We are all framed of flaps and patches, and of so shapeless and diverse a contexture, that every piece and every moment playeth his part.
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I have no skill in ceremonious letters, which have no other substance, but a faire contexture of complemental phrases and curteous words.
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Ivy, Marilyn. 1996. “Tracking the Mystery Man with the 21 Faces.” Critical Inquiry 23:11-36. Ivy, Marilyn. 1996. “Ghostlier Demarcations: Textual Fantasy and the Origins of Japanese Nativist Ethnology.” In Culture and Contexture: Readings in Anthropology and Literary Study, edited by E. Valentine Daniel and Jeffrey M. Peck, 296-322.
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Drummer, Jake Garland, left the band to be a full-time member for the band Memphis May Fire. It was revealed on May 14, 2014, that the band would begin recording for the third album in Georgia. The reveal was made through social media. On July 11, 2014, the band announced their departure from Uprising Records and that their next album, Contexture: Gods, Men, & The Infinite Cosmos, will be released independently.
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The ascendancy competition between these wealthy families, its contexture to literary activities opened new dimensions in the development of printing. Panakkal Chakku, Cheru, Thengungal Ittoop, Varu and Koothur Paramel Iyyu Uttoop were arbitrators of some of these families. It is said that the Christian families were settled earlier at Chattukulangare shifted to Kunnamkulam after the invasion of Tippu in 1789. They were invited by the Thalappilli Rajas, provided residences and places of worship.
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Broadway was an American post-hardcore band from Orlando, Florida. Formed in 2007, the band "burst onto the music scene with their catchy hooks and sophisticated song structures" The band joined Uprising Records to release their debut album Kingdoms in 2009 which features guest appearances by singers Jonny Craig and Craig Owens. The band is also known for their cover of The Lonely Island's single "I'm on a Boat", and have released three full-length albums entitled Kingdoms, Gentlemen's Brawl and Contexture: Gods, Men, & The Infinite Cosmos.
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Josif’s distinctive artistic sensibility is also displayed in his writings about music. By commenting pieces of music, composers’ opuses, concert performances and achievements of famous musical interpreters, Josif always marked the significance of complete entering, immersing in a piece of art. He compared the musical contexture stratification with the complexity of human being itself and defined the "tone revelation of secrets of infinity in formation and development" as the sublime purpose of musical art. He used a rich, eruptive language with many unusual and new words by his own.
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In 1774 Vyner was elected MP for Lincoln after a contest. He retained his seat at Lincoln at the 1780 general election. The English Chronicle wrote about him in 1781 as follows. “He enjoys an estate of eight or ten thousand a year in Lincolnshire, is generally esteemed proud and imperious to inferiors, notwithstanding the apparent softness of his interior contexture in the House, and is not at all popular even in the place he represents.” Vyner did not seek re-election at Lincoln in 1784 but instead was returned as MP for Thirsk on the Frankland interest at by-election in 1785.
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This provides an exemplary demonstration > of that logical principle of seriality: every situation must occur once and > only once . Henri Pousseur, after initially working with twelve-tone technique in works like Sept Versets (1950) and Trois Chants sacrés (1951), > evolved away from this bond in Symphonies pour quinze Solistes [1954–55] and > in the Quintette [à la mémoire d’Anton Webern, 1955], and from around the > time of Impromptu [1955] encounters whole new dimensions of application and > new functions. > The twelve-tone series loses its imperative function as a prohibiting, > regulating, and patterning authority; its working-out is abandoned through > its own constant-frequent presence: all 66 intervallic relations among the > 12 pitches being virtually present. Prohibited intervals, like the octave, > and prohibited successional relations, such as premature note repetitions, > frequently occur, although obscured in the dense contexture.
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Emo de Medeiros' work crosses a variety of mediums, including photography, video, textile, painting, performance, and sculpture, and investigates themes of social and symbolic interactions, of the relationship to the digital civilization, of ethnicity and Panafricanism in a post-colonial context. He is sometimes associated with afrofuturism. His practice is based on the notion of contexture, defined as the creation of artefacts based on interconnections between cultures, materials, concepts techniques and practices from diverse areas, eras, and uses. In particular his pieces often mix technological elements (such as connected devices) and forms from classical African art, notably from Benin, or fuse art genres such as installation and performance resulting for instance in the notion of performative installation in which the public represents a semantic element in its own right, such as Kaleta/Kaleta presented in Palais de Tokyo in 2014.
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