#cangiante

so ummm i started writing something and im wondering if there are any color theory nerds on lokean tumblr or art corners of tumblr who would be interested in reading it when it's done

it's a looong post containing:

an abridged dive into the history of the cangiante canon and it's methods specifically for painting celestial beings and other fluid entities during the 13th and 14th centuries in italy

how i've used it throughout my academic career, my post-college work, and why i chose to paint an altarpiece for loki in that style

why i'm considering completely redoing the altarpiece in the future

Cangiante is a game built heavily on research; whilst a thematic piece, it is also, in part, a simulative environment, fascinated deeply with telling a story within the bounds of the true mud and stone of Renaissance Italy. Romanticization in a punk work is unsightly and ignorant; truth is punk, and punk is truth.

Thus, while reworking combat mechanics to be dialed down from their Wizardman counterpart in order to deemphasize its role in the game, I came to a sudden and strange realization; should its role be deemphasized? What was the perception of violence in the Renaissance? How was it characterized, what was tolerated, and who was conducting it and who on?

Research often exists in strokes too broad for usage. "Violence in Renaissance Europe" covers a landmass and topic too wide for any of it to be guaranteed applicable to my specific focus - unfortunately, in many cases, this scope is as specific as my informational access will allow me to delve. Murder in Renaissance Italy, on the other hand, fits within a category of works that has proven immeasurably valuable; intense, seething specialization.

You don't know how much there is to know about something so seemingly small in scope until its shown to you. Together, these works allow for the existence of a nuanced and flavored understanding of Renaissance perceptions towards murder and violence as a whole, a nuanced picture which is central to Cangiante's understanding of Renaissance life.

Also, in admittedly my driest of takes yet, this cover is delightful. I've seen this layout used a couple of times now - I'm guessing it may be a standardized layout used by Cambridge - but the formatting of the text so low in the top portion and allowance for flat color to dominate so much of the image really brings a great deal of interest to what could've otherwise been a rather boring layout. The expressions on the art used are too ridiculous for me to take it entirely seriously, but it has a kitschy charm.

I haven't been able to sit down and read a book in a very long time, yet somehow it always seems to happen when I need to amass the effort for this project, and it happens with a great ease. Perhaps passion, perhaps insanity. Your call.

Cangiante is the last release of Eniac.

Out on In Your Ears, in free download. it’s a gift.

Cangiante represent a point of view on the past (20 years) and on the future (the new projects will be under the name of Fabio Battistetti and Brezza).

The tracks have been composed at Blue Angle studio, between 2018 and 2019, using recordings and loops from the personal archive, including a short excerpt from a track recorded in 1999. The titles of the tracks are quotes and references to past influences over the course of 20 years and visions of the present: 6/8/1996 La Maddalena Andrum Imperial Trans-Anarchic Expedition Bussolotti * + ghost track: a re-edit of a track of 1999