#people should also go listen to Readymade

[straycatboogie]

2023/07/12 English

BGM: The Beatles - Hey Jude

I guess my room has about 100 books, but there are not so many books of collection of poems. In other words, I don't have any habit of enjoying reading poems in my life usually. All I do is just listening to various pop songs. Through enjoying them, I have been soaked into the vast sea of poems... so I have never lived until now with having any respect for the poetic culture/heritages in our history. Recently I have been into poems, and even writing. Therefore I want to read poems within some anthologies as Iwanami bunko's "American Poems Collection" because I start feeling ashamed of my ignorance. My life goes like this. Really "readymade"... Although I had to experience a irrational event in my workplace, I could feel that my vitality/mentality got revived actually when I started writing my sonnet. I'm such an easy-going person. Turning around any material successes, I want to write my things steadily... so I tried to do so in a free time today, and built a blog to collect mine. A friend of mine has been writing his original poems for a long time. I have to follow him.

https://bingxiang.hatenablog.com/

It was a day off. This morning I had an online meeting about English conversation on ZOOM. Today we learned a word "subtle". This word has really profound meanings. One of them is "a little", and all members actively made their own example sentences. The sentence I created was "rice has subtle sweet taste". After that, we tried to make our own sentences from the words "make up for". I tried to write as "This Koutaro Sawaki's book will make up for the coming hard days", and also showed the book I had by chance. It's the Koutaro Sawaki's "Midnight Express". I said to a member from India that "Your country appears in this book", then he said to me "Is that book translated in English?". I was impressed by his great strong curiosity. After that, we enjoyed small talk. "How do we celebrate our birthdays?" was the main topic. Me, I opened my birthday on Facebook and LINE so many friends send me celebrating messages. In other words, I can enjoy the "online/virtual party" every year. I remembered that a friend had said to me as "Thank you for being in this world, seeing us!". I am impressed by that grateful comment.  

After taking a nap, I made a draft of presentation I would have with my friends tomorrow, the next Thursday. Nowadays I often look back at my life, and in this presentation I want to talk about my youthful days, my teenage sensitive days. When I was a child, there was never a piece of concept of so-called autism. But, already I had a terrible difficulty to live on so I had to say to myself "Why should I keep on being alive?". Even I was a teenager, I couldn't enjoy any pleasant youthful events. Just I had to face huge difficulty. The people blamed me as "You are different completely from us" and "You are too strange". So I had to be "thrown away from the classroom" (in other words, I had to be bullied). After that, in my college days I couldn't find any part-time job because of this autism. I had to be alone, with no friends. I read many books at that period, and had a certain ambition to be a writer by reading Haruki Murakami and Paul Auster. I can write something great... But, about 30 years after, I actually start writing my journal and poems. I couldn't imagine... I even write them in English! I am really grateful for the friends who has been supporting me.

This evening I attended the "danshu" meeting. A person said his opinions about "how should we talk to the person who are in serious trouble" and "how should we stand close to help them". Going back to my group home, I thought about that besides creating my poem and also reading Shuntaro Tanikawa's poem collection. If I saw the person who were in troubles? They could think as "I wanna die" and "Everything must be over". I remember... I have a friend who were once hikikomori. I remember how he could go out from his room finally and start his new life. He once had faced the fact that his parents were going older more and more, and that let him decide to go out (I heard so). From that life story, I thought that "we need the person's will. He/she must think that he/she wants to live again from himself/herself individually". But I don't want to say that "Other people just have to observe him/her because others can do nothing to" or "Wait for the time he/she will start his new life". All the things we the people around him/her can do are just to let his/her inner fire again. Let his/her will fire, and show the future. Me, I quit drinking and start showing shameful myself (I am now showing crap poems to the world!). I wish this could be a piece of hope to the world.

#journal #diary

[historybetweenthepages]

Blocked to comment this on Anthony Fantano’s video (so I posted it here).

I couldn’t comment a response to this video on YouTube due to censorship so I decided to do it here:

The problem with Paul Joseph Watson is mostly the rational that is used to justify the 'breakdown' of morality through art and culture. The viewpoint that popular culture, within the twenty-first century,' is more "vulgar," "vapid," "self absorbed," "hedonistic," and "dehumanizing" "than any other time in living memory" is a view that is extremely one sided and biased. Any generation of the past could have made this argument about the popular cultural of their day and how it is "farther apart" from the traditional, fundamental values that define a culture or society.

If Watson is going to use the example of Miley Cyrus twerking in front of Robin Thicke as a reason this is no different than the view that parents, or most adults, had during the sixties about rock n' roll. For example, when the Beatles broke up my grandparents (on my fathers side) disparaged the groups period as a band commenting that 'The Mills Brothers' (a barbershop quartet that had a career run of fifty-four years and scored hits with 'You Always Hurt the One You Love,' Paper Doll,' 'Glow Worm,' and 'Up a Lazy River' in the forties and fifties that branded them "The Beatles of the 1940's") had a longer run and that the music, aside from Earl Hines, Marva Josie, and Dinah Washington etc. (musicians who need no introduction), had more 'quality' than the entirety of rock n' roll due to the immoral substance that my grandparents (on my fathers side) believed existed. Although this is not meant to disparage this generational period, as they were not always wrong on what popular culture contained whether it was moral or immoral, it highlights the gap between an older and younger group of people who, in some cases, failed to keep an open mind on what was new and presently modern.

If I was going to provide an example that related to the "classical traditionalism" that is 'mostly' found within Watson's channel, I would counteract this with examples of artists (composers, painters, sculptors, etc.), such as Frédéric Chopin, Alexander Scriabin, Arnold Schoenberg, Alban Berg, Karlheinz Stockhausen, Steve Reich, Philip Glass, Vincent Van Gogh, Mark Rothko, Jackson Pollock, Andy Warhol, Franz Kline, Barnett Newman, Francis Bacon, Damien Hirst, or Samuel Beckett. Although these names would invoke a more increased sense of realism to counteract against Watson's belief it would STILL, no matter how logical or understanding, would not be enough to disprove the argument that most, or all, of modern culture is immoral and responsible for the breakdown of "beauty" and "truth" (although these terms are subjective to how they are used within the given context to what people believe is beautiful and true).

Although there are a fair number of examples that have proved how modern society has provided the shift for the decrease of morality, this is still not comprable enough to assert the belief that modern society is the reduction of "everything that is 'moral' or 'positive' " (given the context of a certain subject or topic). If Watson had existed in the different eras of the artists listed above, he would have most likely disparaged what was not explicitly beautiful (hence, if he had existed in the era of Chopin, or Scriabin, he would have denigrated the use of dissonance found within a fair amount of their oeuvre as composers) believing that although these more modern artists are not entirely negative they STILL take away from the reality of "what beauty is."

Although I am four years late (regrettably), and I do not happen to agree with everything Fantano is expressing, he includes some important and relevant points, saying that although the classic, artistic styles of portraits are still relevant, it is essential to have variety and new ideas so these artistic, subject areas do not become static (3:00 - 3:08). With new ideas this allows for newer perspectives on how these traditional concepts can be considered, or 'digested,' from a newer perspective. Fantano also reminds us of the point that not everything in the modern era, especially television, is awash of programs that are unproductive, crude or narcissistic. For anything that can be defined, or misconstrued, as negative, or unproductive, it can be followed up with television programs, art, music, literature, or online articles that are supported with the intent of positively informing or entertaining their readers, listeners, or audience members.

Due to this, it disproves the view that modernism has produced the "diminishment of beauty" to such a high degree that it is a rare, almost nonexistent characteristic within our society. Although I believe that beauty has been subject to various levels of diminishment throughout the different eras of modern history, it STILL is an aspect of life that many people are fighting, protecting, and exemplifying through their work with some examples that include modern artists who are still living or working within the twenty-first century (with videos to prove my point):

Anthony Braxton (American "free jazz" saxophonist, composer, bandleader, and improvisor) 

Barry Harris (jazz pianist, composer, bandleader, and teacher) 

(although he is more of traditional modernist, espousing those who came after bebop such as Bill Evans)

Cormac McCarthy (author, novelist, poet, and playwright) 

https://www.youtube.com/watch?v=_s-egB5SzFY

David Dubal (classical pianist, writer, and disc jockey)

David Hockney (painter)

Frederick Buechner (writer, novelist, poet, autobiographer, essayist, preacher, and theologian) (this will only maintain relevance if you are religious)

George Winston (pianist, organist, guitarist, composer, and improvisor)

Keith Jarrett (jazz and classical pianist, composer, bandleader, improvisor, and multi-instrumentalist)

(with five other video examples as well that will be posted in the reblog of this response)

Even if these examples provide a strong,  moderate, or weak validation for my argument they prove my point (I hope) that beauty is STILL a valued characteristic of daily life and defined as essential for the overall growth, of not only those who are subject to the work, but of the society and environment in which they live. Although the examples above are mostly based around music (due to this being a music channel), I have tried to include other aspects of the arts as well to prove that the modern world, whether it is centered around the second half of the twentieth century or the majority of the twenty first century, is capable of deriving beauty from non-traditionalism and that traditionalism is the foundation that supports the ideas that are acted upon in a modern context. Understanding this, it is safe to assume that not everything has to be 'traditional' or 'conservative' to be considered legitimate. Instead, it is more proficient to believe that as long as the various mediums within the arts, or other aspects of our societal culture, exude a pronounced sense of positivity, this will create a more likely heightened sense of awareness for what is considered 'valuable,' or 'essential' for a given society.

In summary, if Miley Cyrus and Marilyn Manson have profited off an existence that is viewed by a majority as being immoral this does not define the entirety of the modern world. Overt sexualization, the diminishment of beauty, and the "pretentious works of art" found at TATE Modern (using Marcel Duchamp's readymade sculpture, 'Fountain' (1917) as an example) is not the "top defining example" of modernism. Instead, they represent examples of variance that Fantano views as "shit posting before shit posting," even though I disagree with this viewing it as the development of a new artistic style and philosophy (what was known during Duchamp's life as 'DADA'). These newer styles separate art from aspects that are "static," "boring," or "plain" (depending on how these works are viewed) with Fantano using Lou Reed's 'Metal Music' as a relevant example for musical, modern ideas.

The "take down" (depending on how you define this in the context of how it is used) of traditional, conservative values do not define the majority of what is observed throughout the lens of modernism. Instead, it is artists, writers, composers, etc. taking risks on how they can combine traditional aspect of their medium, or style, and subject them to new ideas that are experimental, or improvisational, in their nature. even if an artist’s ideas had no connection to any aspect of traditionalism would this make it bad? In my opinion, not really.

Even if Watson makes a fair number of points that, hypothetically, could be agreed upon (with most that I do not agree with) this does not account for how flawed this view is. It is not healthy, or viable, for someone to look at the modern world with blinders on and continue to move forward. This does not assert change. This does not introduce newer ideas. This does not move traditional aspect of art, or culture, past their classical, conservative stages of infancy. If you want to move forward in the truest sense of a philosophy (give or take what that may consist of) you have to be open to incorporating newer ideas, even if it exists outside of your own personal worldview. You do not have to agree with it but to close yourself off entirely from a new experience that could benefit you personally is wrong.

The logic of "I disagree with certain characteristics of this so I am going to reject it entirely" is WRONG and should NOT be exemplified by anyone at any time. If you happen to disagree entirely with something that is your prerogative and should be respected (as long as it logically based off of facts that can be proven and sourced). Regardless of how right or wrong Watson is (although it may be apparent which view people have taken), it does not set aside the hatred that is transparent when choosing to believe in this philosophy. There are certain facts that define life and although it may be obvious that general "players" within the current culture are immoral and act in contrary ways, (opposed to the moral and values that once, in greater ways, defined our culture), this does not mean that those aspects of modernism that you personally disagree with, aside from what can be factually proven, are wrong, nor are they "the problem" (as Watson would say).

Yes, society has become more contradictory.

Yes, society has become more immoral.

Yes, society has become less centered around a factual or moral truth.

That is just the reality. But is it appropriate to hate what does not measure up with "moral" examples of the past? No.

Of course Mark Rothko is going to be different from Michael Angelo or Jackson Pollock from Claude Monet. That is just the way it is.

But to throw away what you cannot see personal value with may be realistic, and understandable, but in the end is ignorant.

So overall, anything that can be viewed as negative in the modern era can ALWAYS be paired alongside that which is positive. This has been true for the sixteenth, seventeenth, eighteenth, nineteenth, and twentieth centuries, while still remaining currently true.

If Watson has to be given examples of positive aspects of modernism within the arts and culture, I suggest that he do more research. But then again, he is probably incapable of finding real, hard data, or credible sources, when he only exists on a surface level (and I know this from personal experience, I used to be a subscriber)

P.S.

And NO, I would not say that this is a realistic portrayal of conservatism because what exists on the surface is usually not a summary for the entirety of people who exist within a political or social group/philosophy. Regardless, Fantano makes a great logical point while still remaining relevant while providing examples are spot on in making his point. Overall, this is a good video that deflates most of what Watson is saying as flawed and illogical while disproving him in a factual way.

Rating: B+

 NOTE:

I may edit this comment so expect changes. If I do not than it is here to stay. I hope that you have enjoyed what I have written and find it to be a good contribution to Fantano's response.

#essay #commentary #youtube #paul joseph watson #anthony fantano #video #writing #modernism #culture #society #politics #barry harris #jazz #modern jazz #anthony braxton #composer #composing #nea jazz #improvisor #pianist #piano #keith jarrett #david dubal #classical music #george winston #instrumental music #theneedledrop

[maraudererasmut]

Black and White (Part IX)

(This is a long one! I'm sorry!)

Part I | Part II | Part III | Part IV | Part V | Part VI | Part VII | Part VIII | Part IX | Part X | Part XI | Part XII | Part XIII | Part XIV | Part XV | Part XVI

Remus spent ten minutes in the washroom.

He didn’t want to spend ten minutes there, standing around by the sink, eying himself awkwardly in the mirror, nodding uncomfortably at the man who stood in the corner giving out mints. At first, Remus considered returning to the table, but then he pictured Sirius’ face, dark and cold, his glare as sharp as his cheekbones. 

A few minutes in, Remus noticed the bathroom attendant— Is that what he was called? — eyeing him suspiciously. He gave the man a guilty smile and tried to save face. 

“I’m uh… just waiting on some friends… they’re… uh… having a conversation at the table? A… A private one… I just…” 

Remus cut himself off after he realized how little the other man cared about his predicament and how awkward his explanation sounded. 

After ten minutes in the restroom, Remus eventually returned to the table, praying to whoever would listen that his friends' discussion was over; the last thing Remus needed was to walk in on them talking about him. When he arrived, Lily and James both offered genuine smiles. Sirius was staring intently at the menu, making a point of not glancing up as Remus sat down beside him.

“Remus! Hey… Sorry about that,” Lily began, before Remus shook his head in response.

“It’s no problem, really. Gave me a chance to… get some fresh air…” Remus didn’t know why he lied; perhaps he didn’t want his companions to know that he had spent the entire time staring at the mirror above the sinks. 

Just as Remus lifted up the menu to begin looking at it— Lily was right, there were no prices! — a server came by to take their orders. 

“Sir? What can I get you?”

“Oh…” Remus glanced down at the menu again, then back up at the server. “Can you… come back to me? At the end?”

“Of course, sir.”

Remus searched through the menu for the least expensive-sounding option as the rest of the party gave their orders. By the time the waiter circled back to Remus, he had settled on something.

“I’ll have the salad, please.”

“Very good, Sir. And for your main course?”

“Oh, uh… that… that was for my main course.”

The waiter cocked an eyebrow and Remus could feel the back of his neck burning. 

“Sir, this is a prix fix menu. It’s all included. The appetizer, the main course, the dessert, all one price.”

Oh.

That explained why the menu didn't have any prices on it. It also posed a problem for Remus, who wanted to spend as little as possible at this exceedingly expensive establishment. 

He glanced down at the menu again, feeling the eyes of his companions all settling on him, waiting for his response. Remus swallowed, trying to steady his nerves. He needed to keep his voice from shaking. 

"Wh— what do you recommend?"

"The steak is our most popular dish.  A very fine cut. Exceptional."

"O-okay… I'll have that."

"Very good, sir. How would you like your steak?"

Remus glanced over to Lily, hoping that she could help save him from embarrassment. He had never ordered steak at a restaurant; what was he supposed to tell the server? Lily smiled kindly at him, in that way she always seemed to smile. It was as if nothing about her could ever be unkind. 

"It's usually best medium-rare," she said softly.

"Okay, uh… medium-rare then…"

The server nodded before leaving the table. 

"Thanks," Remus mumbled under his breath, earning himself a gentle squeeze on the arm from Lily. 

Conversation at the table picked up, and Remus noticed his nerves settle slightly as James and Lily chatted away. Lily began talking about art, a conversation that Remus could participate in, resulting in a vibrant debate about the merits of the hand-made and the decline of technique in the contemporary art world. 

"I think that's the biggest flaw with performance art," Remus was saying as the sommelier filled his second glass of wine. "There's no skill involved. Sure, your idea can be strong, but there's a definite lack of artistic prowess, and it's a sincere pity. It really is detrimental to overall artistic growth in terms of sheer ability."

"You're wrong," Sirius said suddenly, speaking up for the first time since Remus arrived back at the table. Remus looked over to Sirius, expecting him to look upset. Instead, the gallerist had a smug grin on his face, his eyes sparkling with passion. "And if every artist thought like you, we would be stuck looking at the same thing in every gallery."

"Sirius," Lily said threateningly, before Remus cut her off.

"No, no, I want to hear this. Go on, Si— Mr. Black. I'd love to hear your explanation."

"Well," Sirius began, pausing to nod at the server who brought him a plate of food. "Performance art, readymade, the types of works that, as you say, don't require talent… those artists push the boundaries of what is defined as art. They move the contemporary world in a new direction, challenging the ideals of the time, bringing forth new concepts and making statements "

Remus smiled at Sirius, shaking his head.

"There's a time and a place, Mr. Black." He took a bite of his food and paused for a moment to savour the variety of flavours. Despite being a salad, it was so different than anything he had ever tried before; sweetness paired with bitter, the tang of citrus crossed with the bite from spiced pecans. He closed his eyes, relishing in the sheer sensation of eating. 

"You were saying, Mister Lupin?"

"Oh, yes, sorry. This is delicious. Yes, a time and a place. At the time that Duchamp first introduced the concept of readymade, there was a genuine need for it in the art world. Nowadays, if somebody presented a urinal in an art gallery, they would be laughed at! What the contemporary art world needs these days is a return to craftsmanship. We need to go back to our roots, to explore techniques, to learn how to paint and draw and sculpt the way we used to."

"And what of Abromovic, who challenges what it means to be an artist?" Sirius asked, his grin growing wider, a hint of colour spreading across his cheeks.

"What about her?" Remus retorted, taking another bite and picking out the individual flavours of the dish. 

"Well, Mr. Lupin, she changes the way we view art. Art is no longer something that is inaccessible to the lower class, the uneducated. Art is something that anyone can do, or be, or have, or create. Art is no longer reserved for the elite. People can no longer purchase art the same way they used to. I cannot own an Abromovic masterpiece. I can enjoy it and witness it, I can be a part of it, but it's not something that I can have and keep to myself behind closed doors. Art is no longer a commodity."

Remus nodded to the server who cleared his plate before giving Sirius a slightly skeptical look.

"You don't need to tell me about commodification of art and the inability to access it," Remus said with a grin. "If anything, I should be the one arguing for art accessibility for the lower class, not you."

Sirius' eyes flashed with something that Remus couldn't decipher, and for the briefest moment, the gallerist looked taken aback. Sirius' composure quickly resumed, however, covering up any sense of doubt, his lips twisted smugly.

"Well then, Mr. Lupin, my point shouldn't be lost on you."

"It's not," Remus said with a casual shrug, glancing over to James and Lily who were merely observers of the conversation rather than participants. "I understand what you mean. I just don't think people should become so wealthy on such minimal talent…"

Sirius didn't respond.

Remus noticed the silence that settled over the table and his smile faded. He sat up straight, fiddling with the corner of his napkin, realizing his error. 

"I… I mean… like Abromovic. She's so wealthy and she… well… she hasn't produced anything… and galleries keep bringing her in and, well, she… uh…"

Two servers arrived at their table, placing a plate in front of each person, and Remus had never been more grateful for a distraction. 

"Ah! Wonderful!" James exclaimed, drawing the table's attention to himself. He smiled across at Remus, as if to say that all was well, but Remus could tell that something was off with Sirius. The artist glanced over to his right, where the gallerist was digging into his dinner. 

With a shrug, Remus focused his attention on his steak, and the moment he took a bite, all of his worries faded away. 

Remus had never tasted meat like this before. It was soft and tender, dripping with juices and a punch of flavour. His knife slid through the meat so easily, so effortlessly, revealing a perfectly pink interior. This was the most delicious meal Remus had ever eaten in his entire life. 

No wonder rich people are always so happy. I'd be happy too, if I could eat this whenever I wanted.

Remus knew he'd never be able to properly enjoy a steak again, it would always be compared to the perfect dish before him.

"So Remus," Lily began, once their plates were beginning to empty. "If you don't like Abromovic or Koons, which artists do you like?"

Remus grinned at his friend as he set his fork and knife down.

"And I'm assuming I can't just say myself?"

Lily and James both laughed at his joke, but Sirius' face twisted into a scowl. 

"A little proud of yourself, are we?"

Remus' gaze returned to Sirius, trying to read the man; he couldn't tell if his joke was lost on Sirius or if the man simply lacked a sense of humour.

"I mean, I didn't name a gallery after myself…"

Another pause. The table seemed to hold its collective breath as Remus' taunt landed. 

Sirius' lips parted in a grin, and he let out a sharp laugh. Remus felt his body release the tension he didn't realize the was holding, his shoulders relaxing and a breath escaping his lungs.

Thank god.

Sirius laughing meant that Remus didn't put the rest of his life at risk. He was, however, beginning to despise the minefield that was this dinner, waiting for his next slip up, waiting for his world to explode. 

"That's funny, Mr. Lupin." Sirius said, after a good chuckle. "Very funny. Especially considering the fact that up until very recently, it was your desire to show in that gallery."

Shit.

"Oh shush," James butted in, before anyone else could say anything. "Learn to take a joke, Sirius. Don't be so—"

"Don't say it, James!" Lily warned, barely containing her grin.

"I was merely playing along!" Sirius teased, his cheeks rosy from the alcohol and laughter, his eyes sparkling with mirth. His gaze flickered toward Remus, and the artist felt his heart skip a beat. Sirius was a very handsome man, and laughter looked particularly good on him. He was attractive no matter what he did, any way that he held himself. When he smiled, though…

Remus quickly looked away, directing his attention to the remnants on his plate. When Sirius smiled, his eyes lit up, as blinding as the sun kissing the sky on a perfect winter day. They were the very shade of snow beneath a tree, the lightest of blues, perfectly undisturbed. Sirius' cheeks bore the morning blush of a sunrise, the colour of the sky just as it threatened to turn blue. Next to the creamy glow of his face, it took on an almost ethereal quality. 

Remus loved the colours of Sirius.

And he hated how much he loved it.

"Any coffee with your dessert, sir?" 

Remus thought his heart might have exploded with the shock of being wrenched from his thoughts. He looked up at the server with a look of panic, having completely forgotten where he was.

"Um… no, no thank you. I'm fine," he mumbled, tearing his eyes from the server and keeping them focused on the chocolate torte that had been placed in front of him.

Thank god.

Nothing could redirect Remus' imagination quite like chocolate, and he was thoroughly grateful for the distraction. 

Dessert passed with minimal conversation as everyone savoured their delicacies. As discussion resumed, it veered away from art, and Remus found himself listening more than talking. Eventually, the server came by the table, and Remus realized that his perfect meal and fantasy evening was about to come to an abrupt and painful close. 

"Will there be anything else you need?"

"No, just the bill, please," James said politely.

"Together or separate?"

"Together."

Together?

Remus opened his mouth to protest, but thought better of it; he waited for the server to leave before he rounded on James.

"You really don't have to do that, James. Honestly, I can't let you—"

"Nonsense!" James said with an enthusiastic flap of his hand. "Of course I'm paying! This dinner is my treat!"

"But it really—"

"Remus, I invited you to join us! It's my pleasure!"

Remus knew he should be happy, he should feel relieved; his whole night had been laced with anxiety as he thought about the ludicrous cheque that was waiting for him. Instead, Remus felt guilty. He felt like he was in debt to James, like he owed the man. There was no way he could accept a gift this generous without repaying the favour.

"You don't have to," Remus mumbled, feeling the weight of his words press down on his shoulders. He was damned either way, but at least if he paid for his meal, he wouldn't be indebted to anyone. 

"I know," James said, his smile never faltering. "I don't have to do anything. I want to. Now, back to the real matter at hand…" James turned to Sirius. He was clearly finished with the discussion about the bill, and Remus knew better than to push.

"Yes, James?" Sirius said, quirking a brow playfully.

"Now that you've had a proper opportunity to get to know Remus, have you come to any important decisions?"

Remus' heart was suddenly in his throat, beating more rapidly than he thought possible. How could he have forgotten about Sirius' decision to have him in the gallery?

"As a matter of fact," Sirius purred, his smile crooked and sly. He turned to Remus, his chin tilted slightly upwards, a flash of pearly white teeth enclosed between tender lips that Remus wanted to forget about. "I have."

Remus' grip tightened on his napkin and he sank into his chair as the silence and anticipation steadily grew worse.

"Well?!" James was on the edge of his seat, clearly not a patient man. Lily had her hand on his shoulder, trying to keep him at bay.

"Remus, I require no less than five pieces in order to begin displaying your work. I would like to have them by our next show, which will be towards the beginning of November. Do you think you can accomplish that for me?"

Remus was at a loss for words. He nodded fervently, unable to get his voice out. 

"Good. I'll have my lawyers work up a contract. You can come by the gallery on Monday to sign it and discuss details."

Remus couldn't believe what was happening. He pinched himself on his forearm, trying to ensure that this was not some kind of vivid dream. As a jolt of pain shot through his arm, a smile spread across his face. 

As far as he could tell, it was all real...

#black and white #wolfstar #wolfstar fanfic #wolfstar fanfiction #my writing #artist remus #gallery owner sirius #part nine #part ix #harry potter #harry potter fanfiction #remus/sirius #sirius/remus #harry potter fanfic #chaptered fic #slamming on Abromovic #a whole lot of artist talk #artist au #alternate universe #harry potter au

[totallyvain]

Vanity Hour with Yung Heazy

Hometown: Vancouver, Canada

Sounds like: If The Beatles and Mac Demarco decided to collab on a bedroom pop track. 

WORDS BY: Thania Garcia 

Jordan Heaney’s indie rock project, Yung Heazy, was initially created as an avenue for releasing mini love songs dedicated to Heaney’s girlfriend. The now-viral track “Cuz You’re My Girl” was uploaded (not by Heaney) to Youtube almost three years ago and since then, the project has become one of the most recognizable in the bedroom pop world. 

Totally Vain: You first started to notice traction in plays when someone uploaded one of your songs on a popular Youtube channel. What was your initial reaction to that? I’m assuming no one contacted you about the upload or gave you any revenue for it either…?

YH: That is a correct assumption. The feeling I got was intense happiness and gratefulness to the universe. It’s still very surreal, I try not to think about it in fear I’ll go insane that all this is real life.

Back in September Heaney released the single “Kool Musik,” a dreamy almost four-minute enormously expressive track with scattered instrumentals. In the past, Heaney has expressed infatuation for hypnotic relationships in music referencing Radiohead’s “Rainbows” and Ariel Pink as inspiration which you can clearly hear in “Kool Musik.” 

TV: With some songs like “Comfort” your musical influences, Mac Demarco & Ariel Pink, are present but what other artistic avenues do you pull from when you create? I mention this because your cover art and overall visual aesthetic is so spectacularly unique to your brand.

YH: I like lots of stuff when I write a song I try to fit as many musical experiments and references as possible. I think the last song I recorded took influence from Walkabout, Moving like Mike, Black Skinhead, Helter Skelter, and Readymade, Bad Guy, a whole set of songs. When I hear a cool musical moment I go, hmm how can I make that work in my world?

TV: What would you say were the defining moments or traits of your environment that inevitably shaped or influenced your start in music and your music industry experience?

YH: I was surrounded by music as a kid, specifically that of The Beatles and 60s/70s music my dad had on tape. I had music lessons regularly...such as violin at age four and then piano a few years later. What made me get invested in music properly was learning the guitar around age 13 and discovering the Red Hot Chilli Peppers.

TV: What is the major difference when it comes to dictating your own music (production, writing, recording, performing) vs. with a band?

YH: In recording/producer world I can just do what I want and experiment, try to make everything sound nice and cool. With the band, I like to keep things a bit open-ended after everyone has learned the parts if someone has an idea on how to improve the song for the live show may as well try it out. 

TV: Congratulations on landing a spot on the Tropicalia 2019 lineup! I think Tropicalia is doing a great job at catering to a specific audience of ‘indie’ ‘bedroom pop’ listeners along with catering to the Latinx community that greatly makes up a portion of that audience. How do you think the ‘bedroom pop’ community will evolve as we dive deeper into the digital age and the accessibility to recording and producing grows?

YH: It will become more diverse and split into subdivisions that will inspire completely new and unique genres and styles. It’s a beautiful thing that anyone can start recording music for dirt cheap these days. 

TV: Do you feel restricted by the ‘bedroom pop’ label? Or do you feel being a part of that genre means you’re free to mix and match thanks to the likes of Soundcloud?

YH: No I mean, if I want to make metal music tomorrow, why not? I don’t need to release it under Yung Heazy, stay tuned for my prog metal project under my new label 2020.

TV: How would you compare your place now in the music scene to where you were when you first began? What kind of struggles have you faced during your journey so far?

YH: When I began I was so excited to have anything to do with the music scene in Vancouver. I’m in a place now that I can kind of show up to most places in North America and play to people who know my stuff. The hardest part of getting here was learning about the industry and doing all the behind the scenes stuff, some tasks less glamorous than others

TV: What do you hope to achieve in the future and what are you most excited about?

YH: I’m slowly but surely working to a point where I can start writing for and directing large scale orchestral music. I want to make songs that sound like if Mozart and John Lennon had a collab. Also to direct a film with my own soundtrack.

TV: What song(s) of yours are you the proudest of and why?

YH: Cuz You’re My Girl and Backup Plan comes to mind, lyrics are the most difficult part for me, when I get good ones I feel accomplished. 

TV: Any last words for our readers?

TV: Keep fucking up and making bad decisions! (in music that is) I think you should expect at least a thousand epic failures on your journey, embrace em and do whatever you can to keep the dream healthy and alive.

#yung heazy #music #musicjournalism #musicblog #blogging #blogger #rap #mac demarco #indie

[ohloveandlight-blog]

Owlet Camera Presale

The Debate Over Owlet Camera Baby Monitors

The video quality is so terrific. If you have chosen to purchase baby monitors with video like the Owlet Cam instead of an alternative to an audio-only choice, then you're making a fantastic option. If you should be looking for a lot more, in addition, you will find tons models that arrive with several preferences.

Source: Owlet Cam Review – This New Video Camera Baby Monitor Pairs With the Owlet Smart Sock

As a answer to gaining your back right and fit body but not only that, there are tons of people who only want to keep a healthful lifestyle. Despite two or three issues, it's still the very best cup I have used.

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Luckily there are baby security gates out there for awkward or wide spaces at your house. The status will turn acute hence cleanliness needs to be provided first preference. Make certain their room gets got the suitable temperatures room-temperature is vital.

You need ton't look at purchasing a kid monitor for a grudge in mind it may save your child's own life. Simply spend the opportunity and energy for you to be sure which you're buying a impartial gift if you are not certain of the gender. You might desire to do whatever and anything you can to look after your baby and among things that's an invaluable investment is that a baby monitor.

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Choosing Good Owlet Baby Monitors

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Finding the Best Baby Monitors Like the Owlet Camera

While shopping for baby track, attempt to go for a item which offers both high quality and security. To be able to avoid this, the observation helps a good deal. Baby monitors are only an individual category of apparatus within an great range of household products which write the internet of things (IoT).

Key Pieces of Baby Monitors

But in case the pressure is somewhat more on the hassling side, there's a ideal solution that communicates for only the issue in the shape of baby monitors. If you anticipate being very portable whilst tracking your baby, you should consider taking a look at digital baby monitors which provide buckle clips or other conveniences that promote mobility. Accordingly, in case you own a video baby monitor set up on your residence, you'll be able to have a lot of sleep.

A wholesome body is a joyous body. If it regards maternity you have to make certain you're doing the correct thing by your whole body and also baby to guarantee that a nutritious pregnancy along with also well grown baby. You are going to have the ability to locate the infant's heart beating in an Ultra sound so there's usually no requirement for a noise.

The standard of sleeping of this kid isn't suffering, which can't be said concerning the parents. Parents and family should remain clean to prevent babies' illness. Whether you're searching for a tool to hear your baby upstairs or a vitals reader, there's a baby monitor out there to suit your parenting necessities.

Baby Monitors at a Glance

Besides boasting all of the needed technology for a great track, when baby matures you'll have a terrific smart camera to get else where on your property. Alternately, the wireless baby monitor is a lot less restrictive and is still a favorite choice as a result of its flexibility and portability. So just how will you go about choosing the correct video baby monitor foryou personally.

The expense of this video monitor doesn't imply you are very most likely to be finding a smaller or increased quality of camera, or any additional security options. What to search for in wireless outdoor security cameras make certain you plan out the way in which you are able to set your machine before buying. In that circumstance, you may choose a monitor it will not connect to the world net.

They've gone far after they are initially introduced on the market. Today's baby monitors ensure it's straightforward to blot. Finally, Safety 1st digital baby monitors would be the most cheap baby monitors in the marketplace.

The crib security locks need to be studied as it is used with the Owlet Cam. You also ought to ensure that the toy is age right so you don't result in any injury by buying the incorrect toy for the infant.

[mariabblackyr2]

Nothing Is Original (and thats ok) - Lecture Notes & Set Task

Aims for lecture: to start to think about originality, to think about the concept of what a copy is and how this might impact my practice. Also to begin to think about the terms pastiche and appropriation.

Palimpsest - a literal description of a physical object “ Paper, parchment, or other writing material designed to be reusable after any writing on it has been erased” 

By the 19th century the definition had to be tightened and was then referred to ‘a manuscript in which later writing had been superimposed on earlier writing’ 

During the 1800’s the word also evolved into a metaphor - with it retaining traces of its earlier form.

What is Originality? - How do we define it? Should we try and purse originality? Does it even exist? If so what does it look like?

The Artist as a Conman -  Wolfgang Beltracchi - in open prison, the thrill of the crime, painted exact copies of famous painters and sold them as the artists not his, shouldn't look at a painting to say this is this or that.

So why does it matter? Where are I going? And Why should you listen?

Everything is - uncanny, a hoax, theft, deja-vu, appropriation - nothing is every original - everything is re-appropriated.

To define something it can be easier to compare it to its opposites, for example to define appropriation art you can compare them to forgery to see similarities - so re-appropriation is using a piece of work again in your own style whilst forgery is right off copying.

Historical Context - This idea of copying stems from artist apprenticeships where they would be trained to be artists by copying their ‘masters’ - a necessary formation as part of artist training.

The practice can also be traced back to cubist collage - from works such as Picasso and Braque (1912)

As well as this the theme of surrealism follows ideas of copying and forgery  in works done by artists such as Salvador Dali, Jasper Johns and Robert Rauschenberg 

Alongside this Marchel Duchamp - presents everyday objects.

Appropriation within art practice:

The deliberate production of another artists work

Artists copying artworks for their own artistic expression 

It involves adopting intellectual property from elsewhere

Borrows images, styles, forms  from art history or pop culture

Evolved around the 1960’s and then peaked in the 80’s 

Appropriation - or making artworks using already existing artworks

Terms around The readymade, pastiche, parody, stealing, simulation

Appropriation :

Pastiche, Parody and the Remake 

Postmodernism has been characterized by new creations as well as the sense that everything that is ‘new’ has been done before.

Postmodernism asks the question, ‘can there ever be new ideas and images’ Will anything ever be any different from what has come before. However, does any creation or trend have to be new, does it really matter?

In today's day and age the world consists of a huge variety of images that are remakes or copies of each other- with pop culture, art and architecture the concept of an image being original has been thoroughly subverted.

A key term used to describe the culture of imitation, copying and parodying is pastiche. The film theorists Richard Dyer has written the way to understand pastiche is as an ‘imitation that announces itself as such and that involves combining elements from other sources.’

According to Dyer collage, montage - a style of composing that combines elements from different places - within imitating we can find different combinations and relationships to the original text 

Pastiche can be a form of play

Photographers who explore re-appropriation:

John Strezkar - uses found images to create collages and montages which recreate the original narrative of the photographs.

Jeff Wall - Wall created the photograph titled ‘A Sudden Gust of Wind’ which is remarkably similar to a Japanese Painting.

Levine says ‘ the world is filled to suffocating. Man has placed his token on every stone.every word, every image, is leased mortgaged. We know that a picture is but a space in which a variety of images, none of them original, blend and clash.’

Levine's work questions the ownership of art and what originality really is. Her image our famous for being is a blatant violation of their copyright.

Originality - ‘the action of mechanical reproduction effectively diminishes the concept of originality’.

The mass, mechanical reproducibility of art has reduced its authenticity 

Mass production removes what he calls the aura - a sort of unique authority - from the work.

Even the most perfect reproduction of a work of art is lacking in one element: Its presence in time and space, its unique existence at the place where it happens to be.

The Death of the Author - Barthes extended this concept of ‘The Death of the Author’  to question originality and authenticity - he talked about how any text or image did not emit a fixed meaning  from one person but yet a range of quotations that were references to yet other text.

Igor Stravinksy - was writing ballet - corrected scores of classic manuscript - borrowing baselines whilst adding his own harmonies - ‘how dare you do that to the classics’ - you respect but i love 

Kleon loves newspapers - daily dispatch of human experience 

The artist as the collector - collects selectively - collect ideas

‘Stole words from the newspaper’ blocked out words on the page that he didn’t need to create a poem.

Published a book 

Thought he was ripping off government censorship - however work was said to be unoriginal

Tom Philips - uses books - paints and draws over the page leaving words floating on pages

Philips got it from William Burroughs who had a cut up writing technique 

Burroughs got it from Brion Gysin who was a painter cut through newspapers - poetry 

Tristin Tzara - cut up newpaper put pieces in hat them read them as a poem

Caleb Whitefoord - read across newspapers - funny combinations - published broadsheet

Kleon - idea ‘unoriginal’ - nothing is original - all creative work builds on what came before - every new idea is a remix of previous ideas

We are remix of ancestors - a genealogy ideas exists also - friends, books, music - mashup of what you let into your life

Stealing what meant something to him - expose yourself to the best things humans have done them bring them into what you're doing 

Good artists copy - great artists steal 

All art is theft - bad poets steal and de-face it 

Set Task

For the set task I did some research into Richard Prince as well as looking at the book Appropriation to further explore theory and ideas around the topic.

Appropriation - Documents of contemporary art 

‘ Pictures’ showcased artists who re photographed works

‘The death of the Author’ - ‘questions the notion of originality’

Appropriation art was justified via the ideas of Jean Baudrillard - merging reality with media's representation of reality itself

Happened around postmodernism

Influential galleries for appropriation -Metro Pictures and Sonnabend 

Artists who debated postmodernism 

Took place largely in the 1970’d/1980’s.

Barthes and Foucault were ‘ taken up by postmodernism to construct a critical space for works using appropriated imagery and stereotypes, largely through photography.

Jean Baudrillard 

‘The simulacrum is never what hides the truth - it is the truth that hides the fact that there is none. The simulacrum is true’ - an image or representation of someone or something that is not true - links in with Richard - simulacrum is a fable - it is fake

Richard Prince never wanted to copy but create a resemblance 

The technique is how you manage and reproduce the image - Prince disassociate’s from the images original intentions 

A late 20th century style and concept in the arts, architecture and criticism, which represent a departure from modernism and is characterised by the self conscious use of earlier styles and conventions, a mixing of different artistic styles and media, and a general distrust of theories. 

Richard Prince

‘What Richard is doing is questionably legal, but even if something is legal and ‘starts a dialogue’ it doesn’t mean you should actually do it.’

An infamous appropriation artist

He re-photographs, scans and manipulates the works of others

Draws his subjects from subcultures and cultural cliches

Shows how we accept stereotypes and messages from marketing - how we rely on the icons that are created by marketing such as instagram. - reproduces cliches of advertising - revelling that the messages and images are fiction 

Taking things from the original environment such as a screen shot - the familiar becomes unfamiliar and uncomfortable - inviting the viewer to criticize

Has had multiple lawsuits due to the ‘borrowing’ of work.

Prompts others to think about the ownership of art and question what is art

Has created a series of works appropriating peoples instagram posts - repurposing them by changing the caption then hanging them on a gallery wall - controversial due to  - captions provoking thoughts around current issues

Distorts the idea of owning something

When working for time-life he used advertising images then cropped them down to create his own images - ‘it was used to create a fiction, but it had come from a truth’ - creates a different meaning for advertising photography

Known for rephotographing  Marlboro cigarette advertisements then re-titled them.

links:

https://www.anothermag.com/art-photography/9602/the-new-exhibition-examining-appropriation-in-art

https://www.theguardian.com/technology/2015/jul/18/instagram-artist-richard-prince-selfies

https://www.dazeddigital.com/art-photography/article/46679/1/richard-prince-causes-controversy-instagram-appropriation-art-artwork-theft

https://www.nytimes.com/2017/07/20/arts/design/richard-prince-instagram-copyright-lawsuit.html

https://www.theartstory.org/artist/prince-richard/

#contextualstudies

[katiewattsart]

03/12/19 : NOTHIN IS ORIGINAL (AND THAT’S OK)

RECAP 

who watches the watchmen?

Ever tried, ever failed

Teddy boys and haul girls

Utopia and dystopia

Nothing is original and thats okay

AIMS FOR TODAY

to begin to think about the concept of originality

to begin to think about the concepts of the cope and how this might impact your practice

To begin to think about the terms pastiche and appropriation 

THE OVERVIEW

1) INTRODUCE

2) THE OPENING ‘HOOK’

3) JUSTIFYING YOUR TOPIC

4) THEORY - WALTER BENJAMIN

5) CASE STUDY- ARTIST SHERRY LEVINE AND RICHARD RAUSCHENBERG

6) WE WILL FINISH WITH A HIGHLY ACCESSIBLE TED TALK BY AUSTIN KLEON ENTITLED

   ‘STEAL LIKE AN ARTIST’ TO PUT ALL OUR MINDS AT REST!

7) THE CONCLUSION WILL BE UP TO YOU!

The ‘HOOK’

PALIMPSEST 

The earliest definition of palimpsest dates from he 17th century, a literal description of a physical object: ‘paper, parchment, or other writing material designed to be reusable after any writing on it has been erased.’

By the 19th century, the definition had tightened to refer to ‘a manuscript in which later writing has been superimposed on earlier (effaced) writing.’

During the 1800s, the word also evolved into a metaphor, as in ‘a think likened to such a writing surface, esp. in having been reused or altered while still retaining traces of its earlier form; a multi-layered record.’ (Jeffery a Kroessler. The City as Palimpsest. John Jay College of Criminal Justice.) 

What is Originality?

How would you define originality?

Should we try and pursue originality?

Does originality exist?

If so, what does it look like?

The Artist as Conman

‘Even in literature and art, no man who bothers about originality will ever be original: whereas if you simply try to tell the truth (without caring twopence how often it has been told before) you will, nine times out of ten, become original without ever having noticed it.’ C.S.Lewis

So why does this matter?

Where am I going?

Why should you listen?

Or

‘The Justification”

Angst. (Portrait of the Artist) (1971) Arnolf Rainer.  

A Quotation

Appropriation, pastiche, quotation - these methods can now be seen to extend to visually every aspect of our culture, from the most calculated products of the fashion entertainment industries to the most committed critical activities of artists.’ (Crimp, Douglas. Appropriating Appropriation, in Hertz, Richard (ed) Theories of Contemporary Art, Prentice Hall Inc. USA, 1985.

Greyson Perry. Red Carpet.

But to be clear…or ‘to quantify’

Appropriation Art VS Forgery

FORGERY MEANING : the action of forging a copy of imitations of a document, signature, banknote, or work of art.

forger copy in close detail the makings on the back of the canvases, and made the frames appear to be decades old.

The art dealers also issued fake ‘certificates of authenticity’ for the forgeries. (New York Times) (on Ely Sakhai)

Historical Context

APPRENTICSHIP

the practice of copying existing artworks was seen as a necessary formation of an apprentice artist.

To copy old masters has traditionally been a key part of the artists training 

HISTORICAL CONTEXT 2

The practice can be traced back to Cubist collage.

I.e. the construction of Picasso and Braque (1912)

PABLO PICASSO, NUDE IN AN ARMCHAIR, HORTA DE EBRO (PRESENT-DAY HORTA DE SANT JOAN), SUMMER 1909.

HISTORICAL CONTEXT 3

Surrealism

I.E. Salvador Dali Lobster Telephone

Jasper Johns

Robert Rauschenberg

Salvador Dalí Lobster Telephone 1936

HISTORICAL CONTEXT 4

Ready mades i.e. Marchel Duchamp

Fountain - men’s urinal signed, titles and presented on a pedestal

Marcel Duchamp. In Advance of the Brocken Arm. August 1964 (fourth version, after lost original of November 1915) 

TO CONTEXTUALISE: TO DEFINE

APPROPRIATION WITHIN ART PRACTICES 

The deliberate reproduction of (elements of) another artists work

Artists ‘copying’ artworks for their own artistic expression

It involves adopting intellectual property from elsewhere

It borrows images, styles, or forms from art history or popular culture

This ‘movement’ evolved in the 1960’s and peaked in the 80’s

APPROPRIATION : or making artworks using already existing artworks

a significant post modern theory 

Response to what Barthes called the Death of the Author - that nothin is original

It can feel shameless

Pastiche/Collage/deliberate reworking of other people’s works

Key historical art practice

Artist using an existing form/image/sound in new ways

It is the ‘selection and manipulation of found materials’

The end result: strangely familiar yet altogether new

Jeff Coons

The readymade

Pastiche

Rephotograph

Recombination 

Simulation

Parody

Scavenging

Replicating

Remixing

‘Stealing’

Bicycle Wheel. Marcel Duchamp. 1913

Them. Danny Treacy

Pastiche, Parody, and the Remake

Postmodernism has been characterized by a kind of fatigue with the new and the sense that everything has been done before.

Postmodernism asks: Can there ever be new ideas and images, things that have not been thought of or done before? Does it matter?

The world of images today consists of a huge variety of remakes, copies, parodies, replicas, reproductions, and remixes. In the arenas of art and architecture, as well as popular culture, the idea of an original image or form seems to have been thoroughly subverted.

One of the key terms used to describe this culture of imitation, remake, and parody is pastiche. Film theorist Richard Dyer has written that the primary way to understand pastiche is as an imitation that announces itself as such and that involves combining elements from other sources.

The term pastiche is derived from the Italian word pasticcio, which refers to a combination of elements that evokes, - according to Dyer, assemblage, collage, montage, capriccio (a style of composing that combines elements from different places), medley forms, and hip-hop forms of sampling, scratching, and riffing. Dyer thus points to the fact that pastiche has a long history in image making. Within the realm of imitation and quoting that constitutes pastiche, we can find different kinds of combinations and relationships to the original texts-from ironic quoting to parody to remakes to mashups. 

Pastiche has a very particular relationship to history. As a strategy it can often involve pilfering from history and combining historical elements in ways that have little historical meaning but are rather a kind of play.

John Stezaker

John Stezaker. The Trial 1978

Jeff Wall. A Sudden Gust of Wind (After Hokusai) 1993

Sherry Levine 

‘The world is filled to suffocating. Man has placed his token on every stone. Every word, every image, is leased and mortgaged. We know that a picture is but a space in which a variety of images, none of them original, blend and clash.’ 

‘WE CAN ONLY IMITATE A GESTURE THAT IS ALWAYS ANTERIOR, NEVER ORIGINAL.’ (Appropriation. Ed David Evans. 2009)

Artist Sherrie Levine made a series of works in the 1980s that are emblematic of this kind of postmodernism pilfering and borrowing that questions ownership and the original. Levine simply rephotographed famous images-in blatant violation of their copyright, the signifier of authorship and authenticity-and displayed them as her own. In After Edward Weston (#2), Levine rephotographed Weston's famous image of his son, Neil, enti- tled Torso of Neil {1925). Weston's image is situated in a long history of male nudes, which Levine's "theft" disrupts precisely because it is explicitly presented as copied, rather than concealing its status as a copy.

Robert Rauchenberg. The White Painting

ONE THEORETICAL POSITION

Walter…

1936 essay The Work of Art in the Age of Mechanical Reproduction. 

Our fine arts were developed, their types and uses were established, in times very different from the present, by men whose power of action upon things was insignificant in comparison with ours. But the amazing growth of our techniques, the adaptability and precision they have attained, the ideas and habits they are creating, make it a certainty that profound changes are impending in the ancient craft of the Beautiful. In all the arts there is a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power. For the last twenty years neither matter nor space nor time has been what it was from time immemorial. We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very notion of art.[5]

‘the action of mechanical reproduction effectively dimities the concepts of originality’

‘the mass, mechanised reproducibility of art has reduced its authenticity’

‘mass production removes what he calls the aura - a sort of unique authority - from the work’

‘ Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be.’

‘The presence of the original is prerequisite to the. Concept of authenticity,’ and, thus, ‘the whole sphere of authenticity is outside of the technical…reproducibility.’

Walter Benjamin, ‘The Work of Art…’

The Death of the Author 

Barthes extended this concept of ‘The Death of the Author’ to question the very possibility of originality and authenticity, he staged that any text (or image) rather than emitting a fixed meaning from a singular voice, was but a tissue of quotations that were themselves references to yet other texts, and so on.

PART THREE 

MY OWN PRACTICE 

PART FOUR

CONCLUSION

Recapping

Evaluate/ deciding 

Any more for later?

The finishing touches 

What do you make?

Is there an original?

Or do you make copies?

Does your work have acratic qualities?

What do you look for in your discipline?

Form? Content? Expression? Representation?

What gives you work originality?

TASK

"Based on today's lecture, find examples of relevant work in your discipline and apply this to your reflection; consider how you would explore some of these themes in your own work"

References:

https://artlogic-res.cloudinary.com/w_1200,h_1200,c_limit,f_auto,fl_lossy,f_auto,fl_lossy/artlogicstorage/victoriamiro/images/view/31c340c550c02bc143c73bb75ed329fbj.jpg 

http://i.telegraph.co.uk/multimedia/archive/02532/nude-woman-picasso_2532876b.jpg

https://www.tate.org.uk/art/images/work/T/T03/T03257_9.jpg 

http://www.moma.org/wp/moma_learning/wp-content/uploads/2012/07/Duchamp.-In-advance-of-a-Broken-Arm-295x395.jpg 

https://mitpress.mit.edu/sites/default/files/9780262550703.jpg 

http://malba.s3-website-sa-east-1.amazonaws.com/wp-content/uploads/2016/04/14181116/PH_Guyot-750x1124.jpg 

http://www.dannytreacy.com/wp-content/uploads/2016/06/Them_1.jpg 

http://uploads3.wikiart.org/images/marcel-duchamp/bicycle-wheel-1913.jpg 

http://www.tate.org.uk/art/images/work/T/T12/T12342_10.jpg 

https://s3.amazonaws.com/files.collageplatform.com.prod/image_cache/472x472_fit/5761760584184e24248b4568/a1672f549c38afb4ae0413fd8ef7be76.jpeg 

http://imageobjecttext.files.wordpress.com/2012/07/wall-a-sudden-gust-of-wind-after-hokusai-1993.jpeg 

https://s3-us-west-2.amazonaws.com/sfmomamedia/media/research-projects/downloads/WHIT_98.308.jpg 

http://img1.imagesbn.com/p/9781453722480_p0_v1_s260x420.JPG 

#gcop200

[igniteca-blog]

WHY HOME TUITION IS BETTER THAN ONLINE LEARNING.

The meaning of using online tools (Internet) for learning is otherwise called as e-learning. Online learning creates a distance between teacher and student.  Classes can be attended by sitting in your place itself. A student  can listen to explanation and get assignments tests and test results through electronic platform.  This is a process of acquiring knowledge by using a computer and internet. Online learning has got it’s own advantage and disadvantages. Disadvantages are more than the advantages of online learning.

Disadvantages of Online learning:

1)  While learning a difficult topic, our doubts (questions) are not answered immediately.

2) Teaching is done by a readymade software.  The software does not worry about individual’s understanding ability.

3) No friend or peer-group is there.  Only the computer will be in front of us.  Instead discussion and repeated explanation by the instructor or tutor, the student has got to type out and wait for the response.

4) Discipline can be learned by abiding the school rules and classroom\tutor’s instructions.  Such discipline  cannot be learned through Online learning.

5) Participation or interaction with others to solve a problem is not possible in Online learning.

6) People who spend much time in front of computer may become lazy. Activeness reduces day by day and they become ill.

7) Some pupil get addicted to internet usage.  They may see lots of unwanted information through internet connection.

8) Online learning pupil get more work by writing assignments and tests.

Advantages of online learning:

1.  Students can learn at any time according to their convenience. Students can get flexible timings.

2. Even if the learning quality is poor no one is there to question them.

3. Online learning is suitable only for self-motivated students.

Arranging a teacher (tutor) to come home for helping a student to improve the academic performance is home tuition.

ADVANTAGES OF HOME TUITION:

1.Fact to face interaction between tutor and student can clear the doubts on topics.

2. Tuition time can be fixed accordingly to the convenience of the tutor and student.  So that the student will be mentally prepared for learning that topic.  

3. Students’ views and ideas can be expressed as and when the tutor is explaining the topic.  Teacher can get the feedback then and there.

4. In one to one teaching, the teacher (tutor) can teach according to the comprehending ability of student.  If required teacher can go down to the level of the student to make him/her understand the lesson.  If required, teaching method can be modified by the tutor.

5.In some topics the student may feel that the language of the text content is very high for his level.  In this context, the tutor can prepare new material by simplifying the content. This is the main advantage of home tuition.

6.  By asking questions and answering to the questions of the tutor, the student’s communication skill can develop.

7.  Tutor can correct the test papers in the presence of the student to specify the mistakes.  This will help the student to rectify his mistakes.

8.  Handwriting and presentation can improve when the student writes tests.  This is not possible in online learning.

9. The critical thinking ability of student can improve.  This will help the student to answer analytical thinking and application-oriented questions.

10.  A highly resourceful tutor can boost up the self confidence of student.  This quality can be developed only by continuous interaction with student.

11. Fixed time for home tuition can develop regular and daily reading habit.  This will help the student to improve the subject knowledge.  

12.  At times home tutor can help the student to complete his school homework and assignments.

13.  Tutor can discuss with the parents about the behaviour of the student. The changes taking place in the behaviour of the student also can be watched by the tutor. Timely feedback can help a lot. Feedback is the real tool for future improvement.  This immediate feed back cannot be given by online learning.

Disadvantages of home tuition:

1. No flexibility of timings in-home tuition.  Once the time is fixed by the tutor and the student, the schedule should be followed.  However, very rarely the time can be altered if the situation demands.

2. Some students may have fear for the tutor.  Tutor can help the student to overcome this by his friendly approach.

Disadvantages are very less in-home tuition when compared with online learning.

To conclude, I would suggest that home tuition is always better to know the improvement in performance and to involve the parents.

[hotelbones]

Deconstructing Scores

Flux Scores

Semiotics

  Understanding Flux scores:

“They are people who are really trying to turn you on to the superlative activities you do everyday.” – Allison Knowles  https://vimeo.com/36770983

“What I want people to see is how really simply things can be done if you concentrate on that’s what what you’re doing.” – Allison Knowles

Event scores were the dominant Fluxus work, which particularly was distributed in Fluxus Boxes. One of the first of these boxes was George Brect’s Water Yam.

Dick Higgins called Fluxus scores “intermedia”, “a dialectic between media”. Intermedia is not media supported by other media, but rather media that is at the same time another media.

Dick Higgins also published scores called “Danger Music”. These scores imply both visual and audible elements. Some of them are dangerous and pretty much impossible, while some others are mundane.

“How an event score should be performed depends on its notation it uses and the degree of freedom that the score offers. While some scores are so free that one could think that a performer could do anything, this freedom often compels the performer to restrict and edit their work.” – Virginia Anderson

What details can be understood by analyzing all aspects of the score? Does the title give more context to the score than the text?

Some of these pieces attempt to transcend the objects into music and theater. As Allison Knowles does with her performances of her salad piece.

From Virginia Anderson’s analysis of scores, it seems that event scores aren’t meant for the performer to experience, but simply as an alternative to performance. I’ll look for alternative takes.

As I go deeper into learning about fluxus scores, it seems that while these may parallel games in a sense that there are instructions to follow, they are not actually games. These are in fact performances that have play-like elements. How am I making this distinction? With event scores it appears that none of them were meant to be performed by a person for the sake of performing them, but they were meant to be performed for others as music or theatre would. For this reason it isn’t exactly helpful to state that these are forms of games, but it may be valuable to view them through the lens of games instead.

This also may change with later scores.

George Brecht – “a deeply personal, infinitely complex and essentially mysterious, exploration of experience. No words can ever touch.” (Project in Multiple Dimensions)

An aesthetic form that Brecht theorized was that of the “Chance-Image”. Chance being based off the latin words taken from dice falling.

“The word ‘chance’ (with a Latin root relating to the falling of dice) can conveniently be taken to mean the cause, or systems of causes, responsible for a given effect is unknown or unlooked-for or, at least, that we are unable to completely specify it. Of course, in the real world, causes are also effects, and effects causes.” – Brecht Chance Imagery

An appeal of chance-imagery is to place the artist’s images to be equal with that of nature’s images as the mind is capable of infinite image formation. Thus making the artist’s work nothing special.

“Words only permit us to handle a unified reality by maneuvering arbitrarily excised chunks.” – Brecht Chance Imagery

“In the event, everyday actions are framed as minimalistic performances, or, occasionally, as imaginary and impossible experiments with everyday situations.”  - Hannah Higgins Fluxus Experience

Kotz and Ouzounian point out that part of the problem with Fluxus scores all being put into a single category is that their process becomes homogenized and Brecht’s work becomes known as performance.

In George Brecht’s notebooks he saw the idea of scores in other musical pieces and took note of them as study material: Anton Webern’s Symphony Op. 21 (1928), Karlheinz Stockhausen’s Klavierstücke XI (1956), an unnamed composition by Christian Wolff for prepared piano (probably Duo II for Pianists), and Music of Changes (1951). Brecht saw the number of pitches as “events” in these pieces. In some ways this could be similar to looking at event scores as games.

“My life is devoted to research into ‘the structure of experience’” – Notebook entry January 1959

George Brecht saw a really really scientific view of the world. Looking at everything from the causal and physics level.

George Brecht’s first exhibition “Towards Events” is weirdly reminiscent of my own semi-exhibition I had inside of the Statens Museum for Kunst. Objects were accompanied by instructions to be performed. There is probably some interesting things to be found by comparing my Irrational Games exhibit to this one.

“Brecht’s model of the Event was arguably an attempt to realize such an enlightenment by pointing to the chanced form as an arbitrary subdivision of the ‘unified whole’ of the universe. An arrangement of an object or objects is a ‘performance’ of this whole in that it frames moments or subdivisions within it, i.e. ‘[gives] order (physically or conceptually) to a part of the continuum with which [a person] interacts’.” – Ouzounian

“Some Event scores illustrate this concept quite explicitly. Three Aqueous Events, for example, lists three momentary states that an aqueous ‘object’ may occupy over time: ice, water, steam.6 A realization of this score entails performing (arranging, observing, ordering) these objects/states and, through this performance, revealing their condition as arbitrary points within a continuous field, and indeed their existence within a continuous state of flux between these points. In making this observation, the performer ideally realizes, and more precisely experiences, his or her own place within this continuum. Such an experience entails a kind of transcendence in which any stable sense of self is at least momentarily undermined through its connection to this larger system of flux” – Ouzounian

“In this way, an Event score not only structures occurrences, but also experiences, ones that are ultimately transformative in nature.” – Ouzounian

These event scores seems to have come from George Brecht’s interest in the systems of a score interacting with the systems of the world. Or maybe more specifically, he was interested in designing a score so that the systems of the two became indistinguishable.

Something else to consider when using Event Scores as precedents, is a lot of it was response to the forms of art in the 60’s. If I am creating something that is relevant to the field of games, ideas and theory should be translated. Again, the idea that just because Event Scores have game-like elements, doesn’t mean we should take them as games.

 What are the conditions that make an event possible? Events are produced in a chaos, in a chaotic multiplicity, but only under conditions that a sort of screen intervenes. --Gilles Deleuze, The Fold: Leibniz and the Baroque

“Events are an extension of music” – Brecht interview by Irmeline Lebeer (1971)

“Arguing against the commonsense, mass-media idea of an event, Deleuze pinpoints two qualities which will be relevant in this context: "even a short or instantaneous event is something going on," "events always involve periods when nothing happens.” – Liz Kotz

 “The best Fluxus "composition" is a most non-personal, "ready-made" one like Brecht's "Exit"-it does not require any of us to perform it since it happens daily without any "special" performance of it. Thus our festivals will eliminate themselves (and our need to participate) when they become total readymades (like Brecht's exit)” – Maciunas in Fluxus etc./Addenda II

           Intervention I by Jennie Hahn and Cory Tamler

Intervention III

So looking at modern scores, how have they continued this practice, and why have they? These interventions above were created by Cory and Jennie to reframe humans and non-humans as characters and participants in a dialogue about the ecosystem.

Why scores though? It seems like these scores are more of a personal and accessible way for people to reframe their actions, body, and mind in relationship to the environment. In the same way that George Brecht’s Word Event triggers a multitude of thoughts related to the concept behind the word “exit”, In Kinship provokes thinking about communities, objects, and psychogeography. Also similar to something like Yoko Ono’s Watch Piece I these pieces ask the performer to do something that may be seemingly illogical, but upon performing reframes abstract concepts in a new way.

                      CAConrad – (SOMA)tic Poetry Exercise

Something about CAConrad’s work really puts me off. I think part of it feels like there is an air of trying to make work similar to Fluxus and also trying to maintain the artistic elements of poetry. For example, listening to Phillip Glass on the floor, feels like a very artsy thing to do. Which sounds stupid, but idk it just seems like a bit much. However, in contrast to that feeling what I find interesting about CAConrad’s work is the communication of a personal narrative through the score. This score isn’t just for the reader to see the world in a new way, but to understand CAConrad in a new way. Thinking about the score in this way, listening to Phillip Glass may be artsy, but that is because CAConrad is artsy and they want you to understand how they felt at this point in time. In this way it is fairly reminiscent of Mattie Bryce’s EAT.

[rhetoricandlogic]

Rules: Complete the survey and say who tagged you in the beginning. When you are finished tag 5 people to do this survey. Have fun and enjoy!!!

@logarithmicpanda   tagged me, thanks :D

1: Are you named after someone? Yes. 2: When was the last time you cried? The Eolian. Audiobook. Yesterday. 3: Do you like your handwriting? What handwriting? Except scribbling what could possibly pass as my name on official forms, I don’t do any handwriting. 4: What is your favorite lunch meat? Steak I guess? I’m not a huge meat fan though (seconded, @logarithmicpanda. Mine, too) 5: Do you have kids? No. 6: If you were another person, would you be friends with you? Are you effing serious? Of course NOT! Do you think, I want to debate books all day and really passionately? 7: Do you use sarcasm? Yes. And to the consternation of all my colleagues, who really don’t get it (even when spoken, let alone written - there should be a sarcasm font). 8: Do you still have your tonsils? Yes. 9: Would you bungee jump? No. 10: What is your favorite kind of cereal? I don’t eat cereal. Too many calories/carbs with too little nutrition value. 11: Do you untie your shoes when you take them off? Does. Not. Happen. I have these gummy-strings in all of my shoes, so I never will have to do that. 12: Do you think you’re a strong person? Physically, yes. Mentally? UhOh. 13: What is your favorite ice cream flavor? Mango Sorbet. 14: What is the first thing you notice about people? Whether they have a nice smile. A really enchanting smile at a first meeting is charming and puts me at ease. 15: Red or pink? Red 16: What is the least favorite physical thing you like about yourself? I don’t judge myself in terms of like or not like. I am who I am and the result of what I had to go through to get here, so there. 17: What color pants and shoes are you wearing now? Black thermo t-shirt and pajama pants. No shoes, just really thick socks (also black). 18: What was the last thing you ate? A godawful readymade Oxtail soup. Do not recommend. 19: What are you listening to right now? The sound of the sea while fishing in Velia (BDO) 20: If you were a crayon, what color would you be? All of them, thickly smeared all over your newly painted wall ^^ 21: Favorite smell? Spices 22: Who was the last person you spoke to on the phone? Mom 23: Favorite sport to watch? Go away with sports! The only sport I watch is other players running away from me! 24: Hair color? Fieldmouse brown and gray 25: Eye color? Green 26: Do you wear contacts? Nothing beats really good glasses. At least when they fall into the toilet, you get to fish them out again 27: Favorite food to eat? Tarka Dal or Mujadruh? Can’t decide. Both, then. 28: Scary movies or comedy? Scary movies require a 2m x 2m blanket. This is o.k. in winter. In summer: not so much. Also: I’m REALLY critical with movies like 10 times as much as with books. 29: Last movie you watched? Mad Max Fury Road. So much meh 30: What color of shirt are you wearing? See 17. 31: Summer or winter? SUMMER! Like, are we there already? 32: Hugs or kisses?  Hugs 33: What book are you currently reading? The Mechanical (Alchemy Wars) 34: Who do you miss right now? No one specifically 35: What is on your mouse pad? It’s a Roccat Alumic, so, naturally there’s a cat on it. Panther, probably. 36: What is the last TV program you watched? I don’t watch TV 37: What is the best sound? Summer thunderstorm over the sea 38: Rolling Stones or The Beatles? Must I? Rolling Stones, then. 39: What is the furthest you have ever traveled? Sri Lanka 40: Do you have a special talent? I’ve got tons of talens, see 16, 17 and I’m also a passable cook and bread baker 41: Where were you born? Not gonna tell you

I’m tagging - everybody who likes this kind of thing.

[hwinfotech-blog]

how to start a business like Delicious | HWINFOTECH

how to start a business like Delicious - You can't go wrong with starting a business with the right business model and starting a business like Delicious takes some work. Delicious is a social networking site that offers networking tools that help individuals make new friends and help them get their contacts on the map. All of this is facilitated by links that allow users to add other friends and it can be done in many different ways.

The site is easy to use, but there are those who may find the language to be too difficult for their taste, so they are looking for tips on how to get started with the site. The website will not work for everyone, and this is what makes people want to know how to start a business like Delicious.

There are plenty of sites on the internet, but not all of them are created equal when it comes to how to start a business like Delicious. It's important to make sure that you do your research before venturing into an internet venture like this. You don't want to run into problems down the road and start losing money because you didn't do enough research.

It is best to rely on someone who has experience with the internet and has free information. It will also be more convenient to listen to someone who is knowledgeable in their field. It can be difficult to learn the lingo that will be used and then work it into your vocabulary when you are trying to speak online. It can be even more difficult to learn some of the terms that you need to use when you are talking about something that interests you.

There are many programs available online that will teach you how to get started with the best business models, but not all of them are created equal. It is imperative that you learn about the processes that are involved with setting up a business like Delicious. This will help you better understand the tips on how to start a business like Delicious.

Some of the things that you will learn are important to making the most of how to start a business like Delicious. The first thing that you will need to understand is the concept of marketing. Your business should involve good marketing strategies, but without the proper marketing strategy your efforts are doomed to fail.

The second step to how to start a business like Delicious is to create a personal profile. Once you have created your profile, you will need to generate leads so that you can grow your business and take your business to the next level. This is just one way of how to start a business like Delicious that you can get started within the easy steps that are included with it.

The money is in the interest, but it is also in the product. Your marketing strategy is the most important part of how to start a business like Delicious. Just remember to remember that everything you put out on the internet is going to get seen, and this is why it is important to be creative in how you market your business.

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[is-this-an-art-blog]

Post 5/ Reading 5

1

From listening to an outside perspective on our work, I decided to try and make a couple drawings that did not have the stereotypically sexist phrase in it and try to just let the drawing say what I wanted it to. I decided to try this based on the fact that it was said that my sculptural piece, which did not have to extra phrase read as more powerful. I am hoping to make another sculptural piece with the same idea as the flowers to see if I should still go for the drawings at all or if I should maybe stick to making sculptural pieces instead to get my message or meaning across to the viewer.

We are also creating a work based on another person’s in our class. I am working based on Dani’s art. I have read some of her blog posts and the one thing that really stuck out to me was the aspect of preservation. It got me to think about all the different ways that we try to preserve things that we think are beautiful, particularly things in nature, like flowers. So for my take on her art or message, I took a picture of a flower, drew that flower in pencil, in pen, and painted it. I also took a small video, and covered the flower in Mod Podge as a way to preserve it. None of these things truly preserve the flower, it only holds a likeness or a similarity to what once was. Nothing lasts forever as even the ways that I would try to preserve something will eventually be gone too.

2

3

An artist that I have been looking at lately is Hannah Hill whose Instagram is @hanedote. Her art is primarily embroidery that has a feminist theme. I really love how she is pretty simplistic and hardly uses words within her pieces, or if she does, it is minimal. That is one thing that I have tried this week, is letting the image do the majority of the talking and just having a little bit of text.

4

33 Artists

“Ironically, being an artist has become a craft. It is no accident that when Duchamp rejected the handmade in favor of the “readymade,” he began crafting identities as well as ideas.”  Being an artists is an identity, even people with BA of MFA’s are not so quickly able to call themselves artists. This reading discusses the idea and nature of what it means to be an artist and how we navigate the expectations that people have of artists throughout the world. The author looked at many different variables when asking these artists questions, ranging from entertainer to academic and also loner to collaborator.  The three Acts consist of Politics, Kinship, and Craft. Throughout the book, the author talks about how each artist relates to those three Acts and how they correlate with each other. The relationship of art and its success seems to have more to do with market trends which leads to their overall creditability rather than financial success.  

The aspect of politics and how that impacts an artist is very clearly noticeable when looking at artists such as Ai Weiwei. Ai Weiwei who is very critical of the Chinese government within his art has found himself to be censored within china, basically completely removed, almost as if he does not exist. While artists like Jeff Koons in New York City worry less about being censored and more about their reputation. Although in both cases, the artists are basically “burned at the stake”.

I really liked the section of this reading that pertain to Ai Weiwei in contrast to Jeff Koons on pg 9. The Authors states that “Where the American focuses resolutely on his artwork and steers clear of politics, the Chinese artist consistently diverts attention away from his work towards its ethical context.” This is something that since my work that I have been creating for this class is politically driven in a way I would like to accomplish. Almost like the fact that the viewer to look past the fact that it is an art piece and look back to what is happening around us.

#ART496

[tinymixtapes]

Music Review: Mike Cooper - Raft

Mike Cooper Raft [Room40; 2017] Rating: 4/5 “Making music is a way of getting through life; a pleasurable way.” – Mike Cooper As the planks of a vessel carrying you, some things and people don’t seem to go anywhere when you do — or at least don’t seem like they will. You start to think of yourself, maybe even your body, as including the inertial buildup around you, and it becomes a physical fact of some order. It’s the shore that looks like it moves and the ship that “preserves always the same situation,” as Descartes put it in his Principles of Philosophy. Admittedly, we didn’t know much about Mike Cooper before Paradise of Bachelors began to reissue his early-70s folk-rock records in 2014, but his voyage has proceeded on crafts familiar and strange, its course regular in its irregularity, for nearly half a century. Although he dispatches most of the captain’s log to his own Hipshot label, Raft becomes the fourth in a series of saltwater-soaked releases for Lawrence English’s Room40, following 2008’s Oceanic Feeling-Like with Chris Abrahams, 2013’s White Shadows in the South Seas, and 2015’s Fratello Mare. Particularly of kin with the latter, Raft joins what the Room40 press blurb at the time called Cooper’s “continuing ode to the Pacific” and what he himself calls his “Ambient Exotica series.” In a changing and frustrating world where everything solid seems to fall into aqueous mixture, Mike Cooper is still afloat, his guitar tied tightly to his lap with patch cords, so talented as always at finding another raft. Described in his vocational faculty as a “solo traveler” and mixing field recordings of his real-life Pacific voyages with things like Casio gamelan samples, Cooper is playful with notions of space and authentic experience. Even though it’s technically the fruit of the multigenerational cultivation of those same few flowers — creative touchstones from which the critical accusation of thoughtless, flat exoticism is never far — Raft sounds contemporary in many ways, at once charting a new course and telling a complete, searching story about its creator. Although the tracks are numbered in a seemingly random order of digits between 21 and 47, suggesting a course without simple contiguity, there’s a fairly linear movement throughout their sequence whereby the gentle, bending guitar noodling that dances with a jumping mono electronic signal atop “Raft 21 - Guayaquil to Tully” and spins psychedelically about itself on “Raft 37 - Las Balsas” gives way to the chirping clamor stirring Rafts “29 - Honey Hunters” and “36 - Age Unlimited.” The latter track, an anxious churning of moss and metal and a high point in both sound design and emotional intensity, ends up floating toward an uneasy resolution in “Raft 27 - Guayaquil to Ballina,” some little alcove where Cooper’s guitar is better heard over the birds and bugs. A drum machine is stowed away on “Raft 28 - Vital Alsar,” its stuttering pseudo-breakbeat an erratic but welcome pairing with those lazily bending strings. Rafts may seem conceptually like a retrospective or statement of purpose, and it holds up nicely as a portrait, but it should also be considered a refinement, wading further away from readymade images of the tropics and into the depth of the traveler’s imagination. The official Mike Cooper website, dated but lovely all the same, leads with Lawrence English’s designation of Cooper as the “icon of post-everything music.” But what could that possibly mean? It’s true that, desperate for words, critics have called Cooper’s work “post-rock,” “post-folk,” “post-ambient,” “post-exotica,” and some other badly descriptive phrases with “post” in them. It’s a forgivable nominal slippage, though, because if you’re standing on the shore, his current location is always already a past one. No words are really better than others for describing whatever it is Cooper is after at all the world’s beaches, tiki bars, and niche DIY clubs, except the ones that emerge on the scene, rubbing their eyes from slumber, just in time to catch a glimpse of his raft disappearing on the horizon. More than just a tidy metaphor for what he’s already been doing, Raft shows the exceptional flexibility with which an artist of Cooper’s endurance has learned to approach the new. It’s an island oasis erected for those who can escape the stir of the increasingly liquefied world for long enough to listen. http://j.mp/2hfx5tP

[deepestwinnerlight-blog]

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[cstesttaken]

Doctor’s Orders: 10 Ways to Maintain Weight Loss

USDA MyPlate is an easy way to plan balanced, healthy meals and teach yourself better eating habits. The plate method recommends filling half of your plate with vegetables, and dividing the remaining half evenly between lean protein and whole grains. Eat fruit for dessert, and don’t forget low-fat dairy.

Eat breakfast. Up to 80 percent of people who are overweight and obese do not eat breakfast. Skipping the first meal of the day slows your metabolism and leaves your body hanging on to every calorie you eat—leading to weight gain. Breakfast does not have to be a big meal: think oatmeal, Greek yogurt and fresh fruit. Eating breakfast also reduces the odds of overeating later in the day.

Build lean muscle tissue. The more muscle mass you have, the higher your metabolism is, which means you will turn into a calorie burning machine even at rest. If you want to get serious about weight loss, you must lift weights.

Plan your meals. Have you ever noticed that planning ahead usually yields better results? The same principle applies to managing weight loss. Having a meal-by-meal plan can keep you on track.

Practice portion control. Learn how to eyeball appropriate portion sizes. Most of us tend to underestimate our portions, and that means we’re taking in more calories that can trip up our weight maintenance efforts.

Don’t be afraid of dairy. Many people to exclude dairy from their daily diet for the simple reason that they feel dairy is fattening. However, studies have shown that when we include three servings of low-fat dairy a day, we are more likely to keep off the weight than those who have only one serving or none a day. Women, you need dairy to protect your bones, too.

Step up your exercise routine. When was the last time you switched up your exercise routine? If you’ve been faithfully going for a 30 minute walk at a three mile-per-hour pace most days of the week and your weight is starting to creep back up, increase the duration and intensity of your workout. Go for 45 minutes at a four mile-per-hour pace to get an extra burn.

Stop stress eating. When stress and anxiety arise, acknowledge the feeling, name it for what it is—anger, frustration, sadness, loneliness, boredom—and then ask yourself, “Am I really hungry is it just a way to cope with the feeling?” Most likely, you’re not hungry. Have a readymade list of other things to do besides seeking out high-sugar, high-fat foods. For example, go on a walk, read, listen to music, call a friend—anything else that keeps you from using food as a source of comfort.

Reduce screen time. We want our children to reduce screen time, and we should reduce our screen time as well. Sitting in front of a device with a screen means we burn fewer calories. If your job requires sitting in front of a computer all day, try to get up and move every 20-30 minutes. In the evenings, turn off the TV and do something active in order to keep yourself more fit.

Dr. Samadi is a board-certified urologic oncologist trained in open and traditional and laparoscopic surgery and is an expert in robotic prostate surgery. He is chairman of urology, chief of robotic surgery at Lenox Hill Hospital and professor of urology at Hofstra North Shore-LIJ School of Medicine. He is a medical correspondent for the Fox News Channel’s Medical A-Team Learn more at roboticoncology.com. Visit Dr. Samadi’s blog at SamadiMD.com. Follow Dr. Samadi on Twitter, Instagram, Pintrest and Facebook.

Source

http://observer.com/2017/02/ten-secrets-maintaining-weight-loss/

[nofomoartworld]

Art F City: This Week’s Must-See Art Events: Winter is Coming

The Whitney Biennial Installation view. Photo: Paddy Johnson

The week is of course dominated by two news items: The Whitney Biennial and The Wintery Downfall.

After the blizzard, Wednesday is a great opportunity to get yourself in the snowy mood, art-wise. Enjoy doses of culture from freezing, windswept regions, including Marsden Hartley’s Maine at The Met Breuer (if you’re missing the Whitney’s old digs) and Berlin-based Danish/Norwegian duo Elmgreen & Dragset in conversation with Dan Cameron at The Flag Art Foundation. Later, catch the Icelandic thriller Hevn at Scandinavia House’s New Nordic Cinema screening series.

Other highlights include Fort Gansevoort’s female-perspective sports show March Madness Thursday night and TRANSFER’s four year birthday party, which will feature affordable editions from some of our favorite digital artists.

Oh yeah, and make time to check out the Biennial. I’m told it’s good, but “traumatic”. An appropriately bleak show to match our physical and political climate?

M

W

T

F

S

S

Mon

SVA Theater

333 West 23rd Street New York, NY 7:00 p.m. - 9:00 p.m.Website

Laura Larson and Mark Alice Durant Reading and Book Signing

Art writers Laura Larson and Mark Alice Durant will be reading from their respective books Hidden Mother and 27 Contexts: An Anecdotal History in Photography. Both deal with photography as a form of personal and cultural memory.

I know Mark Durant (who runs the fantastic art blog Saint Lucy) personally, and listening to him talk about art is such a pleasure. This is definitely the one thing worth braving the weather to attend.

Wed

The Met Breuer

945 Madison Ave New York, NY 10:00 a.m. - 5:30 p.m. Website

Marsden Hartley's Maine

This exhibition traces the influence of Marsden Hartley’s native state of Maine on the artist’s practice. This should be good—Hartley is one of America’s most beloved painters—but also unique. No exhibition has ever focused on his hometown roots. Maine both offered the artist a space to experiment and a source of inspiration—from finding his voice as a landscape painter to being the source of personally-informed portraiture.

FLAG Art Foundation

545 West 25th Street New York, NY 6:00 p.m. - 8:00 p.m. Website

Elmgreen & Dragset in Conversation with Dan Cameron

Elmgreen & Dragset remain two of my personal favorite contemporary artists because they always inspire good conversation. By that I mean their art world antics are both polarising and thought-provoking. Many a time, I’ve wished to be a fly on the wall of their studio.

Thankfully, the Berlin-based Scandinavian duo is headed to New York to talk shop with Istandbul Biennial curator Dan Cameron. They’ll discuss their work there, as well as a recent exhibition at the FLAG Art Foundation.

Definitely a can’t-miss.

Note: this event had previously been scheduled for Tuesday, but has been rescheduled thanks to the impending Winter snowstorm.

Scandinavia House: The Nordic Center in America

58 Park Avenue New York, NY 7:00 p.m.Website

New Nordic Cinema: Revenge /Hevn

Icelandic director Kjersti Steinsbø’s psychological revenge thriller Hevn sounds so good. The protagonist sets out to ruin the life of a man who wronged her sister. Along the way, she sews chaos in a small town.

How does Scandinavia, a region with basically no crime, always produce the best thrillers? Even the trailer gives me chills.

Thu

Berry Campbell Gallery

530 W 24th Street New York, NY 6:00 p.m. - 8:00 p.m.Website

Perle Fine: Prescience Series (1950s)

Perle Fine’s five-decade-long career was characterized by an impressive commitment to abstraction, which evolved following the arc of art history. Here, curators Martha Campbell and Christine Berry are focusing on Fine’s 1950s “Prescience Series” from the height of Ab-Ex. This is the era of some of her strongest paintings, in which Fine’s understanding of color is the most salient detail—where paint feels at its most liberated from her usual geometric or line-based compositional frameworks. Midcentury art history nerds take note.

Fort Gansevoort

5 Ninth Avenue New York, NY 6:00 p.m. - 9:00 p.m.Website

March Madness

Curators Hank Willis Thomas and Adam Shopkorn have cooked up one of the most singular exhibition concepts of the month: competition and athleticism from the perspective of all-star female artists.

What exactly will a show look like that features Nazi filmmaker Leni Riefenstahl alongside Miranda July? Madness indeed!

Artists: Gina Adams, Emma Amos, Kathryn Andrews, Kristin Baker, Sadie Barnette, Holly Bass, Zoe Buckman, Jordan Casteel, Elizbeth Catlett, Pamela Council, Renee Cox, Rineke Dijkstra, Rosalyn Drexler, Sylvie Fleury, Rin Johnson, Miranda July, Catherine Opie, Howardena Pindell, Cheryl Pope, Leni Riefenstahl, Faith Ringgold, Deborah Roberts, Martha Rosler, Alison Saar, Betye Saar, Collier Schorr, Laurel Shear, Cindy Sherman, Jean Shin, and Ashley Teamer.

Fri

Whitney Museum of American Art

99 Gansevoort Street New York, NY 10:30 a.m. - 6:00 p.m. Website

2017 Whitney Biennial

The 78th Whitney Biennial is here. It’s the most important survey of American artists (see: people who live in New York or L.A., or Americans who live in a handful of European cities) and is pretty much mandatory viewing for the art world. This is the Biennial’s first edition in the Whitney’s new downtown digs, so I can’t wait to see what they’ve done with the place.

Paddy already checked out the press preview, an experience she says “can only be described as traumatic.” For example, the first piece she encountered was a VR experience of beating a man to death, courtesy of Jordan Wolfson. Given the current state of the country, it seems like an appropriate mirror of the times.

Artists: Zarouhie Abdalian, Basma Alsharif, Jo Baer, Eric Baudelaire, Robert Beavers, Larry Bell, Matt Browning, Susan Cianciolo, Mary Helena Clark, John Divola, Celeste Dupuy-Spencer, Rafa Esparza, Kevin Jerome Everson, GCC, Oto Gillen, Samara Golden, Casey Gollan, Victoria Sobel, Irena Haiduk, Lyle Ashton Harris, Tommy Hartung, Porpentine Charity Heartscape, Sky Hopinka, Shara Hughes, Aaron Flint Jamison, KAYA, Jon Kessler, James N. Kienitz Wilkins, Ajay Kurian, Deana Lawson, An-My Lê, Leigh Ledare, Dani Leventhal, Tala Madani, Park McArthur, Harold Mendez, Carrie Moyer, Ulrike Müller, Julien Nguyen, Tuan Andrew Nguyen, Raúl de Nieves, Aliza Nisenbaum, Occupy Museums, Pope.L, Postcommodity, Puppies Puppies, Asad Raza, Jessi Reaves, John Riepenhoff, Chemi Rosado-Seijo, Cameron Rowland, Beatriz Santiago Muñoz, Dana Schutz, Cauleen Smith, Frances Stark, Maya Stovall, Henry Taylor, Torey Thornton, Leslie Thornton, James Richards, Kaari Upson, Kamasi Washington, Leilah Weinraub, Jordan Wolfson, Anicka Yi

Sat

TRANSFER

1030 Metropolitan Ave Brooklyn, NY 4:00 p.m. - 10:00 p.m. Website

TRANSFER turns 4 // ARTIST TALK + GIFT SHOP

TRANSFER Gallery is one of our favorite spots in the city to see digital art IRL. It’s a niche that’s not known for its ease of salability, which makes the fact that TRANSFER has survived these four years (longer than many galleries who offer more market-friendly wares) even more impressive.

They’re celebrating with an accessible shop chock full of artist-made wares. This includes works ranging from $5-$1000, and multiples from some of our favorite artists such as Lorna Mills and Anthony Antonellis.

At 6 p.m., artists Alma Alloro and Claudia Hart will discuss their project to celebrate the 100th anniversary of the Bauhaus by applying the school’s philosophy to digital art making. Sounds promising!

106 Green

104 Green Street Brooklyn, NY 6:00 p.m. - 8:00 p.m. Website

Lydia McCarthy: Ego Death

At least once a week, we come across an art opening that sounds so weird we have to recommend it out of pure curiosity. Here’s one such project. Lydia McCarthy’s new body of work references “Game Reality”, The Tibetan Book of the Dead, psychedelia and other New-Age-y topics. We’re not sure what the work will actually look like (they’re described as color film photographs that function as “talismans”) but the image above is certainly intriguing.

Here’s a kōan to ponder based on the exhibition statement: what’s the definition of “self care” if you’ve transcended “beyond self”?

THE JAVA PROJECT

252 Java Street Brooklyn, NY 6:00 p.m. - 9:00 p.m. Website

Gina Dawson: Bad Tattoos

I don’t think I have ever personally related to an exhibition statement quite as much as this one:

“Bad tattoos should not be a mark of shame but a badge that a person was impulsive, had questionable judgment or, in place of a better word, was young. Sadly, the contemporary art world is overpopulated with work made by artists who were never young enough to have had a bad tattoo, resulting in a glut of safe, bland art that neither offends nor thrills.”

Gina Dawson’s sculptures mash-up nearly-readymade, easily identifiable materials into often absurd compositions. They’re a bit like inside jokes made manifest. As opposed to the cool irony associated with this genre (The Jogging, et al) Dawson’s work can feel endearingly awkward—much like a bad tattoo—an impulsive idea carried through to fruition.

Curated by Carl Gunhouse

Sun

Brooklyn Brush

203 Harrison Pl. Brooklyn, NY 1:00 p.m. - 3:00 p.m. Website

Art Packing and Preparation for Artists Workshop

Are you an artist? Have you ever dropped off work for a show wrapped in newspaper in a plastic shopping bag? If you’ve answered yes to the above, this is the class for you.

Artist/art handler James Isherwood and dealer Jonathan Belli are offering tips about preparing/packing artwork for shipping. Please go to this. Every curator you work with will thank you.

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