Review by Jenell Kesler. Reply Notify me Helpful. Add all to Wantlist Remove all from Wantlist. Have: Want: Avg Rating: 4. I miei ascolti del by autumnfair Cancel anytime. Print What Is Suicide? Gregg has been suffering from a serious health condition for a couple of years which has confined him to his home and placed a strain on his marriage. Which of the following focuses on suicide prevention? Electric shock therapy. Create your account to access this entire worksheet.
Create an account to get started Create Account. The lesson covers these objectives: Define suicide Identify five common reasons a person may commit suicide Recognize the role of triggers for a person considering suicide Explore the types of suicide prevention available, including the four main methods. Practice Exams. Final Exam. Psychology Abnormal Psychology. Mood Disorders of Abnormal Psychology. For those who missed the Invisibility Exhibition perhaps Chamber of Dreams will make you just curious enough to attend the next one.
For those of you who enjoyed the montage of voices from instructional films, surrealist poets, and television programs on the first album in this set, there's much to enjoy on side one of this long payer.
Though meant only as "backing tapes" to accompany improvised guitar and other instruments, these tracks feel more complete than some of the interlude music on the second side. Service above and beyond the call of duty! Best known as the front man for Be Bop Deluxe, and for his production work with numerous bands, Bill Nelson established himself as a notable composer of instrumental music in the eighties. Though not his first such effort, Trial By Intimacy The Book Splendours is perhaps his most significant statement of a certain fondness for spontaneity and ephemera.
This boxed set, released in , consists of no fewer than four albums. That's over 80 tracks, issued from his private studio like so many falling petals from a cherry tree past its bloom. The set, which we are lucky enough to number among our possessions, was released in an edition of , some of which included a postcard set and "The Arcane Eye", a surprisingly impressive book of photography. All of this added up to a very nice package, which Nelson describes as a "musical sketchbook of instrumental moods captured during many private moments over the last few years.
Those must be as rare as hen's teeth. By some oversight this music is unavailable today, and the various versions floating around the internet are of poor quality. In the next few weeks we will present rips from the original vinyl to fill this gaping hole in the Nelson catalogue.
This is best appreciated in light of The Love That Whirls , Nelson's stand-out pop album from the same year. That lovely and mysterious record manages to combine his penchant for drum machine clockworks, liquid guitar figures, ambience and over-the-top lyrics.
But take away the vocals and you might have a hard time distinguishing the music on the two records. And if you can tell which record "Waiting For Voices", "Orient Pearl" and "The Bride of Christ in Autumn" are from, it's not due to any intrinsic difference in musicality or quality. But the real gems here are those tracks that create a different mood, through the simple expedient of adding samples from radio broadcasts and cinema.
Though the absolute best tracks in the boxed set are still to come, we are sure you'll enjoy this trip back to the gardens of Europe, circa Armed with stacks of vintage electronic gear, from Boss Flangers and Dr. If you don't know Ghost Box, you should. They're responsible for what has become known as "hauntology," a concept associated with artists such as The Focus Group, The Advisory Circle, Belbury Poly, and The Moon Wiring Club who mix seventies instructional films and the sounds of the BBC Radiophonic Workshop to imagine an alternate past, one where parish churches sang hymns to oscillators and school children learned the gospel of video tape.
The panel discussion, called Moving Through Old Daylight, was a thoughtful exchange on the ways in which mass media shapes our conception of the past, and featured some especially fascinating short films by both Sinclair and Jupp. Check out their new web site here. Following a quick dinner in Camden Town, we made our way into the fabled space of The Roundhouse. Today it fully lives up to its reputation, its dome ceiling billowing like a canopy above the punters gathered below.
Jori Hulkkonnen played a tasteful opening DJ set, but his follow up, Gary Numan, got stuck in traffic, leaving us in the hands of some preening jester in a leopard print coat who saw fit to play minimal synth standards, from The Normal to Fad Gadget. Oh, and plenty of bass feedback from the over worked sound system. A short break, and the screen behind the stage flickered with Steve D'Agostino's brilliant remix of "Film One" , an early Foxx b-side.
As the strangely animated images of Alex Proyas's video sputtered and jerked in the night, Foxx's band assembled on stage, coaxing the ancient circuitry gathered on the stage into life. The twin tape reels of a Revox began to slowly revolve and the opening beats of "Plaza" boomed into the vaulted space of The Roundhouse. Expectations were running high on such a strong opening, and as Foxx himself came to centre stage a huge cheer went up from the crowd. He looks great for a man in his fifties, still a compelling figure behind the microphone.
Too bad, then, that the mix was so murky, as if the sound system was not really up to the task of meeting the challenges of the cavernous venue.
Foxx's vocals, bathed in a variety of harmonizers and filters, didn't really help matters, simply contributing to the indistinct and hazy sound. The gig was billed as a celebration of the thirtieth anniversary of Metamatic , Foxx's groundbreaking debut, but the set list was more wide ranging then this would suggest.
After five tracks from the Metamatic era, we were treated, if that's the right word, to three songs featuring Louis Gordon, with whom Foxx has recorded several albums since his return to music in the late s. With his fist pumping in the air as he twisted the beleaguered VCF knob on his CS1X, Gordon's risible antics stood in marked contrast to the aloofness and diffidence of Foxx's sense of modernity.
As The Second Chameleon noted above the din, "He just doesn't get it, does he? Where the techno-tinged beats of Louis Gordon seemed well past their best before date, the new material had both a freshness and edginess that has been largely missing from Foxx's most recent work. The album, which is due in October, will be worth seeking out.
The crowning glory of the evening, however, was the appearance of Robin Simon, whose psychedelic fretwork helped lift Ultravox's third lp, Systems of Romance , to such empyrean heights. As a ticking synth set the stage for "Dislocation," Simon appeared to rapturous applause.
Foxx too seemed well pleased to have his erstwhile guitarist at his side again, and we were treated to several Ultravox-era faves, including a rare outing of "The Man Who Dies Everyday," a track dating back to the band's second lp, Ha! Simon leaned into the proto-punk riff with gusto, Foxx ditched the harmonizers, the crowd went mad, and, for a moment, the great dome of The Roundhouse seemed to levitate into the air.
And they never sounded so good as on this sublime slab of Japanese vinyl, with its over-sized picture label and superb mastering at the disc cutting stage. Here's to thirty years of the Quiet Man! Labels: John Foxx , Ultravox. The pop charts of the mid-eighties were crowded with electro crooners, their unabashedly romantic yearning standing in stark contrast to the icy and distant synthesizers and white boy funk grooves that filled out the sound.
David Sylvian hoped for visions of China. Peter Godwin wished for images of heaven. And Midge Ure longed for Vienna. But no electro crooner could touch the heart strings better than Trevor Herion. Born in Cork, Ireland, Herion moved to London in the late seventies, and was living in a squat with members of The Psychedelic Furs when he hooked up with drummer Paul Simon, brother of Robin Simon, the guitar player who would would later have notable stints with both Ultravox and Magazine.
The singer and his drummer friend left the band before its sophomore single had appeared, and joined with Matthew Seligman and Thomas Dolby to form The Fallout Club. Here Herion's powerful voice, every note seemingly touched with some irrepressible sadness, came most fully to the fore, offering a powerful embellishment to Dolby's rapidly maturing song writing and arranging abilities.
The analogue joys of "Pedestrian Walkway" have been recently rediscovered by a generation of Dolby fans thanks to its inclusion on the remastered, 2 cd version of The Golden Age of Wireless , while its majestically over-the-top follow up, "Wanderlust," has graced several minimal synth compilations in recent years.
Herion's solitary solo album has been less well remembered, however. Released in on Interdisc Records, Beauty Life is a highly polished slice of electro pop. Graced with a Peter Saville cover, it featured a stellar cast of backing musicians, including another Dolby alum, Kevin Armstrong, and Martin Young of Colourbox. Moreover, the label brought in one of the most in-demand pop producers of the day, Steve Levine, who had previously worked with Culture Club and China Crisis among others.
But the album is still very much Herion's, his powerful voice surging up as from some unknown depths of world weary despair, gliding effortlessly over the thick slab of eighties beats, and ascending to its own lonely orbit.
Among its many highlights, the album included "Kiss of No Return," a pre-album single released by Imperial Recordings and distributed by Island in Arranged by Thomas Dolby the drum program has a distinct resemblance to some of the beats heard on " Europa and the Pirate Twins " , and produced by Mike Howlett who also lent his talents to Martha Ladly's sublime solo debut , the song somehow manages to transcend its faux Parisian instrumentation accordians and violins , and become something almost otherworldly, a loving lament to a more elegant age.
Three further singles were released from the album: "Dreamtime" and "Love Chains" are cast very much in the ABC - Heaven 17 mould, replete with gated snare drums, funky guitars, and towering backing vocals, while the dreamy chord progressions and slap bass of "Love Chains" are strikingly reminiscent of Levine's work with China Crisis.
Gathered as the first three tracks on side one, these singles make a muscular statement of purpose, but in some ways it's the album tracks on the second side, full of European longueur and jazzy interludes, that more fully capture the essence of Herion's sound.
Amid the welter of electro crooners, however, Beauty Life seems to have gone unnoticed, its failure to dent the charts not helped by a feud with Levine that resulted in his name being removed from the album's credits. In the aftermath of its failure, Herion slipped into a prolonged period of depression. He took his own life on October 1, A retrospective anthology of his best work, including both his solo recordings and contributions to The Civilians and The Fallout Club, is long overdue.
Bruce Gilbert was always an odd fish, even in Wire, the oddest punk band of them all. Already 30 when they formed, he seemed more like a college professor than a band member. When he later began to release music under his own name it was apparent that he was more at home in electroacoustic and noise music territory than in anything resembling pop. Gilbert released a flood of material, starting in Together with co-conspirator Graham Lewis, he recorded four albums as Dome, their lo-fi music sounding like tape scrapings from Wire sessions, odd vocal exercises, frustration devices, aversion therapies.
A 12" as Cupol combined an almost pop rant on one side with an extended ethnic forgery noise field on the other. If I decide to shoot myself in the head, it will most likely be because MY life is unbearable, not because I have been musing upon life in general or loitering outside phone booths, being struck by the apparent emptiness of the gestures of the strangers making the calls.
Thanks for the darkly amusing comment. But if we take the fundamental question of philosophy to be How To Live, and then take the issue of suicide as a metaphor, or synecdoche, for that question for is not suicide a solution to the problem of existence, albeit at an ugly polar extreme of possible solutions? I agree with the way you rewrite the question which is fundamental for Camus and for many others.
However, it is wrong I hesitate to add that the answer to the question of How To Live is to be found in philosophy. I write as someone who has spent a couple of decades wandering around the dusty aisles of philosophy looking for an answer to just that question the best years of my life — gone! I found nothing substantive.
Maybe the answer was there. There were no answers to questions, but there was a resounding affirmation of life that moved me practically to tears — an affirmation of what I already knew — of course — but which could never be framed as the conclusion of a philosophical argument. The fundamental question of philosophy since Descartes is Truth not the meaning of life. Philosophy becomes the critique of metaphysics. This I think is the basic idea Camus was trying to defend in The Rebel — a much better book that the Myth of Sisyphus.
Philosophy of the useful sort knows that it is useless. Its utility lies in clearing the way for an affirmation of life which is free of illusions. That affirmation, though, can only occur on the terrain of life — pre-philosophical life — life in the phone booth, if you like. It cannot occur on the dusty etherial plane of philosophy. I think he understands that suicide is not a result of any philosophical musing or discovery.
I think intelligent people suffer in our dumbed-down society more than anyone else. Perhaps it is a matter of semantics which makes it difficult to understand or find interesting, perhaps the discourse?
It is almost a certainty that the post is merely a method or attempt at trolling. Either way, there is not much more one can do than shake their head, laugh, or whatever as the nature of it being an intentional false statement for the purpose of trolling is what is surely the case. I completely disagree with your comment. I am not a student of philosophy, but i am the mother of a 16 year old son who committed suicide just over one year ago.
I say committed suicide because my son put months of thought into it and was committed to his decision. He weighed all the pros and cons. He put great thought into cushing the blow to those he loved. He did not want to do it at home. He did not want me to hear the shot or find his body or deal with having to make arrangements for someone to remove pieces of his brains from my walls or ceilings. He knew if he hung himself in the attic i would find him, he didnt want that image burned into my memory.
He thought out a rather elaborate plan of how to get a gun and a car. He had his drivers permit which he never carried in his pocket in hopes i wouldnt have to identify his body. He drove 20 minutes away and parked in a rarely used parking lot at a place where all the employees knew him. He made very clear his wishes if his attempt wasnt successful, and his very detailed funeral and burial wishes for if he was.
He tried to explain his rationale. He dated his note. He waited 3 days. He wanted to make sure he wasnt making a rash decision. My son did not want to live. He had never threatened or attempted suicide in the past. It was a decision. His decision. He put a lot of thought into his life or death options, then weighed out his best method of achieving that as quickly, neatly, and painlessly for all involved.
I do not like the choice he made, but it was HIS choice. If he had been in pain from terminal cancer, most would understand his wanting to end his suffering.
Life caused him pain. Should he have been forced to endure pain for years to come until he died naturally? Who am i to judge? Who are you to judge? Samantha, I am sorry for the loss of your son. His name, Ben, is my son. I have kept his website going and moderate comments in his memory. He too took great thought about his decision to end his life.
He left us a journal and explained his decision. And then carefully and with compassion for his family he made his decision to end his life. This is a very interesting website that I fell upon happenstance.
In my recent exploration on the subject of happiness and the happy life which people like Camus and Sartre have delved into with a serious intent to promote good faith in this day and age of bad faith coupled with neurotic and hysterical living; I noticed that the word happy was derived from something that happened to an individual or something one came upon happenstance which changed your life. So naturally I conclude that the best things in life are come upon by chance or happenstance which should cover everything that will ever happen to us.
That may be too big of a project for us right now as human beings. Man must be a paradox of meaning for he has not, to my knowledge, conquered the dualism of his existence, the life and death, good and evil problems facing us.
I think Camus and others would agree that we are responsible for everything we think and do through the awareness of our conscience. I paraphrase Camus when he said that nothing is worth anything unless it comes from our conscious state. Bandcamp Album of the Day Feb 1, Channelview by Curved Light. Bandcamp Album of the Day May 25, Opalescent synth waves crash gracefully on top of each other on this enlightened electronic album.
Explore music. Feminine Squared by Algebra Suicide. Rod Stasick. Star e. David Lloyd. Will Cumbie.Apr 20, · O my soul, do not aspire to immortal life, but exhaust the limits of the possible. -- Pindar, Pythian iii An Absurd Reasoning Absurdity and Suicide There is but one truly serious philosophical problem, and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy..