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“Your time is limited, so don't waste it living someone else's life. Don't be trapped by dogma — which is living with the results of other people's thinking. Don’t let the noise of others’ opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary.”
— Steve Jobs, You’ve got to find what you love, 2005 Stanford Commencement Speech
blog.seeminglee.com/2007/08/youve-got-to-find-what-you-lo...
/ SML.20121211.PHIL.Steve.Jobs.Youve.got.to.find.what.you.love.excerpt
/ #smlphil #ccby #smluniverse #stevejobs #philosophy #life #hacks #smllove #smlrec #humans #people #voice #important #courage #intuition #opinions #stanford #speech #love
This is my single cover for "Intuition" by Selena Gomez. I just absolutely LOVE how this came out. The colors and everything turned out great. It's simple but i still really love this. Comments?
INTUITIONS EXPERIMENTAL THEATRE COMPANY
Saturday, October 24, 2015
@ Irvine Auditorium
An annual family favorite, Family Performing Arts Night is a showcase of Penn's student theatrical, vocal, instrumental, dance and comedy groups.
Photo by Dyana Wing T. So.
From wikipedia: The Coit Tower murals were carried out under the auspices of the Public Works of Art Project, the first of the New Deal federal employment programs for artists. Ralph Stackpole and Bernard Zakheim successfully sought the commission in 1933, and supervised the muralists, who were mainly faculty and student of the California School of Fine Arts (CSFA), including Maxine Albro, Victor Arnautoff, Ray Bertrand, Rinaldo Cuneo, Mallette Harold Dean, Clifford Wight, Edith Hamlin, George Harris, Robert B. Howard, Otis Oldfield, Suzanne Scheuer, Hebe Daum and Frede Vidar.
After Diego Rivera's Man at the Crossroads mural was destroyed by its Rockefeller Center patrons for the inclusion of an image of Lenin, the Coit Tower muralists protested, picketing the tower. Sympathy for Rivera led some artists to incorporate leftist ideas and composition elements in their works. Bernard Zakheim's "Library" depicts fellow artist John Langley Howard crumpling a newspaper in his left hand as he reaches for a shelved copy of Karl Marx's Das Kapital with his right, and Stackpole is painted reading a newspaper headline announcing the destruction of Rivera's mural; Victor Arnautoff's "City Life" includes the The New Masses and The Daily Worker periodicals in the scene's news stand rack; John Langley Howard's mural depicts an ethnically diverse Labor March as well as showing a destitute family panning for gold while a rich family observes; and Stackpole's Industries of California was composed along the same lines as an early study of the destroyed Man at the Crossroads.[4]
Two of the murals are of San Francisco Bay scenes. Most murals are done in fresco; the exceptions are one mural done in egg tempera (upstairs, in the last decorated room) and the works done in the elevator foyer, which are oil on canvas. While most of the murals have been restored, a small segment (the spiral stairway exit to the observation platform) was not restored but durably painted over with epoxy surfacing.
I just came across of a picture of myself in this dress ... it is called "Intuition" and is a little revealing :)
An expert in the prediction and management of violence offers some intriguing advice on clues that inform our intuition plus a pant load of insights into human psychology. I've read quite a bit on developing intuition lately, but this is the first book that demystifies that gut feeling and then proceeds to highlight actual real world indicators that likely informed that bit of intuition including persistent thoughts, nagging feelings, anxiety, curiosity and humor i.e. "I'm going back to my office before the bomb goes off". (This in response to a suspicious package delivered to a workplace.)
The details of case study after case study makes the reading a bit sinister, but the insight gleaned from these real world cases is extremely informative and provides a mental toolkit for analyzing dicey situations. The author's message is that we spend too much time with wasteful worrying that ends up obscuring actual useful information in real time. He shows us how to use real fear, that pit of the stomach dread, to investigate and take precautions. Details are provided from debriefings with victims of violent crimes.
He deconstructs how criminals use human psychology to disarm their victims by taking liberties from the first hello that might appear friendly, but are actually meant to solicit a human response by being inappropriately familiar. The use of forced teaming to put you in same boat with him, loan sharking—offering help that puts you in his debt, giving too many details to make a story sound true, making unsolicited promises meant to put you at ease, typecasting to force you to prove otherwise and refusing to take no for an answer.
There is also good evidence of how violence is unintentionally escalated by victims who take the wrong precautions for their particular perpetrator. Getting a restraining order, for instance. This does nothing to actually protect the victim; it's just a piece of paper that makes it easier for police to categorize a case once they are called on the scene, but it will likely insult the aggressor and provoke him to escalate. Likewise the carelessness and avoidance with which difficult employees are handled.
There is also quite a bit of insight into the criminal mind; how the misplaced emotions of unresolved injuries done to them as children plays into their interpretations of events as adults. All this says volumes about how the treatment of children (or mistreatment) is a crucial component of a civil society. He also adds his own experience from his childhood pertaining to domestic abuse. He covers all the scenarios of public violence from the work place, to teens at school, to date rape and stalking, to assassinations, (but not terrorism). He points out that criminals have much the same emotions of human need as everyone else and are not particularly unusual so should not be treated as wackos because that will just turn the interaction into a war.
He also has quite a bit to say about how media perpetuates violence, both the news type and the entertainment variety. The first gives perpetrators a chance to be a star at critical events and appearances of celebrities. While the entertainment industry perpetuates the roles that men should be persistent and women should play hard to get and not know how to say no and mean it. Then there is the violent imagery in the music industry. Chilling case study of a couple of teens emulating certain heavy metal band. As for video games, he does not take the usual stand that they promote violence, but emphasizes that they take the place of time spent with other people learning relationship skills.
This book was recommended to me following my telling of being betrayed by grifters who rented from us. It helped me analyze why I chose to use certain tactics in order not to escalate the situation rather than demanding justice. It also showed tactics I used to get them to team up with me in restoring those houses as if I was offering a partnership. Because I know they had hopes too, that I would provide work for them. And by being overly familiar with them and treating them like family, I perpetuated that teaming. But I was not aiming to commit violence. I just wanted them to act responsibly and they weren't up to that.
The book also gave me more material to ponder regarding the developing of intuition as a real world skill rather than a relationship with spirit helpers. This is a secular view, but it does not discount developing a relationship with spirits as a way to highlight knowledge gained through intuition. One of my shaman workshop mates also mentioned the book and said it helped her to see her intuition at work.
U.S. Department of Agriculture (USDA) Deputy Secretary Krysta Harden hosts the signing of the USDA Bioenergy Memorandum of Understanding and was joined by leaders from, Biomass Power Association, President and CEO Bob Cleaves; Pellet Fuels Institute Executive, Director Jennifer Hedrick; Biomass Thermal Energy Council, Executive Director Joseph Seymour; and Alliance for Green Heat, President John Ackerly, for the announcement of the new partnership agreement, at the USDA Headquarters, in Washington, D.C., on Wednesday, September 11, 2013. Moderating the event is Under Secretary for Rural Development Doug O’Brien.
The partnership agreement focuses on promoting wood energy nationwide as a means to address fire risks, bolster rural economic development, improve air quality, and help meet the Obama Administration’s renewable energy and energy efficiency goals. These organizations support the use of wood energy across the scale of users – from residential users, to commercial and intuitional facilities, to industrial production of heat and or electricity to drive businesses and feed the electrical grid.
Under the terms of the five grants announced by Deputy Secretary Harden, private, state and federal organizations will work together to stimulate the development of additional wood energy projects in their states. Collectively, $2.9 million will be spent o this effort -- $1.1 million on federal funds and $1.8 million in non-federal funds. For more information o0n the cooperative agreement program, visit na.fs.fed.us.werc/wood-energy/ USDA Photo by Lance Cheung.
Cornell’s is First Organ with Multiple Historic Wind Systems
Cornell’s new baroque organ has become the world’s first organ with multiple historic wind systems, using a technique organ designer Munetaka Yokota perfected on a research instrument at the Göteborg Organ Art Center (GOArt) at the University of Gothenburg, Sweden.
With simple manual adjustments, organists can authentically re-create the wind systems of organs from the 15th to the beginning of the 19th century from north and central Germany on the instrument.
Professor of music Annette Richards, who led the organ project at Cornell, explains that “the wind is the basis of any organ’s sound, and to appreciate music like Bach’s as it was intended, you need to hear it played on the kind of organ for which it was written.”
The organ is intended to reintroduce modern audiences to this authentic, historic sound, which was gradually lost over the centuries as equal temperament in keyboard intervals and highly stable wind systems became the norm.
The ingenious system includes seven new valves and 80 new feet of conductors, and has attracted worldwide attention from organists and researchers. An international group of scientists gathered at Cornell in spring 2012 to share data on the organ’s key action characteristics and wind behavior.
Yokota and GOArt research engineer Carl Johan Bergsten will use the new system to study general wind system behavior in organs. They’ll compare the measurements they took in November 2011, before the modification, to measurements they will take after.
“We’re excited to hear how the collaborative research on this organ between mathematical modelers, engineers and a builder with Munetaka Yokota’s historical knowledge and incomparable musical intuition can make our instrument speak with even more clarity, power, nuance and expressivity—even while acting as a cutting-edge laboratory for the latest experimental study,” Richards says.
The $2 million organ is the culmination of more than seven years of research and collaboration by GOArt and the Department of Music, and more than two years of work by 21st-century craftsmen, who used authentic 17th- and early 18th-century methods to hand-build the instrument.
The organ re-creates the tonal design of the 1706 Arp Schnitger organ at Charlottenburg in Berlin, which was destroyed by Allied bombers during WWII. The massive wooden case has a design based on a Schnitger organ at Clausthal-Zellerfeld, Germany, and was hand-built by local cabinetmaker Christopher Lowe.
The original wind system on Cornell’s organ was built by Parsons Pipe Organ Builders in Canandaigua, N.Y.; the 1,827 pipes were handcrafted in Sweden by Yokota, using rediscovered historic techniques. The modifications to the wind system were made by Lowe.
The Cornell Baroque Organ
The new majestic baroque organ in Cornell’s Anabel Taylor Chapel required over seven years of research in an international, collaborative effort by Cornell’s College of Arts and Sciences and the Gothenburg Organ Art Center (GOArt) at the University of GÖTEBORG, Sweden.
Interdisciplinary Effort
The instrument re-creates the tonal design of the celebrated Charlottenburg organ in Berlin, handmade in 1706 by master organ builder Arp Schnitger and tragically destroyed during WWII. The interdisciplinary effort to understand the many aspects of this historic organ’s construction included experts in fluid dynamics, electro-acoustics, and metallurgy, as well as craftsmen and musicians. Each of the nearly 2,000 pipes was handcrafted in Sweden under the direction of project designer Munetaka Yokota.
Exquisite Craftsmanship
View from behind the keyboardThe massive, intricately designed wooden case is based on another Schnitger organ in Germany. Every detail is handmade and historically accurate, from the wooden pegs and hand-forged nails to the hand-planed wooden surface and dovetail joints.
Musical Versatility
Commissioned by the Department of Music, the organ is perfect for the music of J.S. Bach and his north German predecessors, and is versatile enough for solo and ensemble music from the 16th century onward. As a complement to the music department’s strengths in performance and research, the organ is expected to attract top organ students, professional performers, composers and scholars to Cornell.
The Cornell Baroque Organ Project
A New Organ for Anabel Taylor Chapel
In 2003 Cornell University began work on a new organ for Anabel Taylor Chapel—an instrument based on a German 18th century masterpiece—as part of an international research project involving three academic institutions in the field of organ studies: Cornell, the University of Gothenburg, Sweden, and the Eastman School of Music at the University of Rochester. This interdisciplinary and international effort encompasses scholars, physical scientists, musicians, craftsmen and visual artists from Sweden, Japan, The Netherlands, Germany and New York State. Joining their efforts under the artistic direction of Munetaka Yokota at the Gothenburg Organ Art Center (GOART), the members of this team created an organ that is not just a fine vehicle for teaching, performance and scholarship, but also a magnificent work of art. (See Photo Galleries section below.)
Historical Models
The Cornell Baroque Organ will reconstruct the tonal design of the celebrated instrument at the Charlottenburg-Schlosskapelle built in the first decade of the 18th century in Berlin by Arp Schnitger, one of history’s greatest organ builders. The instrument’s layout and visual design will be based on Schnitger’s breathtaking organ case at Clausthal-Zellerfeld in central Germany. See Historic Model Photo Gallery.
Arp Schnitger was the most important organ builder of late 17th-century North Germany; although he was active mainly in its northwestern corner, his work was well known in all of the German speaking lands. He built several organs in the eastern cities as well, with unique features not possessed by their northwestern counterparts. Many of his works in the northwestern areas survive today and are well-known, but none of his instruments in the eastern areas are extant today, with the one exception of the organ case in Clausthal-Zellerfeld.
Tragically destroyed in the Second World War, the Charlottenburg organ and its unique tonal qualities can be recreated today using original documentation alongside early 20th-century studies and recordings of the instrument. Unique to this Berlin instrument, and still little-understood, is the way in which Schnitger combined North- and Central-German organ aesthetics in its design, to result in an unusual, even exceptional, tonal concept. This recreation will allow us to explore this fascinating sound world once again. (See Specification section below.)
Research, Collaboration and Outreach
The project involves extensive research into the art of woodworking, metallurgy, organ construction and the crucial voicing of organ pipes in the early 18th century. It seeks to go beyond simply revivifying these skills, and attempts to place them in the cultural and aesthetic contexts so particular to Berlin and its environs. As part of this process, Cornell’s new organ is being built using sophisticated handcraft techniques, replicating the construction techniques of its storied historical models. In a landmark collaboration with local talent, Cornell is engaged not just with GOArt, but also with Ithaca-based master woodworkers Christopher Lowe and Peter De Boer, who built the organ case entirely by hand, and with the Canandaigua-based organ-building firm Parsons Pipe Organ Builders (see Case Construction Photo Gallery). This is more than an academic exercise. The historical entity that was the Berlin organ will enrich the active musical culture of Cornell, Ithaca, and Central New York and will provide valuable data and insights that can be drawn on by kindred projects globally. And with the inauguration of Cornell’s Baroque organ, the Fingerlakes region of New York will become an unprecedented destination for historic organ performance and research, with musicians and scholars able to work both at Cornell and on the nearby Eastman School of Music’s historic organs.
Performance and Teaching
The Cornell Baroque Organ will be ideal both for the glorious solo repertoire of the 17th and 18th centuries, especially the music of J. S. Bach, and for the accompaniment of ensemble music for instruments and voices; in addition, it will be versatile enough for performance of music from the 16th to the 19th centuries and beyond. This instrument will act as a magnet for top student organists, as well as being an inspiring tool for teaching, solo and group performance, and new composition. The Cornell Baroque Organ will complement the existing strengths of the Cornell music department in performance and research, especially in the music of the 17th to 19th centuries. In addition, it will contribute to the university and wider community in diverse and unforeseen ways. This project does not simply import a historic organ into Central New York, but seeks to transplant and nurture the skills required to make and maintain such an instrument, and of course to play and use it, drawing on the best of the past in pursuit of a rich future. This is not an exercise in reconstruction and museum-style curatorship but an effort to invigorate a constellation of skills and musical activities to help further energize both local culture and the University’s international standing.
Specification:
Hauptwerk (Manual I)
Principal 8′, Quintadena 16′, Floite dues 8′, Gedact 8′, Octav 4′, Violdegamb 4′, Nassat 3′, SuperOctav 2′, Mixtur IV, Trompete 8′, Vox humana 8′
Rückpositiv (Manual II)
Principal 8′, Gedact lieblich 8′, Octav 4′, Floite dues 4′, Octav 2′, Waltflöit 2′, Sesquialt II, Scharf III, Hoboy 8′
Pedal
Principal 16′, Octav 8′, Octav 4′, Nachthorn 2′, Rauschpfeife II, Mixtur IV, Posaunen 16′, Trommet 8′, Trommet 4′, Cornet 2′
Baroque Organ Fact Sheet
Total cost: approx. $ 2 million
Number of years of research, planning and construction: 7
Number of years organ is projected to last: several hundred
Pipes:
•Number of pipes 1,847
•Largest pipe; c. 16 feet long, 8 inches diameter
•Smallest pipe—c. 1 inch long, ¼ inch diameter
•Materials for pipes: lead, tin, pine
•Sheets of metal for pipes cast on beds of sand
•Seven and a half months required to “voice” pipes (ensure each has perfect sound in the chapel, and responds correctly to pressure and speed of the touch of the performer)
•42 ranks (individual rows of pipes)
•30 stops
Keyboards:
•2 manuals, each with 50 notes (C, D to d3)
•1 pedal, with 26 notes (C, D to d1)
•over 740 feet of wooden trackers traveling from key to pallet
Bellows:
•4 wedge bellows (each weighing approximately 430 pounds)
•two pumpers required to manually run the bellows
•fastened together with cow hide and cow hide organic glue
Scale:
•lowest pitch: c. 30 Hz
•highest pitch c. 8, 000 Hz
Case:
•quarter-sawn fumed white oak
•many tons of lumber in the case (estimated around 7)
•handcrafted; every surface hand-planed rather than sanded
•longest boards, 18 ft, imported from 300-year old sustainable forest in Germany
•case dimensions: 25ft wide; 4 and ½ feet deep; 23ft high in the center
•number of structural nails in case: zero—case held together by wooden pegs, dovetail joints, wedges, drawboard mortise and tenon
All nails, hinges, etc. hand-forged of solid iron in Sweden
Contacts
•Cornell University
oContact: Annette Richards, University Organist
oProfessor of Musicology and Performance (17th-18th-century music, organ)
oPh.D., Stanford University
o607-255-7102, ar34@cornell.edu
Annette Richards provided the passion and organization behind the Cornell Baroque Organ project. She managed every aspect, from coordinating the international team of builders to shoveling snow for the delivery trucks, and is now delighted to be one of the primary organists to play the unique instrument. More details at: music.cornell.edu/people/faculty/?page=cudm/facultyCtrl&a... and vivo.cornell.edu/humanities/individual/vivo/individual23295
•David Yearsley
oProfessor of Musicology and Performance (17th-18th-century music, early keyboards)
oPh.D., Stanford University
o607-255-9024, dgy2@cornell.edu
David Yearsley provided key support for the Cornell Baroque Organ project through his expertise with organs and his skill as a performer. He is also one of the primary organist to play this magnificent instrument. More details at: music.cornell.edu/people/faculty/?page=cudm/facultyCtrl&a...
•CCSN Woodworking
oContact: Christopher Lowe
oCabinet Maker
oFreeville, NY(607) 347-6633 scmarlowe@frontiernet.net
Christopher Lowe is a local craftsman who has been a cabinet maker for 28 years, specializing in everything from barn restoration to furniture making. This was his first organ commission.
•Göteborg Organ Art Center
oUniversity of Gothenburg, Sweden
oGOArt was responsible for the overall design and project coordination, the production of the pipework, and the voicing of the pipes. More details at www.goart.gu.se/Research/
oContact: Munetaka Yokota
oEmail: munetaka.yokota@goart.gu.se
Munetaka Yokota supervised the assembly of the organ at Cornell. He is the main researcher and designer of the instrument and the primary craftsman for the organ pipes. He brought his family to Ithaca to live for almost a year, while he installed and voiced the pipes at Cornell.
•Parsons Pipe Organ Builders
oCanandaigua, New York
oParsons Pipe Organ Builders was responsible for constructing the wind system inside the organ, including all the mechanicals and the bellows. More details at: www.parsonsorgans.com/home.htm
oContact: Richard Parsons
oPresident and owner (585) 229-5888 or (888) 229-4820 or info@parsonsorgans.com
Timeline
•2/2/10 Delivery of wind chest, organ case, to Anabel Taylor Chapel
•Assembly of organ begins
•2/8/10-2/19/10 Pipe racking (involves burning wood and making a great deal of smoke, and will happen in a little shed right outside the chapel)
•2/17/1 Voicing of pipes begins
•3/1/10 Basic organ assembly complete, though all pipes might not be in
•03/4-6/10 Inspection by the great Dutch organist and organ expert Jacques van Oortmerssen
•03/10-11/10 Final tuning of organ
•04/10 Open house to display assembled organ
•11/10 Late November concert to inaugurate organ for local audience
•3/11 Official inauguration of organ
Annette Richards
University Organist
Professor
Musicology, Performance
17th-18th-century music, organ
Ph.D., Stanford University
Tel#: 607-255-3712
ar34@cornell.edu
340 Lincoln Hall
In her work as a music historian and keyboard player, Annette Richards draws on her training in English literature, art history, musicology, and musical performance. Musical and visual aesthetics and criticism are of particular interest to her, as is music in literature, and changing attitudes and approaches to performance in the late eighteenth and early nineteenth centuries. Her book The Free Fantasia and the Musical Picturesque (Cambridge, 2001) explores the intersections between musical fantasy and the landscape garden in late eighteenth- and early nineteenth-century music culture, ranging across German-speaking Europe to England. Other topics on which she has written include Mozart and musical automata, the German keyboard song and solitude, and Haydn and the grotesque. She is the editor of CPE Bach Studies (Cambridge, 2006), and, with David Yearsley, of the Organ Works of C. P. E. Bach for the new complete edition (Packard Humanities Institute, 2008). She is also the founding editor of Keyboard Perspectives. Prof. Richards is currently working on two projects: a reconstruction of the extraordinary collection of musical portraits belonging to C. P. E. Bach, and a book that expands on her work on death, fantasy, and the grotesque to explore the dark hermeneutics of musical life in the age of European enlightenment and revolution—Music and the Gothic on the Dark Side of 1800.
As a performer Annette Richards specializes in music of the Italian and North German Baroque, and has played concerts on numerous historic and modern instruments in Europe and the United States. She also regularly performs music from the nineteenth and twentieth centuries, and has won prizes in international competitions including the 1992 Dublin International Organ Competition and first prize for organ duo with David Yearsley at the Bruges Early Music Festival in 1994. Her CD Melchior Schildt and the North German Organ Art ( on the Loft label) was recorded on the historic organ at Roskilde Cathedral, Denmark.
Prof. Richards has won numerous honors, including fellowships at the Stanford Humanities Center, the Getty Center in Santa Monica and at the Society for the Humanities at Cornell. She has also held a New Directions Fellowship from the Mellon Foundation and a fellowship from the Alexander von Humboldt Foundation.
At Cornell Prof. Richards teaches courses on eighteenth- and early nineteenth-century music aesthetics and criticism; intersections between music and visual culture; music and the uncanny; the undergraduate history survey; music of the Baroque; and the organ and its musical culture, as well as organ performance. She has organized several conferences and concert festivals at the university, including “German Orpheus: C. P. E. Bach and North German Music Culture” (1998) and “British Modernism” (2003).
Prof. Richards is also the Executive Director of the Westfield Center for Historical Keyboard Studies.
David Yearsley
Professor
Musicology, Performance
History, literature, and performance of 17th-18th-century music
Ph.D., Stanford University
Tel#: 607-255-9024
dgy2@cornell.edu
341 Lincoln Hall
David Yearsley was educated at Harvard College and Stanford University, where he received his Ph.D. in Musicology in 1994. At Cornell he continues to pursue his interests in the performance, literature and history of northern European music among other activities. His musicological work investigates literary, social, and theological contexts for music and music making, and he has written on topics ranging from music and death, to alchemy and counterpoint, musical invention and imagination, and musical representations of public spaces in film. His first book, Bach and the Meanings of Counterpoint (Cambridge, 2002) explodes long-held notions about the status of counterpoint in the mid-eighteenth century, and illuminates unexpected areas of the musical culture into which Bach’s most obsessive and complicated musical creations were released. More recently, his Bach’s Feet: the Organ Pedals in European Culture (Cambridge, 2012) presents a new interpretation of the significance of the oldest and richest of European instruments—the organ—by investigating the German origins of the uniquely independent use of the feet in music-making. Delving into a range of musical, literary, and visual sources, Bach’s Feet pursues the wide-ranging cultural importance of this physically demanding art, from the blind German organists of the 15th century, through the central contribution of Bach’s music and legacy, to the newly-pedaling organists of the British Empire, and the sinister visions of Nazi propagandists.
He is currently working on a monograph entitled The Musical Lives of Anna Magdalena Bach, a study of the changing musical contributions and restrictions, performing possibilities and perils that characterized the musical world of the women of the Bach household in the first half 18th century.
David’s musical and musicological interests extend to the Elizabethans, the Italian keyboard traditions of the seventeenth century, Handel’s operas, film music, musical travels, and the intersections between music and politics.
The only musician ever to win all major prizes at the Bruges Early Music Festival competition, David’s recordings of seventeenth- and eighteenth-century organ music are available from Loft Recordings and Musica Omnia.
While his primary interests are in European music culture of the seventeenth and eighteenth centuries, he has taught courses in music theory, film music, music and travel, and music historiography.
Works by David Yearsley
Articles
•An essay on the political implications of Bach’s vocal works: konturen.uoregon.edu/vol1_Yearsley.html
Performances
•Concert performance of C. P. E. Bach’s Abschied von meinem Silbermannischen Claviere for the Cambridge Society for Early Music played on Ferruccio Busoni’s 1906 Dolmetsch clavichord
•Concert performance of C. P. E. Bach’s Fantasia in C Major from Kenner und Liebhaber VI for the Cambridge Society of Early Music played on Ferruccio Busoni’s 1906 Dolmetsch clavichord
Why Cornell?
“A great university deserves to have a really great organ,” says Annette Richards, university organist and project manager. Although Cornell had a number of organs already, it lacked an instrument of the style and scope appropriate to the music of the noted German organist composers of the 17th and 18th centuries. “There was no great vehicle for playing the music especially of Johann Sebastian Bach and his North German predecessors. So I felt it was important for us to get a new really first class—world class—instrument at Cornell,” says Richards.
Cornell’s New Baroque Organ
“Cornell is an institution that fosters many kinds of scholarship, and it also has a long and very storied musical tradition,” continues Richards. “Andrew Dickson White was a big organ supporter and fan. He initiated getting an important organ for Bailey Hall when that building was built. And Cornell’s College of Arts and Sciences has a music department where the 18th century is a real strength. It also has a fine collection of keyboard instruments already, and it made sense to build on all those strengths and that history to bring something like this here.”
"Composition must be one of our constant preoccupations, but at the moment of shooting it can stem only from our intuition, for we are out to capture the fugitive moment, and all the interrelationships involved are on the move."
(Henri Cartier-Bresson - French photographe, 1908–2004)
Capturing fugitive moments in the streets of Varanasi (Benaras) is always a treat for any photographer...
Join the photographer at www.facebook.com/laurent.goldstein.photography
© All photographs are copyrighted and all rights reserved.
Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
this is a mixed media piece that includes colored pencil, watercolor, oil stick and oil pastel. it is created on heavy watercolor paper that has been treated with gesso. It is 22 x27"
"Our intuition is not easily fooled -- essence speaks to essence without words. ..."
—Katherine Saux
"For the quantum theorists, the fact that the whole is greater than the sum of the parts underpins all reality. For everything in life, there is more to it than meets the eye. The real essence, and the real meaning, is deep within, which in effect often means both inside and outside the object we are observing."—Diarmuid O'Murchu
"Love is the vital essence that pervades and permeates, from the center to the circumference, the graduating circles of all thought and action. Love is the talisman of human weal and woe - the open sesame to every soul. "
—Elizabeth Cady Stanton (1815 - 1902)
"Life begins with the process of star formation. We are made of stardust - and so is all life as we know it, and therefore children of stars. All the chemical elements on earth except hydrogen - including the ones in our bodies - have been processed inside stars, scattered across the universe in great stellar explosions, and recycled to become new stars, planets, and parts of us. Elements are "cooked" by nuclear fusion inside stars. Supernovae are great stellar explosions in which the resulting ash is spread far and wide through the cosmos, forming new generation of stars, planets, and people. "—John and Mary Gribbin
"Every great dream begins with a dreamer. Always remember, you have within you the strength, the patience, and the passion to reach for the stars to change the world. "—Harriet Tubman
"Beyond the stars there are fields of wildflowers where Gods eternal presence inspires the hungry spirit as it nourishes the soul. "—Micheal Teal
all quotes found at www.blog.gaiam.com
searching in my old stuff and papers and found two older drawings...several years ago....when I did some drawing faces on intuition...
"The Act of Painting, Intuition (Works on paper)" traveling exhibition
Takarazuka Arts Center, Cube Hall
2021.09.10-12
"The Act of Painting, 直感 (紙作品)" 巡回展
宝塚市立文化芸術センター キューブホール
2021.09.10-12
takarazuka-arts-center.jp/wordpress/2021/08/05/20210910_1...
展覧会：加藤義夫芸術計画室 × TAOP
INTUITION！ Works On Paper
直感 紙の作品
会期：2021年9月10日（金）～12日（日）10:00～18:00 ※最終日は15:00まで。
会場：宝塚市立文化芸術センター 1階キューブホール
入場料：無料
主催：加藤義夫芸術計画室 × TAOP
展覧会に関するお問い合わせ：
【The Act Of Painting】https://www.theactofpainting.com/
【日本お問い合わせ】mail@mayakonakamura.jp（中村）
関連事業 （センター共催）：
★ワークショップ★
からだを使って色と遊ぼう！
◆日時：9月11日（土）A13:00～14:00 B15:00～16:00
◆参加料：無料
◆定員：各5名
A-1 絵具を流して描いてみよう 13:00～14:00
A-2 まるをいっぱい描いてみよう 13:00～14:00
B-1 手足を筆にして描いてみよう 15:00～16:00
B-2 絵具を飛ばして描いてみよう 15:00～16:00
◆対象年齢：小学校1～6年生
※汚れてもよい服装でお越しください。
※手や足を洗った後に拭くタオルをご持参ください。
◆会場：1階キューブホール
◆講師：柴田知佳子・中村眞弥子
ワークショップ申込方法★以下の2つの方法で受付★
※受付開始は 8月31日（火）10:00～
【宝塚市立文化芸術センター】
●電話：0797-62-6800
※電話受付は10:00-18:00、水曜日（休館日）を除く
●メール：event@takarazuka-arts-center.jp
※以下の件名・情報をご記載の上、送信ください
【件名】TAOPイベント申し込み
【本文】①氏名、②ワークショップ番号（A-1、A-2、B-1、B-2）、③ご連絡先、④宝塚市立文化芸術センターの個人情報の取り扱いに同意する
※同じ時間（A-1とA-2など）の同時参加は不可です。
※AとBの連続参加は可能です。
★アーティストトーク★
加藤義夫×柴田知佳子×中村眞弥子◆日時：9月12日（日）13:00～14:00
◆定員：先着30名（申込不要）
◆参加料：無料
◆会場：1階キューブホール
※ライブ配信を行うため、会場の撮影を行います。あらかじめご了承ください。
主催：加藤義夫芸術計画室 × TAOP
共催：宝塚市立文化芸術センター
関連事業に関するお問い合わせ：宝塚市立文化芸術センター [指定管理者：宝塚みらい創造ファクトリー]
TEL：0797-62-6800
MAIL：info@takarazuka-arts-center.jp
"The Act of Painting, Intuition (Works on paper)" traveling exhibition
Takarazuka Arts Center, Cube Hall
2021.09.10-12
"The Act of Painting, 直感 (紙作品)" 巡回展
宝塚市立文化芸術センター キューブホール
2021.09.10-12
takarazuka-arts-center.jp/wordpress/2021/08/05/20210910_1...
展覧会：加藤義夫芸術計画室 × TAOP
INTUITION！ Works On Paper
直感 紙の作品
会期：2021年9月10日（金）～12日（日）10:00～18:00 ※最終日は15:00まで。
会場：宝塚市立文化芸術センター 1階キューブホール
入場料：無料
主催：加藤義夫芸術計画室 × TAOP
展覧会に関するお問い合わせ：
【The Act Of Painting】https://www.theactofpainting.com/
【日本お問い合わせ】mail@mayakonakamura.jp（中村）
関連事業 （センター共催）：
★ワークショップ★
からだを使って色と遊ぼう！
◆日時：9月11日（土）A13:00～14:00 B15:00～16:00
◆参加料：無料
◆定員：各5名
A-1 絵具を流して描いてみよう 13:00～14:00
A-2 まるをいっぱい描いてみよう 13:00～14:00
B-1 手足を筆にして描いてみよう 15:00～16:00
B-2 絵具を飛ばして描いてみよう 15:00～16:00
◆対象年齢：小学校1～6年生
※汚れてもよい服装でお越しください。
※手や足を洗った後に拭くタオルをご持参ください。
◆会場：1階キューブホール
◆講師：柴田知佳子・中村眞弥子
ワークショップ申込方法★以下の2つの方法で受付★
※受付開始は 8月31日（火）10:00～
【宝塚市立文化芸術センター】
●電話：0797-62-6800
※電話受付は10:00-18:00、水曜日（休館日）を除く
●メール：event@takarazuka-arts-center.jp
※以下の件名・情報をご記載の上、送信ください
【件名】TAOPイベント申し込み
【本文】①氏名、②ワークショップ番号（A-1、A-2、B-1、B-2）、③ご連絡先、④宝塚市立文化芸術センターの個人情報の取り扱いに同意する
※同じ時間（A-1とA-2など）の同時参加は不可です。
※AとBの連続参加は可能です。
★アーティストトーク★
加藤義夫×柴田知佳子×中村眞弥子◆日時：9月12日（日）13:00～14:00
◆定員：先着30名（申込不要）
◆参加料：無料
◆会場：1階キューブホール
※ライブ配信を行うため、会場の撮影を行います。あらかじめご了承ください。
主催：加藤義夫芸術計画室 × TAOP
共催：宝塚市立文化芸術センター
関連事業に関するお問い合わせ：宝塚市立文化芸術センター [指定管理者：宝塚みらい創造ファクトリー]
TEL：0797-62-6800
MAIL：info@takarazuka-arts-center.jp
"Rooted in Intuition Series 2"
Mixed media painting and Sculpture by Diane Marie Kramer
photo taken at the Artist Reception May 3 2016
Show up until June 30th 2016
Gallery hours and times:
Tues - Fri: 11 AM - 6 PM
Sat & 1st Sun: 11 PM - 3 PM
Closed Holiday Weekends
Admission: FREE
*this series is inspired by the works of American sculptor and painter Diane Marie Kramer who's works are currently shown at the KOA gallery at University of Pittsburgh-Bradford.
this painting is best seen on black
Повече за подбора на лесни за готвене продукти: snailicious.net/vduhnovenie/8-kulinarno-vduhnovenie/27-in...
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More about the selection of easy-to-cook products: snailicious.net/inspiration/9-culinary-inspiration/26-int...
via WordPress ift.tt/2sJ8D9F
wyntercraft:
100 Witch Tips
Listening to your own intuition will always be useful. Learn to trust it.
Put almonds in your pockets for good luck.
Lemongrass essential oil kills fruit flies.
Use a charged crystal on top of your Wifi router, or anything that needs a boost.
Salt in a hula hoop for casting circles.
Evernote and Google docs are amazing for online Grimoires.
Snow-globes can be used in place of crystal balls.
Don’t leave any naturally coloured quartz (amethyst, rose) in the sun, it’ll fade. Unless you want it to fade.
You can use crayons in place of candles.
Meditation!
Be careful of setting stuff on fire, move all flammable objects before lighting something.
Clear quartz can absorb negativity.
Be specific when asking questions/doing spells.
You can turn songs into spells, it helps a lot when you’re just starting.
You can make cheap runes with a sharpie, clear nail polish, and rocks.
Thrift stores ARE YOUR FRIEND!
Rosemary can be used in place of any herb.
Clear Quartz can be used in place of any stone.
biddytarot.com is a good place to read in-depth Tarot meanings, really helps if you’re starting out.
Suck on a peppermint when you’re studying something you need to remember, then again when you need to remember the thing.
Incense ashes = black salt.
Cleanse by moon, charge by sun.
Wear colours that correspond to your intent for that day, subtle and effective.
Got a needle and thread? You got a pendulum.
Just about any cards can be used for divination. Playing cards, pokemon cards, etc.
You can find images of the Rider-Waite deck online and print them onto cardstock.
Craft stores usually have REALLY CHEAP jars.
Music is magical, use that to your advantage.
LOCKETS!
Just about any mirror/reflective surface can be used for scrying, don’t let Etsy fool you with those 50$ mirrors.
White candles can be used in place of any candle.
There are also candle apps!
Birthday candles!
CANDLES!
If you bake, draw sigils in the batter/dough before baking.
Stir liquids clockwise for a luck/health boost, and counter-clockwise for banishing and ridding of negativity.
If you need to subtly cleanse, sage and saltwater in a spray bottle. Be mindful of plants and pets.
Sage can smell like weed sometimes, keep that in mind.
Peach and Avocado pits ward off negativity.
If you don’t like working with blood, Halloween blood and pomegranate/cherry juices are great.
LIBRARIES!!!!!!
Keep a notebook with you constantly in case you need to write something down.
Write wishes on bay leaves, then burn them to make them come true.
Cleanse yourself in the wind.
To get candle wax out of a jar, pour some boiling water in it then leave it for a while, the wax should be floating on top. Be careful!
Selenite and Amethyst are good for dreams.
Pressing flowers really is useful.
You can make your own tea blends pretty easily, just be careful about knowing what is/isn’t edible.
Set a sigil as your phone background, then plug it in to charge it.
Write sigils with makeup while you’re doing it.
Warding will be your best friend.
Use common sense!
If you want to grow herbs out of cans be sure you poke holes in the bottom so excess water can run out.
If you can’t throw salt everywhere, make a salt water spray instead.
You can draw over sigils with glow in the dark paint to see charging effects.
Use plastic ziploc bags in place of jars; cheaper!
Coffee filters can be used as herb bags.
If a spell calls for an ingredient that happens to be in a tea you own, cut open your own tea bags.
You can make altar/shrine books.
Colour correspondences for sigils.
You can do virtual altars via pinterest, video games, etc.
You can glue envelopes into your BOS to hold things like sigils, recipes, etc.
Brick dust works the same as black salt.
Make a google doc/keep a notepad with you for ideas throughout your day.
Instead of burying jars in the ground, use non-bleached toilet paper tubes.
You can buy one big pot and plant many herbs in it.
Chew mint gum during money spells.
Write sigils on your nails using nail polsh pens
Rice water is used for prosperity and success spells.
If you have a computer, you can make your background your altar.
Have an altar by a window, so your items are always cleansed/charged.
Uncooked spaghetti makes lighting candles a lot easier.
Use oil diffusers if you can’t burn incense.
Wicca is NOT the only path!
Glass can be substituted for quartz.
Dedicate a stuffed animal to your deity to bond with them.
A good blood substitute = crushed iron tablets.
Attach crystals to the cork tops of your jars as an energy channel to charge jar spells.
You do NOT have to do magic everyday, it shouldn’t be a chore or something you dread doing.
Brackish water (salt and fresh water) is good for cursing.
Don’t eat things that aren’t edible, and don’t sniff things that aren’t sniffable.
When enchanting your car, draw sigils on the wheels so they charge when they turn.
Don’t make offerings that degrade the environment!
More jar alternatives: bowls of ice, unbleached paper, bell peppers.
Don’t bury jars, please.
Just don’t do it.
White sage is endangered in America, grow your own.
Breathe.
Compile a list of songs that have names corresponding to herbs and ingredients to put in a spell playlist.
Do not substitute fantasy for fact.
Don’t do spells on someone that goes against their free will.
Empath tip: Carry blue goldstone.
Salt cleanse yourself with any salty snack, crisps, pretzels, etc.
Frankincense is an insect repellent
Put mint in shoes for luck (and an air freshener!)
Garage sales are amazing.
Place a candle in the window to welcome sunlight.
Bells can be used for cleansing, too.
Witch Hazel is a natural toner, good for your skin, and is used for protection!
Rain washes away bad vibes, negativity, and cleanses.
It's been a while since I've done a blend, but here's one for Keri Hilson's hot song "Intuition." Check out her album, "In A Perfect World," it's pretty hot.
Visit my music site, www.blazingswarm.com.
(pen on paper) (BEST VIEWED LARGE?)
A randomly-edited selection of approximately 700 of my pictures may be viewed by clicking on the link below:
www.flickr.com/groups/psychedelicart/pool/43237970@N00/
Please click here to read my "autobiography":
thewordsofjdyf333.blogspot.com/
And my "profile" page may be viewed by clicking on this link:
www.flickr.com/people/jdyf333/
My telephone number is: 510-260-9695
Intuition tells me how to live my day
Intuition tells me when to walk away
Could have turned left
Could have turned right
But I ended up here
Bang in the middle of real life
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
When Intuition and Experience are NOT Enough: Perspectives on Teaching Students Advanced User Research Methods to Create Winning Designs
connecting two unrelated things
the exercise is as follows (click image for full results):
1. Choose an experience from your day (this is subject #1). today i was speaking to a friend about intuition.
2. Ask a friend for a subject. (subject #2) My husband told me to research the sound artist Toshiya Tsunoda.
3. Conduct research on both subjects, and make connections between them.
note: the point at which you start to believe that they have nothing in common, is where it usually starts to get interesting. at some point in my research i found a common denominator which was fascinating to me; both subjects are based on the reading of electromagnetic fields! upon figuring this out I triumphed and felt like my work was done here.