Play The Game - Marten Kuilman (1988/2012/2017)
20-12-2012 - A series of 'Fourth Quadrant' paintings from 1988 by Marten Kuilman.
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I found a collection of disregarded productions in a drawer yesterday and decided to brighten up the time of the year in a series called 'Intermezzo'.
These works on A4 format (or smaller) are cuttings of larger works, which could not reach my artistic standards (in 1988). In hindsight - twenty five years later - they have their merits as part of a 'quadralectic' art consciousness. These works represent a 'Fourth Quadrant' vision. There is no subject, just multiplicity. There are no boundaries, just a flow of color and the effect of partly uncontrolled processes. In the Fourth Quadrant is no up or down and no left or right - which is the very characteristic of these paintings. Only feelings can judge the results.
The main critic of this type of representation is the limited outlook within the quadralectic communication-as-a-whole i.e. from the Fourth Quadrant only. The experience of a painting 'as art' should involve the full cycle of visibility through the (four quadrants) of the quadralectic communication. If one of the 'compartments' fail to present itself - like the absence of a Third Quadrant (no subject), or a Second Quadrant (no ideas) or a First Quadrant (no believe) - than the expression is not complete. It might be pleasant to look at, but it is not art in the full sense of the word (Marten Kuilman).
'Every selection (in the Fourth Quadrant) is in essence a choice of rejects (of the Third Quadrant)'.
These cuttings were once part of a full picture with a recognizable subject (like a landscape), with an idea to represent natural beauty as a contribution to the believe in a better world. However, the 'end result' (in the visibility of the Third Quadrant) was not satisfactory and fell short of the intentions of the painter. Subsequently the unity of the painting was broken (by cutting it up) and the rejects were placed in a new dimension (of the Fourth Quadrant).
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"Play the Game" is a song by British rock band Queen, written by Freddie Mercury. It is the first track on the first side of their 1980 album The Game. It also appears on their album Greatest Hits. The single was a hit in the UK, reaching No. 14 in the charts, and in the US, peaking at No. 42.
Composition
The song commences with a series of overlapping rushing noises on an Oberheim OB-X synthesizer, heralding the band's acceptance of electronic instruments into their once explicitly "no synths" sonic repertoire. They played it in their live shows from 1980 to 1982.
The song features a soft vocal by Mercury, ending with a strong A4 rising in pitch all the way to C5 in chest voice (contrary to the other C5s being hit in falsetto). Mercury also played piano on the track.
Described by Classic Rock as a power ballad, Billboard considered "Play the Game" to be a return to Queen's traditional "epic, rather grand sound" after deviating from that sound with the rockabilly of their prior single "Crazy Little Thing Called Love". Cash Box similarly said that this was a return to Queen's "patented high tech, progressive pop sound" and they commented on "Freddie Mercury's breathless falsetto and sweet piano work" and "Brian May’s soaring lead guitar". Record World said that "Freddy Mercury leads a celestial choir of pretty falsettos juxtaposed with soaring guitars."
Later singles "It's a Hard Life", "Let Me Live" and "You Don't Fool Me" revisit the theme presented in "Play the Game", with Mercury writing from the same lover's perspective years later in the former song, and reflecting on the memories of the failed relationship in the latter. Both "Play the Game" and "It's a Hard Life" are of a similar structure, revolving around Mercury's piano playing and the band's multi-layered harmonies.
Play The Game - Marten Kuilman (1988/2012/2017)
20-12-2012 - A series of 'Fourth Quadrant' paintings from 1988 by Marten Kuilman.
---
I found a collection of disregarded productions in a drawer yesterday and decided to brighten up the time of the year in a series called 'Intermezzo'.
These works on A4 format (or smaller) are cuttings of larger works, which could not reach my artistic standards (in 1988). In hindsight - twenty five years later - they have their merits as part of a 'quadralectic' art consciousness. These works represent a 'Fourth Quadrant' vision. There is no subject, just multiplicity. There are no boundaries, just a flow of color and the effect of partly uncontrolled processes. In the Fourth Quadrant is no up or down and no left or right - which is the very characteristic of these paintings. Only feelings can judge the results.
The main critic of this type of representation is the limited outlook within the quadralectic communication-as-a-whole i.e. from the Fourth Quadrant only. The experience of a painting 'as art' should involve the full cycle of visibility through the (four quadrants) of the quadralectic communication. If one of the 'compartments' fail to present itself - like the absence of a Third Quadrant (no subject), or a Second Quadrant (no ideas) or a First Quadrant (no believe) - than the expression is not complete. It might be pleasant to look at, but it is not art in the full sense of the word (Marten Kuilman).
'Every selection (in the Fourth Quadrant) is in essence a choice of rejects (of the Third Quadrant)'.
These cuttings were once part of a full picture with a recognizable subject (like a landscape), with an idea to represent natural beauty as a contribution to the believe in a better world. However, the 'end result' (in the visibility of the Third Quadrant) was not satisfactory and fell short of the intentions of the painter. Subsequently the unity of the painting was broken (by cutting it up) and the rejects were placed in a new dimension (of the Fourth Quadrant).
----------
"Play the Game" is a song by British rock band Queen, written by Freddie Mercury. It is the first track on the first side of their 1980 album The Game. It also appears on their album Greatest Hits. The single was a hit in the UK, reaching No. 14 in the charts, and in the US, peaking at No. 42.
Composition
The song commences with a series of overlapping rushing noises on an Oberheim OB-X synthesizer, heralding the band's acceptance of electronic instruments into their once explicitly "no synths" sonic repertoire. They played it in their live shows from 1980 to 1982.
The song features a soft vocal by Mercury, ending with a strong A4 rising in pitch all the way to C5 in chest voice (contrary to the other C5s being hit in falsetto). Mercury also played piano on the track.
Described by Classic Rock as a power ballad, Billboard considered "Play the Game" to be a return to Queen's traditional "epic, rather grand sound" after deviating from that sound with the rockabilly of their prior single "Crazy Little Thing Called Love". Cash Box similarly said that this was a return to Queen's "patented high tech, progressive pop sound" and they commented on "Freddie Mercury's breathless falsetto and sweet piano work" and "Brian May’s soaring lead guitar". Record World said that "Freddy Mercury leads a celestial choir of pretty falsettos juxtaposed with soaring guitars."
Later singles "It's a Hard Life", "Let Me Live" and "You Don't Fool Me" revisit the theme presented in "Play the Game", with Mercury writing from the same lover's perspective years later in the former song, and reflecting on the memories of the failed relationship in the latter. Both "Play the Game" and "It's a Hard Life" are of a similar structure, revolving around Mercury's piano playing and the band's multi-layered harmonies.