Il Futurismo è stata una corrente artistica italiana del XX secolo. Nello stesso periodo, movimenti artistici influenzati dal futurismo si svilupparono in altri Paesi, soprattutto in Russia, dove alla base non v'era, però, un concetto bellicoso come quello dei futuristi, ma un'utopica idea di pace e Libertà, sia individuale (dell'artista), sia collettiva (del mondo).

Il contesto

I futuristi esplorarono ogni tecnica espressiva, dalla pittura alla scultura, in letteratura riguardo alla poesia e al teatro, ma non trascurarono neppure la musica, l'architettura, la danza, la fotografia, il nascente cinema e persino la gastronomia.

Anche se si possono osservare segnali di una imminente rivoluzione artistica nei primissimi anni del secolo - tra cui nel 1907 il saggio Entwurf einer neuen Ästhetik der Tonkunst (Abbozzo di una nuova estetica della musica) del compositore italiano Ferruccio Busoni - la nascita ufficiale del movimento, e la stessa nascita della parola "futurismo", fu opera del poeta italiano Filippo Tommaso Marinetti che ne codificò la filosofia pubblicando il Manifesto del futurismo (1909), rilasciato inizialmente a Milano e successivamente sul quotidiano francese Le Figaro il 20 febbraio, grazie all'intercessione della figlia dell'editore, oggetto del desiderio amoroso di Marinetti.

Il futurismo si colloca sull'onda della rivoluzione tecnologica dei primi anni del '900 (la Belle époque), esaltandone la fiducia illimitata nel progresso e decretando violentemente la fine delle vecchie ideologie (il passatismo). Per esempio, Marinetti esalta il dinamismo, la velocità, l'industria e anche la guerra intesa come "igiene del mondo", identificando nel Parsifal wagneriano (che proprio in quegli anni cominciava ad essere rappresentato nei teatri d'Europa) il simbolo artistico del passatismo, dell'arte decadente e pedante.

Cenni storici

Il futurismo nasce in un periodo (inizio '900) di grande fase evolutiva dove tutto il mondo dell'arte e della cultura era stimolato da moltissimi fattori determinanti: le guerre, la trasformazione sociale dei popoli, i grandi cambiamenti politici, e le nuove scoperte tecnologiche e di comunicazione come il telegrafo senza fili, la radio e gli aeroplani; tutti fattori che arrivarono a cambiare completamente la percezione delle distanze e del tempo, "avvicinando" fra loro i continenti. Il XX secolo era quindi invaso da un nuovo vento, che portava all'interno dell'essere umano una nuova realtà: la velocità. Le catene di montaggio abbattevano i tempi di produzione, le automobili aumentavano ogni giorno, le strade iniziarono a riempirsi di luce artificiale, si avvertiva questa nuova sensazione di futuro e velocità sia nel tempo impiegato per produrre o arrivare ad una destinazione, sia nei nuovi spazi che potevano essere percorsi, sia nelle nuove possibilità di comunicazione.

Il Manifesto di fondazione del movimento futurista fu pubblicato dal poeta ed editore Filippo Tommaso Marinetti per la prima volta il 5 febbraio 1909 nelle Cronache letterarie del quotidiano bolognese La gazzetta dell'Emilia.

Il Manifesto futurista fu poi nuovamente pubblicato due settimane dopo, il 20 febbraio 1909, sul parigino Le Figaro, conseguendo così una prestigiosa ribalta internazionale.

Questo manifesto era destinato ad essere il primo di una serie di tanti altri che anticipano e percorrono lungo tutta la strada il pensiero futurista sia nel campo della letteratura, che nelle altre arti.

Anche a Milano i pittori divisionisti Umberto Boccioni , Carlo Carrà, Giacomo Balla, Gino Severini e Luigi Russolo, firmano il Manifesto tecnico della pittura futurista, che ne stabilisce le regole: abolizione nell'immagine della prospettiva tradizionale (già precedentemente abolita da Picasso), a favore di una visione simultanea per esprimere il dinamismo degli oggetti. Successivamente nel 1910 gli artisti Boccioni, Carrà e Russolo, espongono a Milano le prime opere futuriste alla "Mostra d'arte libera" nella fabbrica Ricordi. Alla morte di Umberto Boccioni nel 1916, Carrà e Severini si ritrovano in una fase di evoluzione verso la Pittura Cubista, di conseguenza il gruppo milanese si scioglie spostando la città del movimento da Milano a Roma con la conseguente nascita del Secondo Futurismo.

Paradossi e contraddizioni del futurismo

Sono molte le incongruenze relative al pensiero futurista. Già nel primo manifesto si evidenzia come si volesse utilizzare la guerra per pulire il mondo (punto N°9), mentre tutti gli intellettuali e artisti dell'epoca scongiuravano lo scoppio della Prima Guerra Mondiale, di cui v'era già sentore. Molti artisti espressionisti avevano denunciato, fin dal 1905, il rischio di una guerra mondiale e il bisogno di costituire un linguaggio pittorico europeo, transnazionale, comunitario. Altra contraddizione è quella legata all'intenzione di porre nel quadro il dinamismo, ma l'opera pittorica dei futuristi, animata da linee-forza dinamiche, si scontrò con l'effettivo dinamismo del neonato cinema. I quadri futuristi, perciò, rinnovarono soltanto la 'forma' pittorica, non la sua funzione (ben svolta dal cinema). L'idea di svecchiare il mondo, poi, non ha trovato corrispettivo concreto nelle private azioni e scelte personali dello stesso inventore del movimento; infatti, se da un lato l'architetto futurista Sant'Elia proponeva linee sobrie, lineari, moderne, l'arredamento domestico personale di Marinetti contemplava ancora elementi ottocenteschi, tendaggi pesanti e ninnoli d'antiquariato ("piccole cose di pessimo gusto", accusava Marinetti, ma agli altri, non a se stesso). Un movimento come quello futurista, inneggiante alla distruzione di Venezia e di tutti i musei (come luoghi rappresentanti del passato), non poteva pretendere di rimanere un movimento storico, come invece è successo, lasciando in eredità opere in quegli stessi musei che i futuristi volevano distruggere. Il futurismo rimase un'esperienza circoscritta e senza un vero futuro, poiché, dopo la sua scomparsa dalle scene, l'arte in generale continuò a perseguire le sue funzioni di denuncia sociale, con l'ausilio delle nuove Avanguardie che rispondevano a istanze pacifiste.

È normale che il Futurismo, nascendo in un'epoca decadente, abbia avuto tantissime contraddizioni. All'immobilismo scolastico e accademico ereditato dalle "tre corone" della poesia decadente (Carducci, Pascoli e D'Annunzio) i futuristi oppongono la dinamicità, il distruttivismo e, all'armonia e alla raffinatezza, contrappongono il disordine delle parole.

Secondo i futuristi, questi poeti devono essere completamente rinnegati perché incarnano esattamente i quattro ingredienti intellettuali che il futurismo vuole abolire:

la poesia morbosa e nostalgica;

il sentimento romantico;

l'ossessione della lussuria;

la passione per il passato.

In contraddizione con il Futurismo è stata anche la corrente crepuscolare.

Infatti, il crepuscolarismo, nonostante che con il Futurismo condivida l'idea di interartisticità, ha però una concezione della vita completamente diversa:

i futuristi inneggiano alle innovazioni, i crepuscolari sono avversi a una modernità che aliena l'individuo; i futuristi sono prepotenti, dinamici, chiassosi, i crepuscolari assumono toni dimessi, pacifici e malinconici; i futuristi esaltano il caos e le attività delle grandi città, i crepuscolari amano l'intimità, le "piccole cose di pessimo gusto", gli affetti familiari e una vita tranquilla; i futuristi sono sempre protesi verso un "domani" esaltante, i crepuscolari guardano al passato e alle piccole cose quotidiane.

Ma il vero confronto non andrebbe fatto con i crepuscolari, bensì con le altre avanguardie (Cubismo, Astrattismo, Dada, Surrealismo, Metafisica), dove il futurismo risulta essere un fenomeno lontano dal panorama di vera innovazione del linguaggio artistico. Infatti, se le provocazioni dei futuristi erano fine a se stesse, utopiche forse, i nuovi linguaggi provocatori delle altre avanguardie rispondevano a necessità oggettive e impellenti (denuncia dei problemi sociali, della guerra, dello sfruttamento dell'Uomo sull'Uomo, della conquista della Libertà individuale e collettiva, ecc.)

La forma [modifica]

Temi innovativi e originali come quelli del Futurismo richiedono giustamente forme nuove e la sintassi tradizionale decadentista non è di certo adeguabile alla dinamicità di questa nuova avanguardia. A proporre una nuova forma adeguata ai contenuti del futurismo è Marinetti, il quale, pubblicando il "Manifesto Tecnico della Letteratura Futurista", proclama:

"...BISOGNA DISTRUGGERE LA SINTASSI DISPONENDO I SOSTANTIVI A CASO, COME NASCONO...

...SI DEVE ABOLIRE L'AGGETTIVO...

...SI DEVE ABOLIRE L'AVVERBIO...

...ABOLIRE ANCHE LA PUNTEGGIATURA...

...siccome ogni specie di ordine è fatalmente un prodotto dell'intelligenza e guardinga, bisogna orchestrare le immagini disponendole secondo un MAXIMUM DI DISORDINE..."

#100!!

Omg! I can't believe it!

Ahahahahahahahaa!!! I made it! I made it before the anniversary next month!

T__T AWWW! They're leaving each other!

In some matter, after brushing shoulders they'll walk away changed....

My advice... @__@ NEVER 100 ANYTHING....

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L’Insieme Vocale Vox Cordis, gruppo di cantori di grande esperienza musicale, basa l’intenso impegno e la qualità artistica sulla condivisione della gioia del far musica insieme. Il gruppo ha effettuato molti concerti in Italia e all’estero, partecipando a festival e competizioni internazionali. Il coro ha inciso brani di musica antica e contemporanea e ha collaborato con molte istituzioni culturali italiane e artisti internazionali (J. Busto, R. Fabbriciani, D. Fasolis, R. Gabbiani, G. Graden, S. Kuret, C. Høgset, F. Luisi, E. Mei, V. Myskinis, K. Ricciarelli, K. Suttner, P. White). Tra i vari riconoscimenti e attività svolte si segnalano: Ø Festival Arezzowave (Arezzo, 2006), Ø Festival Piccardia (Soissons, 2006), Ø Rassegna Internazionale Chiavi d’Aregento (Chiavenna 2007), Ø Festival Internazionale Aosta-Classica (2007), Ø Prima esecuzione assoluta di Intima Vox, oratorio di L. Donati (Cagli 2007), Ø Concerti in Svizzera (Lugano ‘07, Ginevra ‘08), Ø Festival Piccardia (Abbeville, 2008), Ø Prima esecuzione assoluta dell’oratorio “Martinus” del compositore spagnolo Luis De Pablo (Abbeville 2008), Ø Pubblicazione del CD “Offiucium Sancti Donati” (Edizioni Sismel, 2009), Ø Festival “Voci d’Europa” (Porto Torres 2008), Ø Festival Internazionale “J’entende des voix” (Rouen, 2009), Ø Prima esecuzione storica della « Passio Sancti Viti et Modesti » (Firenze 2009), Ø Europa Cantat Ütrecht 2009 (Ütrecht 2009), Ø Pubblicazione di un CD di composizioni di L. Donati (Edizioni Dry-Castle, 2009), Ø Tournèe in Trentino (Lavis e Avio 2009), Ø Tournèe in Georgia (Tiblisi 2010), Ø Festival Montreux (Svizzera 2010). L’Associazione Insieme Vocale Vox Cordis collabora annualmente con importanti istituzioni culturali italiane e promuove l’attività corale con varie iniziative: dal coro di bambini InControCanto, alla propedeutica musicale nella scuola primaria, dalla Scuola di Musica “Le Chiavi di DO” all’organizzazione del Festival “ventieventi”.

Lorenzo Donati. Compositore, direttore e violinista ha studiato ad Arezzo e Firenze, frequentando corsi presso la Scuola di Musica di Fiesole e l'Accademia Chigiana di Siena, studiando tra gli altri con C. Togni, E. Morricone, R. Pezzati, P. Dusapin. Come direttore si è diplomato al Corso Triennale e successivamente al Master Annuale di Perfezionamento della Fondazione “G. d’Arezzo” studiando, tra gli altri, con R. Alessandrini, R. Clemencic, O. Dantone, D. Fasolis, R. Gabbiani, G. Graden, e P. Neumann. Svolge intensa attività concertistica con l’Insieme Vocale Vox Cordis, l’Hesperimenta Vocal Ensemble di Arezzo e Vocalia Consort di Roma, con questi gruppi ha vinto vari primi premi e premi speciali in concorsi nazionali ed internazionali (Arezzo, Gorizia, Lugano, Montorio, Vittorio Veneto, Senlis). Nell’ambito della propria attività ha potuto realizzare produzioni in importanti festivals collaborando con artisti di riconosciuto valore internazionale e con molti ensemble musicali. Nel 2007 ha vinto i due primi premi del Concorso Internazionale per Direttori di Coro “Mariele Ventre” di Bologna. Le sue composizioni sono state eseguite in vari paesi europei, incise da ensemble e solisti, e pubblicate da varie case editrici italiane. Suoi lavori corali sono stati commissionati e/o eseguiti dal Coro dell’Accademia di Santa Cecilia, Coro del Maggio Musicale Fiorentino, Coro Giovanile Italiano, Joyfull Company di Londra, St. Jakobs Chamber Choir di Stoccolma. Tra i prestigiosi riconoscimenti in competizioni internazionali ricordiamo i premi ai concorsi di Arezzo (1996 e 1999), Gorizia (1999 e 2002), Roma (1999), Avellino (2003), Vittorio Veneto (2007). Pubblica per Pizzicato Verlag, Carus Verlag e altri editori. Collabora con varie istituzioni culturali nazionali come Associazione Cori della Toscana, Centro Studi Musicali F. Busoni di Empoli, FENIARCO, Festival Incontri Polifonici Città di Fano, Fondazione Guido d’Arezzo. Tiene corsi di musica corale e composizione in Italia e all’estero (Francia, Russia) e per importanti scuole di direzione (Milano Choral Academy, Fondazione Guido d’Arezzo), è spesso invitato in giuria in concorsi internazionali. Insegna musica corale e direzione di coro presso il Conservatorio di Trento.

The Insieme Vocale Vox Cordis was founded in 1997 by a group of singers with broad musical experience. The choir bases its deep commitment and artistic qualities on the pleasure of making music together. The group has given many concerts both in Italy and abroad (France, Malta, Nedtherlands Slovenia, Swiss, etc), participating in festivals and international competitions (prizes in Arezzo, Gorizia, Montreux, Senlis, Vittorio Veneto,). The choir has recorded both antique and contemporary music and has collaborated with many Italian cultural institutions and international artists (J. Busto, R. Fabbriciani, D. Fasolis, R. Gabbiani, G. Graden, S. Kuret, C. Høgset, E. Mei, V. Myskinis, P. Neumann, K. Ricciarelli, K. Suttner, P. White).

The choir has participated in the following notable events: III Prize at the XV National Coral Singing Competition “G. d’Arezzo” (Arezzo 1998), Special “Nuova Musica” Prize and IV Prize at the 38th International Coral Competition “C. A. Seghizzi” (Gorizia 1999), Concert tour on the island of Malta (2000). Choral Festival ‘Virgo Lauretana’ (Loreto 2001); Choral Festival ‘De ignoto cantu’ (from 2002 to 2008); First prize at the 38th National Competition “Città della Vittoria” Vittorio Veneto (2003), Winner of XI Grand Prize “Efrem Casagrande” Vittorio Veneto (2003), Special “Nuova Musica” Prize and IV Prize at the 42th International Coral Competition “C. A. Seghizzi” (Gorizia 2003), 30th and 35th edition of Incontri Polofonici ‘Cittò di Fano’ (2003 and 2008); 17th International Choral Festival Kifisia, (Athens, Greece 2004); First prize at the European Coral Competition of Picardie (Senlis, France 2004); Special Prize “G. Petrassi” and Second prize at the 3rd National Choral Competition “Città di Zagarolo” (2005). Inaugural concert in the “Festival des Cathedrales de Piccardie” (Amiens, France 2005); Concert tour in Switzerland ( Geneva 2005); Concert tour Slovenia (Ljubljana 2005); Arezzowave (Arezzo 2006); Concert at the “Festival des Cathedrales de Piccardie”(Soissons, France 2006); International Festival ‘Chiavi D’Argento’ (Chiavenna 2007); International Festival Aosta-Classica (Aosta 2007); Premier performance of ‘Intima Vox’, oratorio by L.Donati (Cagli 2007); Concert in Switzerland (Lugano 2007, Geneva 2008); Festival of Piccardie (Abbeville, France 2008); Premier performance of ‘Martinus ’oratorio by Spanish composer Luis de Pablo (Abbeville, France 2008); Publication of CD, gregorian chant, ‘Offiucium Sancti Donati’ ( Edizioni Sismel, 2009); Choral Festival ‘Voci d’Europa’ ( Porto Torres 2008); International Festival ‘J’entend des voix’ (Rouen, France 2009); Premier performance of ‘Passio Sancti Viti et Modesti’, gregorian chant, (Firenze, Italy); Publication of CD ‘Surge Aurora’, composition by Lorenzo Donati ( DryCastle Records, 2009); International Festival ‘Europa Cantat’ (Utrecht, Netherlands 2009); Concert tour on the Republic of Georgia (Tblisi, Georgia 2000). Special Prize for compulsory composition, Second and Third prizes at the International Choral Festival Montreux (Montreux, Swiss 2010).

AHS Ames High School Alumni Assoc - Ames, IA. ameshigh.org - reunions - photos - newsletters - authors - calendar - news - deceased - email - letters - join AHSAA

Future Ames High School AHS class of 1969 class photo.

This is the first class ever at Sawyer School in Ames Iowa.

1st 6th grade class at Sawyer

4th row L to R: Charles Ellis, Ross Allen, Clay Bauske, Josh Sharlin, Howard Hudson, Lachy Smith, Mike Ross, Miss Kahl

3rd: Dale Myers, Linda Edwards, Janet Ramsey, Sydney Moss, Linda Dunleavy, Marilyn Marston, Betty Burton, Neal McCollum

2nd: Cheryl Baily, Sharon Haas, Susan Metzler, Cindy Johnson, Alison Hammer, John Casey, Chuck Voss, Wayne Wynne

1st: Mark Ketcham, Gary Jones, Steve Buson, John Zieman, Jim Clark, Jeff Hensley, Tracey Lambert

ALL AHS 1969 photos. Click here

AHS 1969 50-year reunion info on AmesHigh.org

Welcome back Class of 1969 Ames Senior High School for your 50-year reunion!!

#ameshighclassof1969 #1969ahs #50th

More AHS 1969 reunion info here:

ameshigh.org/reunion/reunion_2019.html#ahs1969

AHS Ames High School Alumni Assoc - Ames, IA. ameshigh.org - reunions - photos - newsletters - authors - calendar - news - deceased - email - letters - join AHSAA

A book of Japanese short verses (Haiku) by a schoolboy has been published recently (Kobayashi, 2013). The haiku that is featured on the cover, and used as the subtitle for the book, is good.

いじめられ

行きたし行けぬ

春の雨

Ijimerare

Ikitashi Ikenu

Haru no Ame

Bullied

I wanted to go but couldn't

Spring rain

The schoolboy poet was bullied at school and stayed at home quite often as a consequence.

As argued in previous posts Haiku poems attemtp to lead the reader to a little bit of Buddhist enlightenment by encouraging them to reach a erroneous interpretation of the poem before returning them to, or hinting at the nature of the poetic experience.

Rain often features in Haiku partly I think because rain can not usually be seen (except in its effects) only inferred. Two other famous haiku by Basho and Buson mention "rain" (encouraging the reading to attempt to imagine it) before admitting that they were in fact looking at a river, or houses on the far side of a river.

Is this schoolboy seeing rain? The poem is effective because it is inconclusive, hinting at another interpretation. School starts in spring in Japan, so one can imagine the schoolboy wanting to go to school but not going because his bullied and his feelings at this his predicament. I think we may imagine him crying. And there arises an alternative interpretation of the "Spring Rain." Is the spring rain the poets tears or not? The reader can imagine that the poet saw a wet spring day, a blurred image trough rain, glass or tears, but the in the face of the absense of a privelidged interpretation, the reader is returned to the uninterpreted image, the purity of the experience itself.

Above image based on detal from a photo by U-Ichiro 雨の港町

Kobayashi, K. 小林凜. (2013). ランドセル俳人の五・七・五 いじめられ行きたし行けぬ春の雨--11歳、不登校の少年。生きる希望は俳句を詠むこと。. ブックマン社.

Stagione Lirica 1984/1985

Ferruccio Busoni

DOKTOR FAUST

Direttore Zoltan Pesko

Regia Werner Herzog

Scene e Costumi Henning von Gierke

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photo Primo Gnani

Yellowstone National Park

Number 87 of 100! I still need to think of a plausible name for this crack pairing... here we have ranger student Hitomi and Rocket Buson... which technically would be Kate and Attila... can you imagine going around telling people you have a boyfriend named "Attila"? that's just as bad as saying "I have a boyfriend named T-REX!"... Although it's still a roughly used name today, the sound of it alone still suggests violence. Luckily, Buson has nonchalant side....

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If you intend on using any of my fanart- please be certain to inform me of this. You're not required to ASK if you can- just TELL ME THAT YOU ARE!

As seen work in progress in MY MOVIE. I started this set about three months ago! I can't believe how long it took me to get down to finishing it. I had A LOT of other pictures get in-between me and this one for a long while! This picture was organized from a series of poses from my pose book! Most of the poses being for females!

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If you intend on using any of my fanart- please be certain to inform me of this. You're not required to ASK if you can- just TELL ME THAT YOU ARE!

I had the image of this in my head this morning and I just HAADD to draw it! Super quick scribble I just barely doodled a couple of hours ago. It's mostly a landscape illustration. Something about it reminds me of the seven dwarfs!

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GRAIL COMPLETE (I MEAN SERIOUSLY! THIS IS MY ASS-GRABBING grail of poke fanart)! I'M SOO PROUD OF MYSELF! AHH!

For those of you who haven't been following MY BLOG - here is the whole art progress history!

Base Scribble

Base Scribble Revision

Sketch Process

Computer Arrangement

Lineart Progress

Base Coloring Progress

Computer Detailing Progress

I probably would have had it out a week earlier ,but I took a Death Note Commission randomly in between. I'm shocked I managed to get it done so quickly none the less. It's such a shame that I had to shrink it down- it's actually very detailed...

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If you intend on using any of my fanart- please be certain to inform me of this. You're not required to ASK if you can- just TELL ME THAT YOU ARE!

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

ID:338d8a144e3b0323ce33ca3408879cfd

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Bologna è una vecchia signora dai fianchi un po' molli

col seno sul piano padano ed il culo sui colli,

Bologna arrogante e papale, Bologna la rossa e fetale,

Bologna la grassa e l' umana già un poco Romagna e in odor di Toscana...

Bologna per me provinciale Parigi minore:

mercati all' aperto, bistrots, della "rive gauche" l' odore

con Sartre che pontificava, Baudelaire fra l' assenzio cantava

ed io, modenese volgare, a sudarmi un amore, fosse pure ancillare.

Però che Bohéme confortevole giocata fra casa e osterie

quando a ogni bicchiere rimbalzano le filosofie...

Oh quanto eravamo poetici, ma senza pudore e paura

e i vecchi "imberiaghi" sembravano la letteratura...

Oh quanto eravam tutti artistici, ma senza pudore o vergogna

cullati fra i portici cosce di mamma Bologna...

Bologna è una donna emiliana di zigomo forte,

Bologna capace d' amore, capace di morte,

che sa quel che conta e che vale, che sa dov' è il sugo del sale,

che calcola il giusto la vita e che sa stare in piedi per quanto colpita...

Bologna è una ricca signora che fu contadina:

benessere, ville, gioielli... e salami in vetrina,

che sa che l' odor di miseria da mandare giù è cosa seria

e vuole sentirsi sicura con quello che ha addosso, perchè sa la paura.

Lo sprechi il tuo odor di benessere però con lo strano binomio

dei morti per sogni davanti al tuo Santo Petronio

e i tuoi bolognesi, se esistono, ci sono od ormai si son persi

confusi e legati a migliaia di mondi diversi?

Oh quante parole ti cantano, cullando i cliché della gente,

cantando canzoni che è come cantare di niente...

Bologna è una strana signora, volgare matrona,

Bologna bambina per bene, Bologna "busona",

Bologna ombelico di tutto, mi spingi a un singhiozzo e ad un rutto,

rimorso per quel che m' hai dato, che è quasi ricordo, e in odor di passato..

edited by jwcurry.

Ottawa, 4 february 2o14. 93 unique copies.

2o pp/16 printed, rubberstamp & laser over found offset in spraypaint stencil cover. size varies, approx.7-3/8 x 9-7/8, sewn wrappers.

poetry by Randall Brock, Yosa Buson (translated by David Aylward), P.Cob, Judith Copithorne, Gerry Gilbert, Wharton Hood, Marshall Hryciuk, Hans Jewinski, Nicholas Power, Ki No Tsurayuki; prose editorial inside covers, the cover a graffiti stencil found on the Prince Of Wales railbroad bridge in Ottawa, coloured unique to each by curry & Rachel Zavitz.

.o1

Taken March 30, 2019

Nikon FM, 55mm Micro-Nikkor

Ilford Delta 100 in rodinal 1:100 30:00 semi-stand

Scanned negative

Post process PS Elements + Silver Efex Pro

I tried a darkroom print of this one, but liked this result better.

“In every nook and corner

Cold remains:

Plum blossoms”

Buson (1716 -1784)

La pradera esta nublada y las aguas guardan silencio. Es el atardecer.

Yosa Buson

Facebook Page | Tumblr | Blog | Twitter | Pinterest

WHERE I LAST LEFT OFF

I just have to fill in their mouths- finish the Nyarth, slap on a background and I'M DONE! Then I can finally jump another rocket fanart! If you want to see some of the ideas I had in mind you can find them ON MY BLOG as well as the step by step progress of the coloring...

Feel free to vote for your favorite scribbles- I'm open to suggestions.

Ah ah ah

Partita spezzettata: troppi falli...

As seen computer coloring work in progress in MY MOVIE. God I can't believe I managed to pull this whole entry together just in time.

--------

If you intend on using any of my fanart- please be certain to inform me of this. You're not required to ASK if you can- just TELL ME THAT YOU ARE!

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

ID:338d8a144e3b0323ce33ca3408879cfd

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slit bottoms for A Booker's Dozen :selected B files. edited by jwcurry.

Ottawa, 1cent, 27 june 2oo5. 127 unique numbered copies.

24 pp/17 printed, rubberstamp over used envelopes. size varies, approx.4-3/4 x 5-1/2, uncut signature sewn in wrappers with glassine cover window, printed on used envelopes.

poetry by David Aylward (translations of Matsuo Basho & Yosa Buson), Guy R.Beining, Jennifer Books, Randall Brock, Clint Burnham, curry.

.o1

Homosexual friends in their kitchen on Mulberry Street Waterloo, Iowa 1973. My gentle Ronnie was about to stand up, present the photographer with a small columnar cactus and issue instructions to him to sit on it. Most person who knew us had no idea how angry Ronnie was at the brutality we had suffered at the hands of heteros, he never showed it, unless we were alone or at least together.

He was dead in less than ten years after this shot was made. The man I was then, died with him.

Starting to call you

Come watch these butterflies

Oh! I’m all alone

- Taigi

Will we meet again

Here at your flowering grave…

Two white butterflies?

-Basho

A short summer night

But in this solemn darkness

One peony bloomed

- Buson

This world of ours

To what shall I compare it?

To the white wake of a boat

That rows away in the early dawn.

070323-F-9074R-065

Soldiers assigned to 2nd Battalion, 11th Armored Cavalry Regiment, Fort Irwin, Calif., disembark a Korean Airlines flight upon arrival in the Republic of Korea. The Soldiers were arriving to participate in Exercise Reception, Staging, Onward Movement and Integration, (RSO&I) 2007. Exercise Reception, Staging, Onward movement, and Integration / Foal Eagle 2007 (RSO&I/FE 07), is an annual joint/combined command post / field training exercise. The purpose of the exercise is to demonstrate resolve to support the Republic of Korea (ROK) against external aggression while improving ROK/U.S. combat readiness and joint / combined interoperability. The focus of the exercise is on strategic, operational and tactical aspects of general military operations in the Korean theater of operations. (U.S. Air Force Photo by Staff Sgt. Nic Raven)

Learn more: www.expertinfantry.com

This was the sketch I had been blogging about earlier...

I had a vision for this ermm....

earlier at the beginning of the month...

It took me a while to complete it didn't it? LOL!

Here we have Buson in a baseball-pitch pose!

Against our leading female who is definitely swinging her purse into his face!

WHOOOOH!

That's going to be annoying!

I was surprised that most of the fanartists assumed she was wearing a vest...

it looks more like just a striped t-shirt to me...

As for the boy character- I’m totally head over heals for him!

I think he can rival my love for Yuuki!

In speaking of… I need to squeeze in at least one more pictures of Yuuki before I end my race to 100!

This picture is number 85...

And I hope to finish at least four more after it…

Lets see if I can get them done by tomorrow! LOL!

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If you intend on using any of my fanart- please be certain to inform me of this. You're not required to ASK if you can- just TELL ME THAT YOU ARE!

As seen work in progress on my BLOG COLOR TUTORIAL!. I took a couple of months to get this picture off the ground. I keep completing easier ones around it like it didn't even exist. I’m glad I finally got a chance to jazz it up! So it’s obvious that hats are regulation in Team Rocket for the standards grunts to somewhat mask their identity… I seriously don’t think a hat is enough really (I like Galatics approach by issuing wigs to all of their grunts… because there is no way in heck they‘d hire only people with the same hair color…)

--------

If you intend on using any of my fanart- please be certain to inform me of this. You're not required to ASK if you can- just TELL ME THAT YOU ARE!

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

ID:338d8a144e3b0323ce33ca3408879cfd

Image credits: www.flickr.com/photos/jsolanoma/3903611182/

www.flickr.com/photos/freespiritfoundation/3903613210/

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Bologna è una vecchia signora dai fianchi un po' molli

col seno sul piano padano ed il culo sui colli,

Bologna arrogante e papale, Bologna la rossa e fetale,

Bologna la grassa e l' umana già un poco Romagna e in odor di Toscana...

Bologna per me provinciale Parigi minore:

mercati all' aperto, bistrots, della "rive gauche" l' odore

con Sartre che pontificava, Baudelaire fra l' assenzio cantava

ed io, modenese volgare, a sudarmi un amore, fosse pure ancillare.

Però che Bohéme confortevole giocata fra casa e osterie

quando a ogni bicchiere rimbalzano le filosofie...

Oh quanto eravamo poetici, ma senza pudore e paura

e i vecchi "imberiaghi" sembravano la letteratura...

Oh quanto eravam tutti artistici, ma senza pudore o vergogna

cullati fra i portici cosce di mamma Bologna...

Bologna è una donna emiliana di zigomo forte,

Bologna capace d' amore, capace di morte,

che sa quel che conta e che vale, che sa dov' è il sugo del sale,

che calcola il giusto la vita e che sa stare in piedi per quanto colpita...

Bologna è una ricca signora che fu contadina:

benessere, ville, gioielli... e salami in vetrina,

che sa che l' odor di miseria da mandare giù è cosa seria

e vuole sentirsi sicura con quello che ha addosso, perchè sa la paura.

Lo sprechi il tuo odor di benessere però con lo strano binomio

dei morti per sogni davanti al tuo Santo Petronio

e i tuoi bolognesi, se esistono, ci sono od ormai si son persi

confusi e legati a migliaia di mondi diversi?

Oh quante parole ti cantano, cullando i cliché della gente,

cantando canzoni che è come cantare di niente...

Bologna è una strana signora, volgare matrona,

Bologna bambina per bene, Bologna "busona",

Bologna ombelico di tutto, mi spingi a un singhiozzo e ad un rutto,

rimorso per quel che m' hai dato, che è quasi ricordo, e in odor di passato...

EEEK! my first real Rocket fan art! W000tness! The group thus far! My favorite three Rocket pairs! Still filling in the base draft (editing will follow- wait for it)- I'm trying to determine if I want them to be casual waiting for a bus or in uniform waiting in a lunch line! LOL!

Ginkaku-ji (銀閣寺), or the "Temple of the Silver Pavilion”, located at the food of Kyoto’s eastern mountains, Higashiyama, was originally built by shogun Ashikaga Yoshimasa (足利 義政) in 1482 as a retirement villa. Yoshimasa, the 8th Ashikaga shogunate during the Muromachi period, modeled the Ginkaku-ji after Kinkaku-ji, the retirement villa commissioned by his grandfather, Ashikaga Yoshimitsu, the third Ashikaga shogunate. After Yoshimasa’s death in 1490, Ginkaku-ji was converted to a zen temple, Jishō-ji (慈照寺), or the "Temple of Shining Mercy," which, today, is associated with the Shokoku-ji branch of Rinzai Zen.

As the retirement villa of an art obsessed shogun, Ginkakuji became the center of Higashiyama Bunka (東山文化), or Higashiyama Culture or the Culture of the Eastern Mountain, which unlike the Kitayama Bunka (北山文化) of his grandfather’s times, had a broad impact on the entire country. Based largely on the ideals and aesthetics of Zen Buddhism and the concept of wabi-sabi (beauty in simplicity), it was during Higashiyama Bunka that much of what is commonly seen today as traditional Japanese culture originated and developed, including chadō (Japanese tea ceremony), ikebana (flower arranging), Noh drama, and sumi-e ink painting. Having retired to the villa, it is said that Yoshimasa retreated here

The two-storied Kannon-den (観音殿), or Kannon hall, is the temple’s main structure and lends its popular name, Ginkaku, or the Silver Pavilion, to the temple. This name dates back, only, to the early Edo period, and its origin is is disputed. Some believe it is owed to Yoshimasa's initial plans--halted during the Onion War--to cover the pavilion's exterior in silver foil; others claim its due to the silvery appearance created by moonlight reflecting on the formerly black lacquered exterior. It is one of only two buildings, along with the Tōgudō, on the grounds to have survived intact over the years.

The Hōjō is the main temple building, or Hondō, and dates to the mid-Edo period. The central image of worship inside the hall is a statue of the historical Buddha Shakyamuni. Inside are sliding-door paintings by the great Edo-period Nanga literati painters Yosa Buson and Ike Taiga.

The property also features wooded grounds, The a Japanese garden designed by the great landscape artist Sōami, and a meticulously manicured sand garden known as Ginshadan (銀沙灘), or the "Sea of Silver Sand."

Ginkaku-ji, along with 16 other locations across Kyōto, Uji and Ōtsu, comprise the UNESCO World Heritage Site, Historic Monuments of Ancient Kyoto (Kyoto, Uji and Otsu Cities), designated in 1994.

No benches nor picnic areas, let alone cafes and bars, just a wasteland.

I'm reminded of my favourite haiku, by Buson, a variation on one by Basho.

五月雨や Spring Shower!

大川を前に A big river in front

家二軒 Two houses on the far side ( two places to stay dry)

Buson is looking at the houses longingly, wishing he could get out of the rain, but there is a big river in the way. To Buson, and many Japanese perhaps, rivers are obstacles.

But then, look at how I have used this wonderfully beautiful natural resource: not to marvel at the sparkling water, nor let my mind become one with its unrepeatable flow, but to set the Japanese up as a foil to highlight my aetheticism and erudition.

That is another reason why this would work as a great tourism resource, especially for Western tourists.

" Première neige

Comment en faire l'éloge ?

La lune sur les bambous" Buson

dommage je n'ai pas vu la lune ..mais je l'imagine !

www.moundarren.com/anthologiesjaponaises/on_se_les_gele

My original Rocket servant uniform for my NEXT FANART.

Coloring Process

A more labored scribble. This is my first sketch edit that didn't deserve a lineart. I had all these proportioning lines running through it here and there and I Cged over it anyway!

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If you intend on using any of my fanart- please be certain to inform me of this. You're not required to ASK if you can- just TELL ME THAT YOU ARE!