|How the mysterious dark net is going mainstream | Jamie Bartlett||There’s a parallel Internet you may not have run across yet -- accessed by a special browser and home to a freewheeling collection of sites for everything from anonymous activism to illicit activities. Jamie Bartlett reports from the dark net.|
|[Qidian International]Galactic Dark Net (Novel) c.296||2017-06-28|
Galactic Dark Net (Novel) - View All Releases
|Michaël Attias Quartet - Nerve Dance (Clean Feed, 2017) ****½||Derek Stone|
For more than ten years now, Michaël Attias has been a steady contributor to Clean Feed’s veritable treasure trove of contemporary jazz - beginning with 2005’s Credo, he has, time and time again, proven himself to be one of the finest bandleaders around. On his most recent effort, the evocatively-titled Nerve Dance, Attias is joined by Aruán Ortiz on piano, John Hébert on bass, and Nasheet Waits on drums. Needless to say, it’s a noteworthy list of names, one that is likely to make the ears of many of this blog’s readers perk up with interest. And lucky for them, Nerve Dance delivers in all the ways that matter - compositionally, melodically, texturally. While I’d stop short of calling it a “Grade-A, 100% masterpiece,” it certainly floats to the top of the pile of jazz recordings released this year - and I use the word “float” quite intentionally, as the eleven originals here (nine from Attias, two from Hébert) often have a sort of airy, dream-like otherworldliness about them, ensuring that the “dance” referenced in the album’s title is perpetually carried out just a few centimeters above the ground. That’s not to say it’s all lightness and cherubic charm, however; there’s a darkness here too, like the disquieting rustle of wings in a pitch-black forest. In other words: this thing has got atmosphere, and lots of it.
Look no further than the opener. “Dark Net” storms right out of the gate with its elliptical swing; Nasheet Waits is the structural backbone of the piece, offering jarring rhythmical changes and busy, rolling frills that keep the composition in a perpetual state of motion. Ortiz makes reference to Monk and Hill with stretches that are often laconic, but sometimes trip over themselves in complex rounds. Hébert, as always, is a pleasure - he’s not the flashiest player around, but his workmanlike dedication to producing “the bass-line of best fit” is admirable. Finally, composer Attias brings a full-bodied warmth to the alto sax that belies the topsy-turvy, serpentine nature of the compositions - while he could easily get away with ear-piercing squeals and guttural honks (à la perennial avant-garde altoist Braxton), he instead settles on an approach that is deep, rich, and melodic, with occasional forays into the blistering altissimo register. That’s not to say that he’s straight-laced or boring, however. On “Le Pèse-Nerfs,” witness his wild, breathless runs and frantic shrieks. It speaks to Attias’s versatility that the opening of the very next track, “Rodger Lodge,” sounds like something you could hear being played in an upscale jazz lounge.
While the first few pieces are jaunty, uptempo numbers, the album eventually takes a turn towards compositions that are more subdued. “Moonmouth,” for instance, rides on a simple and alluring melody from Ortiz, one that ascends the scale in a tentative, measured way. “La Part Maudite” is similarly understated, with Hébert bowing out gruff notes, Ortiz working in fits and starts, and Waits encircling them both with his limber patterns that always seem to be in a searching mode. The opening of “Dream in a Mirror” is something of a low-key showcase for Hébert - here, his solo does indeed sound like something plucked out of a dream. Once the others join in, the dream solidifies and we’re left with a piece that alludes to late-period Coltrane in the way it blends Waits’ billowing percussion, Ortiz’s intoxicating clusters, and Attias’ near-mystical presentation of the main motif. If “Dream in a Mirror” is the initial burst of ecstasy, then the following piece “Ombilique” is what happens when your spirit re-enters your battered, exhausted body: a slow return of consciousness, with all the lumbering movements and half-formed thoughts that that entails. By the time “Nasheet” rolls in, you can’t help but imagine that you’re nearing the end of a journey, even if it was just a journey to some other mental state. Considering it carries his name, you’d expect “Nasheet” to be where Waits finally lets loose and blows us all away with his manifold techniques. He does, somewhat, but it’s in the form of a slow burn - he’s too good to be showy, so he instead regales us with his loose-limbed rhythms, clattering patterns that, thanks to the exceptional way in which this album was recorded, move fluidly back-and-forth in the mix.
As a unified statement, Nerve Dance works wonderfully. Not only are the compositions top-notch, but the players themselves have a telepathic understanding of when to “show their cards,” so to speak, and when to lay low. Not to mention, the sheer range on this thing is appreciable: there are tracks that swing, tracks that float, tracks that partake in rapturous dances, and even tracks that howl in pain. I recently came across a quote from Robert Penn Warren; when talking about poetry, he noted that it “demands participation, from the secret physical echo in muscle and nerve that identifies us with the medium, to the imaginative enactment that stirs the deepest recesses where life-will and values reside.” I couldn’t help but relate the quote to this album, and jazz in general. When the music is good, and when you are truly engaging with it, it feels like every nerve in your body is indeed activated, spiralling and spinning and whirling. This “nerve dance” is one of the reasons we love free jazz, and anyone who gives Nerve Dance a shot will get to experience it in full.
|In wake of ‘WannaCry’ attacks, UN cybersecurity expert discusses Internet safety||A United Nations cybersecurity expert says that cybercrime is ultimately preventable, and that the internet – even the hidden so-called ‘dark net’ – has very good elements to it.|
|Whitman Reading Notes for Nov 6–12|
I’ve been throwing a lot of my thoughts into “dark networks” and other closed or ephemeral places lately. I regret that. Some stuff has gone into class notes, only in verbal discussion, at my 750words.com page, or in emails to friends. Maybe if I have a slow-going week, I’ll go through as much as I can to publish that here. Might not be until the semester ends at this rate, though.
Things are really, really busy, and I expect them to get busier. Coming up on the weekend of both the Chicago Colloquium and ChiTAG, the latter of which we’ll be hosting a friend for. That’s also birthday weekend for Raina and me. After that’s Thanksgiving and Chicago Loot Drop’s double-feature fundraiser. Meanwhile, there are plenty of things to write and read for class, all the GWJ daily editing and scheduling, and then there’s the regular 40-hours (where things are exciting, potentially—more if things develop). Oh, and my mom’s cancer is back.
Anyway, to the subject at hand. This is a blog, not a … . Well, I don’t need to make this an example to reinforce bad stereotypes.
So I’ve now read some stuff from the people running this show that gives me an idea about the best way to approach the Whitman Archive. I’ve done some tooling around on my own — reading a poem in a couple different versions, reading one edition through a few poems — but the presentation is drastically different from the straightforward and fairly linear (if heavily annotated) presentation of a printed critical edition. And the comparison work isn’t readily done for me ahead of time as a user. It’s more an awkward sort of firehose of data when approached this way. My devious plot is to read some literary crit that takes a Whitman poem as its subject, and to use that to pull out claims about the text. Sort of scanning them to pull out the factual claims.Then I can bring those statements to the archive, the way one might bring queries to a database. Seems the right way to approach that sort of beast.
So here’s a list of links to criticism, provided by the Whitman Archive. I don’t know if I’ll get through them all, or if some won’t interest me, but I really only need a few for the purposes of this project. These aren’t pulled with too much thought to them; I’m just drafting a list to plow through. (As with the variants, presentation divides things chronologically, in this case between contemporary reviews and later crit.)
Reviews from Whitman’s contemporaries:
More recent crit.:Here's the master list of lit. criticism.
Not a lot of work done in just gathering links, I feel, but it’s a start.
Here is some news that I want to look into, but haven't yet.
In Other News
I feel like I’m a snow plow that’s pushing too much to shove ahead of me. Hopefully I can knock some things off, or realize that there’s less ahead than I thought (unlikely; so many papers to write!).
|Количество Tor-сайтов и прошлогодний отчет The Tor Dark Net||С мест
сообщают, что Tor-сайтов значительно меньше, чем предполагалось ранее. |
|The Dark Net||NZVIF have released their latest Young Company Finance report. The report includes a list of all of the companies that raised new capital so far in 2014. It is an appallingly incomplete list. These are the companies that I know of they have missed: Vend, NBR, March 26 Timely, NBR, June 21 Atomic Revert Mindscape, … Continue reading The Dark Net|