1734,7 @@
|
|
|
1688
1734
|
7. reaver, yggdrasil, the thing at the end of the woods
|
|
1689
1735
|
8. bridges of terabithia
|
|
1690
1736
|
9. unscarred land
|
|
1691
|
-
- - - - - - - - - -
|
|
1737
|
+
- - - - - - - - - -
|
|
1692
1738
|
credits: |
|
|
1693
1739
|
written & recorded by tyler etters from an indeterminate point in the past through december 2016 at endless field studios. featuring adam j. moore on full steam, holy mountain hymn, and reaver, yggdsrasil, the thing at the end of the woods. featuring arthur zdrinc on holy mountain hymn. featuring cory salveson on videos, images, and storyline.
|
|
1694
1740
|
|
|
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|
|
|
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|
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|
wav: false
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|
tracks:
|
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|
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|
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|
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|
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|
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|
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|
|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
|
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|
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|
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|
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|
|
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|
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|
|
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|
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|
|
1724
|
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|
|
1725
|
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|
|
1726
|
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|
|
1727
|
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|
|
1728
|
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|
|
1729
|
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|
|
1730
|
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|
|
1731
|
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|
|
1732
|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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1746
|
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|
|
1751
|
+
- number: 1
|
|
1752
|
+
title: and though the soft apocalypse may yet overtake
|
|
1753
|
+
length: 00:01:12
|
|
1754
|
+
- number: 2
|
|
1755
|
+
title: unreliable narrator
|
|
1756
|
+
length: 00:02:30
|
|
1757
|
+
- number: 3
|
|
1758
|
+
title: entropy
|
|
1759
|
+
length: 00:05:34
|
|
1760
|
+
- number: 4
|
|
1761
|
+
title: palm beach
|
|
1762
|
+
length: 00:03:18
|
|
1763
|
+
- number: 5
|
|
1764
|
+
title: owl
|
|
1765
|
+
length: 00:02:30
|
|
1766
|
+
- number: 6
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1767
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title: boodle man
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1768
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length: 00:02:20
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1769
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- number: 7
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1770
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title: steady progress (deeper into the dark tangent)
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1771
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length: 00:01:24
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1772
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- number: 8
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1773
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title: in this spiraling darkness
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1774
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length: 00:08:20
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title: heat death
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1777
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length: 00:01:09
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title: armageddon rager
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1780
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length: 00:03:12
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title: suburban gutter trash
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url: https://music.apple.com/us/album/and-though-the-soft-apocalypse-may-yet-overtake/1547750195
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- platform: Bandcamp
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url: https://northerninformation.bandcamp.com/album/and-though-the-soft-apocalypse-may-yet-overtake
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- platform: Deezer
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1801
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url: https://www.deezer.com/us/album/611504062
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url: https://www.iheart.com/artist/northern-information-43479567/albums/and-though-the-soft-apocalypse-may-277679164/
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1804
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- platform: Spotify
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1805
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url: https://open.spotify.com/album/1KCrlpmU24jOUJwI8Z0bOZ
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1806
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- platform: YouTube
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1807
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+
url: https://www.youtube.com/watch?v=x0Feu-eX3eo&list=OLAK5uy_l_GoqpRTVTQfJINp7Gsvjz6YypYiSk_1Q
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1762
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1763
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|
- - - - - - - - - -
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1764
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chapter vi
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12. flood sirens
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written & recorded by tyler etters from january 2015 through june 2015 at endless field studios. featuring adam j. moore on palm beach and suburban gutter trash.
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url: https://www.amazon.com/music/player/albums/B08XLVPZ2R
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- platform: Apple Music
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1858
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url: https://music.apple.com/us/album/zulu-ep/1547100523
|
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- platform: Bandcamp
|
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1860
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+
url: https://northerninformation.bandcamp.com/album/zulu
|
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1861
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- platform: Deezer
|
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1862
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+
url: https://www.deezer.com/us/album/611501942
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- platform: iHeartRadio
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1864
|
+
url: https://www.iheart.com/artist/northern-information-43479567/albums/zulu-277678765/
|
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1865
|
+
- platform: Spotify
|
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1866
|
+
url: https://open.spotify.com/album/43bxoEMw9jUG2vMFUuCUKC
|
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1867
|
+
- platform: YouTube
|
|
1868
|
+
url: https://www.youtube.com/watch?v=7WloUf3-66o&list=OLAK5uy_k5jt0Uoc0VgsNRrl3RWCHySqVBcv3SWHU
|
|
1823
1869
|
notes: |
|
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1824
1870
|
- - - - - - - - - -
|
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1825
1871
|
chapter v
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title: the secret symmetries of oakwood hills
|
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1893
|
+
length: 00:06:29
|
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1894
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+
- number: 2
|
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1895
|
+
title: there is no death, only reorganization
|
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1896
|
+
length: 00:02:51
|
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1897
|
+
- number: 3
|
|
1898
|
+
title: second chance
|
|
1899
|
+
length: 00:04:44
|
|
1900
|
+
- number: 4
|
|
1901
|
+
title: ch((e)i)m(er)ical
|
|
1902
|
+
length: 00:02:47
|
|
1903
|
+
- number: 5
|
|
1904
|
+
title: forest (R1-07348-0017.jpg)
|
|
1905
|
+
length: 00:02:16
|
|
1906
|
+
- number: 6
|
|
1907
|
+
title: 2am, rte 53, northbound
|
|
1908
|
+
length: 00:02:14
|
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1909
|
+
- number: 7
|
|
1910
|
+
title: jacurutu
|
|
1911
|
+
length: 00:03:41
|
|
1912
|
+
- number: 8
|
|
1913
|
+
title: radio haces arrib{a} tu cowboy espacio
|
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1914
|
+
length: 00:01:19
|
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1915
|
+
- number: 9
|
|
1916
|
+
title: getageese
|
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1917
|
+
length: 00:07:45
|
|
1918
|
+
- number: 10
|
|
1919
|
+
title: samsara (w/ adam)
|
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1920
|
+
length: 00:03:06
|
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1921
|
+
- number: 11
|
|
1922
|
+
title: the sound of her wings
|
|
1923
|
+
length: 00:02:36
|
|
1924
|
+
- number: 12
|
|
1925
|
+
title: infinite return of the same
|
|
1926
|
+
length: 00:02:19
|
|
1927
|
+
- number: 13
|
|
1928
|
+
title: nausicaΓ€
|
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1929
|
+
length: 00:05:35
|
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1884
1930
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streams:
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1932
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+
url: https://www.amazon.com/music/player/albums/B08XMB5NWF
|
|
1933
|
+
- platform: Apple Music
|
|
1934
|
+
url: https://music.apple.com/us/album/the-phantoms-of-our-lost-cause/1550708799
|
|
1935
|
+
- platform: Bandcamp
|
|
1936
|
+
url: https://northerninformation.bandcamp.com/album/the-phantoms-of-our-lost-cause
|
|
1937
|
+
- platform: Deezer
|
|
1938
|
+
url: https://www.deezer.com/us/album/611727812
|
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1939
|
+
- platform: iHeartRadio
|
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1940
|
+
url: https://www.iheart.com/artist/northern-information-43479567/albums/the-phantoms-of-our-lost-cause-277686189/
|
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1941
|
+
- platform: Spotify
|
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1942
|
+
url: https://open.spotify.com/album/6uQKrMnKgYtavYwIuEXnev
|
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1943
|
+
- platform: YouTube
|
|
1944
|
+
url: https://www.youtube.com/watch?v=6_wx1DK4STo&list=OLAK5uy_m2oDZFmJ5IBG___w55SOr3GVJSHPS9P0Q
|
|
1899
1945
|
notes: |
|
|
1900
1946
|
- - - - - - - - - -
|
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1901
1947
|
chapter iv
|
|
@@ -1918,7 +1964,7 @@
|
|
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1918
1964
|
11. the sound of her wings
|
|
1919
1965
|
12. infinite return of the same
|
|
1920
1966
|
13. nausicaΓ€
|
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1921
|
-
- - - - - - - - - -
|
|
1967
|
+
- - - - - - - - - -
|
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1922
1968
|
credits: |
|
|
1923
1969
|
written & recorded by tyler etters from an indeterminate point in the past through december 2014 at endless field studios. featuring adam moore on samsara. album cover artwork by paul petrosyan with additional treatment by tyler etters.
|
|
1924
1970
|
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1943
|
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1981
|
+
- number: 1
|
|
1982
|
+
title: northern illinois
|
|
1983
|
+
length: 00:18:44
|
|
1984
|
+
- number: 2
|
|
1985
|
+
title: we failed
|
|
1986
|
+
length: 00:06:55
|
|
1987
|
+
- number: 3
|
|
1988
|
+
title: january 1st, 1970 + zero gmt
|
|
1989
|
+
length: 00:06:13
|
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1944
1990
|
streams:
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1991
|
+
- platform: Amazon
|
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1992
|
+
url: https://www.amazon.com/music/player/albums/B08XM9RMWP
|
|
1993
|
+
- platform: Apple Music
|
|
1994
|
+
url: https://music.apple.com/us/album/senescence/1547708658
|
|
1995
|
+
- platform: Bandcamp
|
|
1996
|
+
url: https://northerninformation.bandcamp.com/album/senescence
|
|
1997
|
+
- platform: Deezer
|
|
1998
|
+
url: https://www.deezer.com/us/album/611750652
|
|
1999
|
+
- platform: iHeartRadio
|
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2000
|
+
url: https://www.iheart.com/artist/northern-information-43479567/albums/senescence-277684070/
|
|
2001
|
+
- platform: Spotify
|
|
2002
|
+
url: https://open.spotify.com/album/0rNcDNQsHb5NsVPX0Hq61i
|
|
2003
|
+
- platform: YouTube
|
|
2004
|
+
url: https://www.youtube.com/watch?v=kFYxNh09hb8&list=OLAK5uy_lTv9qeBfWmX-tvqNOWuNVJbwiKFr1tfes
|
|
1959
2005
|
notes: |
|
|
1960
2006
|
- - - - - - - - - -
|
|
1961
2007
|
chapter iii
|
|
@@ -1970,7 +2016,7 @@
|
|
|
1970
2016
|
v. song of the cicada
|
|
1971
2017
|
2. we failed
|
|
1972
2018
|
3. january 1st, 1970 + zero gmt
|
|
1973
|
-
- - - - - - - - - -
|
|
2019
|
+
- - - - - - - - - -
|
|
1974
2020
|
credits: |
|
|
1975
2021
|
written & recorded by tyler etters from june 2013 through september 2013 at endless field studios except for 'tears of the space cowboy' which was also written by kevin clark, dorian zdrinc and arthur zdrinc sometime back in 2011.
|
|
1976
2022
|
|
|
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|
|
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2030
|
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2031
|
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2032
|
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|
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|
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|
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1990
|
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1991
|
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|
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1992
|
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1993
|
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1994
|
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1995
|
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1996
|
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1997
|
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1998
|
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1999
|
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2000
|
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2001
|
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2002
|
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2003
|
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2004
|
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2005
|
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2006
|
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|
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2007
|
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|
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2008
|
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|
|
2009
|
-
|
|
2010
|
-
|
|
2033
|
+
- number: 1
|
|
2034
|
+
title: music for forests of childhood
|
|
2035
|
+
length: 00:20:39
|
|
2036
|
+
- number: 2
|
|
2037
|
+
title: rainbow table
|
|
2038
|
+
length: 00:13:57
|
|
2039
|
+
- number: 3
|
|
2040
|
+
title: ΞΞΞΞΞΞΞ£
|
|
2041
|
+
length: 00:01:21
|
|
2042
|
+
- number: 4
|
|
2043
|
+
title: zombie poison
|
|
2044
|
+
length: 00:05:36
|
|
2045
|
+
- number: 5
|
|
2046
|
+
title: intermission
|
|
2047
|
+
length: 00:01:53
|
|
2048
|
+
- number: 6
|
|
2049
|
+
title: the cicada must sing (sleepy brit)
|
|
2050
|
+
length: 00:03:30
|
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url: https://music.apple.com/us/album/blue-the-most-celestial-color/1547708931
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length: 00:04:57
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-
...and the world forces you out once again, return to the highways, return to the endless fields; that word, prolegomenon, appeared in my dreams some time ago, immemorial, i didn't even know what the word was or what it meant, or even how to spell or pronounce it; 'prolegomenon,'; i knew only the feeling of it upon my tounge, the sound of it reflecting off the walls, the feeling it would impress upon me while reading it, i tried writing it down but failed many times, i couldn't triangulate the syllables but all evidence pointed towards it's existence... and then one night i stumbled accross it, wikipedia again, probably, just like connectedness locus, an anonymous entry that may or may not be credible and accurate - whatever the case, the word is correct, a descendent perhaps of some greek warlord but this time transposed three centuries forward into a neon dusk where houses are constructed with html, the past continues to be reframed by the present, history is writen by the victors while our dreams steadily wind down and we fall apart, our social network spreads thin as we flee, to the dissident corners of this fallen world, in my battered attempt to fix this battered language, we bum each other our entire lives, and my father entered rem sleep; and i forgot my closest friendβs name; and my mother flew to the afar north; to dance where the sumacs still grow. let us sing that truth whispered is truth betrayed, for an elephant never forgets: to arms! to arms! and we still fall apart. replication - repeating days - we are bloated and weak here in the states. tidal synths. royal timbral waves. a series of events leading up to a cataclysmic demise, microburst dreams, echoes from a standstill destiny, there is no death, only reorganization...
|
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+
...and the world forces you out once again, return to the highways, return to the endless fields; that word, prolegomenon, appeared in my dreams some time ago, immemorial, i didn't even know what the word was or what it meant, or even how to spell or pronounce it; 'prolegomenon,'; i knew only the feeling of it upon my tounge, the sound of it reflecting off the walls, the feeling it would impress upon me while reading it, i tried writing it down but failed many times, i couldn't triangulate the syllables but all evidence pointed towards it's existence... and then one night i stumbled accross it, wikipedia again, probably, just like connectedness locus, an anonymous entry that may or may not be credible and accurate - whatever the case, the word is correct, a descendent perhaps of some greek warlord but this time transposed three centuries forward into a neon dusk where houses are constructed with html, the past continues to be reframed by the present, history is writen by the victors while our dreams steadily wind down and we fall apart, our social network spreads thin as we flee, to the dissident corners of this fallen world, in my battered attempt to fix this battered language, we bum each other our entire lives, and my father entered rem sleep; and i forgot my closest friendβs name; and my mother flew to the afar north; to dance where the sumacs still grow. let us sing that truth whispered is truth betrayed, for an elephant never forgets: to arms! to arms! and we still fall apart. replication - repeating days - we are bloated and weak here in the states. tidal synths. royal timbral waves. a series of events leading up to a cataclysmic demise, microburst dreams, echoes from a standstill destiny, there is no death, only reorganization...
|
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Connectedness Locus is Tyler Etters.
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length: 00:03:28
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length: 00:04:35
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title: Time Mirage
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length: 00:03:35
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length: 00:03:37
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title: The Future, Both Forever Ungrasped
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length: 00:04:02
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title: Crucible
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length: 00:04:15
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title: A Truer Form
|
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length: 00:06:20
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Beyond the northern wastelands where dreams go to be forgotten, where the legendary high tension power lines march into tangled heaps of wreckage, where rusty salt barges sputter about and dissolve away, where billboards vomit dusky portents of express oil changes, where steadfast location engineering generates an inadvertent legacy, where lonely stands of pines filter incandescent and nuclear light, where time mirages dot the coast line, where we don poisonous armor to ward off strange flying creatures, where a crisis of destinies pulls us away and into the darkness yet again, where our hand made dream catchers from childhood clink-clank into one another and crumble apart, where words and worlds whisper, where owls still gather in schools and sing in 7/4 to an embryonic moon, where the past and the future, both forever ungrasped, are forfeited to the bigwigs and their brokers, where great oak trees are chainsawed into heaps of hallucinating sawdust, where hacking the akashic records is the only option to escape the crucible, where you awaken on warm and sparsely populated shores to find your initials carved into each piece of driftwood, where the violinist of the moon vanishes before the final note is bowed, where the cicada must sing before you can return home, where a truer form unfurls as the great wings of metamorphosis engulf the emerald skies, the dreams of Connectedness Locus are spun and Terraforms can be heard.
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length: 00:20:03
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...was recorded on a rainy January afternoon in one of the back rooms of Swing State, a small art & music venue in the northern wastes of Illinois. The entire operation was executed on an analog reel-to-reel device.
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"It makes you listen with your ears, rather than your eyes," Isaac said as he loaded the magnetic tapes. My jaw hit the floor. Somewhere, miles away, my computer was steadily collecting a fine layer of dust.
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Serial Index of Unclaimed Memories File 1 is a spiraling nine track safari into the chaotic and serene realms of post-electronica. Astral, delay-riddled guitars, trip-hop/IDM drums, orchestrated ambience, lo-fi cassette deck samples, distorted bass, and psychosis inducing drones are just a few of the cards brought to the table.
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|
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|
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length: 00:09:10
|
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title: Movement 796
|
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length: 00:06:18
|
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Serial Index of Unclaimed Memories File 2, is comprised of nine seperate tracks (here called 'Movements'), and is akin to a stream of consciousness dialouge between failing super-computer systems. Almost enitrely ambient, File 2 explores an entirely different realm than File 1.
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As Quippolous Codes Quietly Count is a journey through prismatic mists of somnolence and destiny, gates of shimmering keyboard harmonics, mold-emblazoned percussives, and delerious, sludge-filled wastelands where only the foolish and the brave trek. Recorded over the course of 2 years, the album could easily be mistaken for an impressionistic account of a journey through space amidst a fleet of ghost ships.
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title: Facing the End
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title: My Armor, My Ammunition
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title: Your Weakest Moment
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title: Monolith of Self
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title: Photographs of Dust
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title: Synchronicity
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title: Don't Leave Me
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title: Arabesque
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title: To the Construct
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title: Clouds (Bleed Air)
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title: They Rescue You
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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|
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+
title: Descent Into Dreams
|
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2572
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+
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|
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|
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title: A Different Process
|
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2575
|
+
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|
|
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+
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|
|
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|
+
title: Paradigms Unwritten
|
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+
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+
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|
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+
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|
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+
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|
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+
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|
|
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|
|
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|
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|
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+
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|
|
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title: Yet These Memories Isolated Us
|
|
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|
+
length: 00:04:29
|
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|
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|
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|
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- number: 13
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title: Constant Awareness
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length: 00:03:00
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title: Drift
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length: 00:04:17
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title: Yet These Memories Isoalted Us
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title: Weeping in Neutrality
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length: 00:03:35
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title: Apprehension
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length: 00:03:30
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title: Epilogue
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length: 00:03:44
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title: The Little House
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length: 00:05:15
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title: Approaching the Gates
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title: Complex Number
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title: Dying Alone
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title: The Wake
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length: 00:03:28
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title: Splintering
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length: 00:05:00
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title: Content with Failure
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length: 00:03:38
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- number: 7
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|
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title: Weary Eyes of Reason
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|
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length: 00:03:49
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- number: 8
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title: Sweet Lobotomy
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length: 00:03:55
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