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Maison Carrée...allerdings...mit drangebastelten Wolken.
Für Renate R
And did you get what
you wanted from this life, even so?
I did.
And what did you want?
To call myself beloved, to feel myself
beloved on the earth.
Raymond Carver
Violin Concerto: II. — Adele Anthony - Philip Glass
[Dreams, you know, are what you wake up from.]
It's come to this - a photo of my television screen. PBS Great Performance series featured the Philip Glass opera "Akhnaten" today and it was spectacular.
I've always loved Ancient Egypt - so this story of Akhnaten and a brief glimpse of his more famous son Tutankhamun made me very happy.
96/366
If you had no name
If you had no history
If you had no words
If you had no family
If it were only you
Naked on the grass
Would you be then?
This is what he asked
And I said I wasn't really sure
But I would probably be ... cold
And now I'm freezing
Freezing
[ Philip Glass / Suzanne Vega - Freezing ]
oliver@br-creative | @facebook | @500px | @Getty & Flickr Market
A birthday image ( March 10 ) created for XandraM of the "Shock of the New/Award Tree/ Max Fudge" association of Groups.
I started with two very divergent Pano images, one of The Cathedral of St. John the Divine in New York and one of a mannequin in a store window on Bloor Street in Toronto, and worked from there. All aspects of the completed piece come from these two images. A lot of photo manipulation was done to their variants and layered repeatedly in varying aspects. Both images were originally shot in 2015.
When I was done it struck me that I had created something that had a more 'classical' or 'painterly' feel to it. The image of the 'magically transformed' cathedral ( looking like a castle in the forest ) along with the mannequin and the indeterminate, twisting form in front of it made me think of Jean Cocteau's film "La Belle et la Bete" ( Beauty and the Beast ), from which the Disney film was derived. So I went with the connection to Cocteau in the titling.
While the Cocteau reference and homage are there, this is also a metaphor for the "beauty and the beast" of modern life. What often appears to us as beauty is quite often very much the beast. I chose these two images at 'random', as contrasting elements, but soon realized that there was a definite dialogue between them that had much to say about the sacred and the profane, the spiritual and the material. David Bowie, in his 1977 song, "Beauty and the Beast" expressed this in a very powerful way, closely echoing Hermann Hesse's "Steppenwolf"/"Narziss und Goldmund" theme.
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Music/Video Link 1: The Overture to Philip Glass' opera "La Belle et la Bete" which was written to be precisely synched up with Cocteau's film. This video plays the opening music while providing a "overture of images" as well, giving you a very good taste of the B&W film.
www.youtube.com/watch?v=i4TaofgIlIk
Music/Video Link 2: "Beauty and the Beast" - David Bowie, from his album "Heroes" ( 1977 ). Lyrics provided.
www.youtube.com/watch?v=tmEE-lPPQZ0
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© Richard S Warner ( Visionheart ) - 2015, 2019. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
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Une autre vue, Philip Glass pour la musique, et une posture qui se forme de plus en plus souvent à mesure qu'on vieillit, sur le blog.
bivouac napoléonien à syam (8001r750nb) rester silencieux
sueño de un maniquí______________________View On Black
philip glass audioplayer..........bio.......wiki
Music Link: "The Grid" - Philip Glass, from his score for the Godfrey Reggio film "Koyaanisqatsi". This is a very well done edit of the much longer piece which lasts almost 24 minutes. Here it is a mere 6:40, but more than enough to get the point across with hair-raising and mind blowing immediacy.
The word "koyaanisqatsi" is a Hopi word for "life out of balance". Reggio's 1983 film was the first of it's kind and a quantum leap in film making. The director started out with the very original idea to craft a film around real life footage from around the world, focusing first on the quiet solemnity and unhurried elegance of nature and then contrasting it very sharply indeed with the mad rush of human activity, perception and behaviour. The concept was to show just how literally insane the materialistic, consuming and destroying culture of the West is and that it is dangerously out of balance with the natural world.
Reggio believed modernized "First" world culture to be sick, as in not well, deep into its core for it's lost connection to the natural rhythms of nature. As its ever demanding maw grows and grows, it eats away at the planet like a cancer. He used the Hopi prophecies about this time as a way to guide the footage, which has no actors, no narration, no plots or story. Real life footage was carefully shot over years and assembled and synched to the music of Philip Glass, whose work Reggio chose for it's enormous power to reflect the themes he wanted to so viscerally display. The finished film footage and the music now are inseparable halves of a complete whole.
While a few other directors have taken on Reggio's very original and groundbreaking style and commercial TV has naturally copped his technique, the original "Koyaanisqatsi" still stands as the greatest film of its kind. Not so shocking and breathtaking now as it was back in 1983, the film still hits hard with dizzying accuracy. Yet at the heart of it all, Reggio's is not the voice of condemnation. He looks upon human beings as being caught in the snares of their own creation and feels compassion for them. A lesser mind would have moralized. Reggio does not.
I chose this piece as a natural accompaniment to Times Square imagery and because a lot of this segment IS shot in New York and indeed in Times Square. I think it musically reflects the unbelievable rush and chaos of the location, and the wider modern world, beautifully. This very hard to find video is the actual footage of the film to the accompaniment of its intended soundtrack.
www.youtube.com/watch?v=fwPDFeXEMs4
Zoom in !!!
© Richard S Warner ( Visionheart ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
I simply can’t enough of the music of Philip Glass. Some pass it off as modern, repetitive and morose nonsense... but I have never seen it that way. I continually find it captivating and exciting, with such a varied output of concerti, symphonies, soundtracks, etc.
This is one of my favourites – the soundtrack to the movie, ‘The Hours’ (which I’ve never seen... an indication of how strong the music is in its own right!).
‘Morning Passages’ is a particular favourite of mine to play at the piano.
I have gone out, a possessed witch,
haunting the black air, braver at night;
dreaming evil, I have done my hitch
over the plain houses, light by light:
lonely thing, twelve-fingered, out of mind.
A woman like that is not a woman, quite.
I have been her kind.
I have found the warm caves in the woods,
filled them with skillets, carvings, shelves,
closets, silks, innumerable goods;
fixed the suppers for the worms and the elves:
whining, rearranging the disaligned.
A woman like that is misunderstood.
I have been her kind.
I have ridden in your cart, driver,
waved my nude arms at villages going by,
learning the last bright routes, survivor
where your flames still bite my thigh
and my ribs crack where your wheels wind.
A woman like that is not ashamed to die.
I have been her kind.
Anne Sexton
Brilliant to reconnect with the phenomenally talented, beautifully human and delightfully grounded Zachary James, currently starring as the Scribe in Philip Glass’s #Akhnaten at the English National Opera. It’s a breathtaking production directed by Phelim McDermott, and @theofficialzacharyjames has the most extraordinary stage presence. No surprise he’s a GRAMMY® Award Winner, and BroadwayWorld’s Vocalist of the Decade.
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And yes, all of the colours here are exactly as they came out of the camera!
This was achieved with:
3 gridded beauty dishes with gels - 1 above camera and 1 oblique each side.
1 long softbox with gel, projected up backdrop.
Wireless trigger on camera.
"La qualité esthétique signifie parler de nuances, quelquefois de fractions d'à peine un millimètre, de graduations très subtiles, ou de l'harmonie et de l'équilibre de plusieurs éléments visuels fonctionnant ensembles."
Dieter Rams
Her and Philip at the Blue Sky Gallery, Portland, OR
Chuck Close’s Tapestries exhibition
Philip Glass portrait on the gallery wall © Chuck Close
Philip Glass by Chuck Close, 86th Street subway, Q Line, 2nd Avenue, Manhattan, New York City.
Justin