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Today we celebrate something that smells like brass and sweat, like a summer night that never quite cools down. We’re talking about a man who didn’t just play rhythm, he chased it down the street, caught it by the collar, and made it dance. Today we celebrate Tito Puente.
Tito Puente was born where the city hums even when it sleeps, where fire escapes double as front porches and music leaks through the walls whether you asked for it or not. And from early on, he found himself tangled up in sound real sound, the kind that rattles your bones before it reaches your ears.
They called him the King of Latin Music, but titles like that don’t really stick to a guy like Tito. Kings sit on thrones. Tito was always moving with sticks in his hands, eyes on the band, somewhere between a storm and a celebration. You didn’t watch him so much as try to keep up.
Now the thing about rhythm is, it’s older than language. Before folks figured out how to say “love” or “trouble,” they already knew how to tap it out on a table. And Tito understood that. He wasn’t just playing notes he was speaking something ancient, something that didn’t need translating. You listen to those timbales, sharp as a midnight train, and they tell you stories. Not neat little stories with beginnings and endings, but the kind that circle back on themselves. Stories about crowded rooms, about laughter that comes easy and heartbreak that doesn’t ask permission. Stories about people who don’t sit still because the world never did.
And Tito, he stood right at the center of it all, like a man conducting lightning. He could take a room full of strangers and, in a matter of minutes, turn it into something like family or maybe something wilder than that. Something that only exists while the music’s playing.
There’s a certain kind of joy in his sound, but don’t mistake it for something simple. It’s the kind of joy that knows about sorrow, that’s walked through it and decided to dance anyway. That’s the rhythm he carried—one foot in celebration, the other in survival.
So if you find yourself today with the windows open and the air a little too still or too restless, put on some Tito Puente. Let those drums remind you that time doesn’t just pass—it swings, it stumbles, it comes back around. And somewhere out there, maybe in a club that never closed or a street that never emptied, that rhythm’s still going.
watercolor, ink on paper
contact ibarraloana@gmail.com
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
In February 2006 Craig Tracy opened the PaintedAlive Gallery in his home city, New Orleans, La, USA. PaintedAlive is the first gallery in the world dedicated exclusively to fine art Bodypainted images. But where did his passion for using the human body as a canvas start?
Read on...
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
In February 2006 Craig Tracy opened the PaintedAlive Gallery in his home city, New Orleans, La, USA. PaintedAlive is the first gallery in the world dedicated exclusively to fine art Bodypainted images. But where did his passion for using the human body as a canvas start?
Read on...
Ahmed Daak the Sudanese lecturer of medical biochemistry along with Harry Verhoeven a specialist researcher on conflict, development and environment in the Horn of Africa and the Great Lakes Region has published an article titled ‘The battle for the soul of the Islamic world’. The article published on Aljazeera discusses the Islamists and Salafis battle ‘for prominence in forging new political realities in the Islamic world’. They state in the article “The new realities emerging from the Arab Spring are demonstrating that Islam will occupy a key position in the political debate from Morocco to Indonesia. Yet what remains unclear is whether this will lead to greater societal cohesion or increased tensions within the Islamic world and between it and outside actors. To understand what the future might look like, we must analyse the struggle within the camp of the pious believers: reformist Islamists versus archconservative Salafis. …For all their differences, important similarities exist between Salafis and Islamists. The choice is not between "Westernisation" and "traditional Islam": neither camp belongs to the caricature categories of the GWOT [Global War on Terror]. Both are products of modernity, who think about politics and religion in deeply modern ways and who respond to modernisation through discourses, institutions and ideas that are solidly rooted in 21st century imaginations.” Inspired by Aljazeera ow.ly/bq8Au image source Facebook ow.ly/bq8gp
Joanne Thomson, BA, MAdEd, is a full-time visual artist and lives in Victoria, British
Columbia. Working on her mural "Pacifica" at 827 Fisgard Street
Automotive Rhythms latest project combined our passions for automobiles and the arts. AR's 2016 Kia Sorento SXL 2.0T AWD was also the canvas for artist Jamaal Newman’s creation during the ART-of-Motion (AOM) exhibit in Washington, D.C. aka As ABOVE, So BELOW.
Jamaal was one of the featured visual painters of AOM produced and executed by Automotive Rhythms during the 2016 Washington Auto Show. He painted the Sorento live during the Auto Show in just under 13 hours. Inspired by the South Korean origin of Kia Motors and his research on the Korean War, the artist wanted his creation to symbolically unify North and South Korea. As ABOVE, So BELOW features a lion from Zion on the passenger’s side representing the North while a shark on the South guards the driver’s side. Unification is represented on the hood, meshing the Korean flag with the Yin and Yang badge to signify balance in Korea. Stated Jamaal, “Through my creative vision I wanted to bring equality and unity to Korea.”
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
Gushing rapids, Parsuram Kund, 2013
More images from this set can be found here.
At the robot performance festival "Cafe Neu Romance" in Prague Writer and Visual Artist Louis Armand, gave a talk "De-Evolution: Human Robots, Interpassivity & the Metamorphosis of Being", which was a part of the opening seminar "Josef Capek & The Metamorphosis of Robots".
Read more about Louis Armand's presentation here: cafe-neu-romance.com/press-media/cnr-2015/cnr-2015-lectures. For further information on Cafe Neu Romance write to info@cafe-neu-romance.com.
Become a part of our community! You can follow news on Cafe Neu Romance at www.facebook.com/cafeneuromance/ or twitter.com/vivelesrobots. If you want to be more to be more active involved in Cafe Neu Romance, either as a part of the organizing team, or exhibit some of your robot productions, then sign up on this meet-up page: www.meetup.com/The-Robot-Performance-festival-Cafe-Neu-Ro...
Disappearances. Not the kind where a magician waves a cape and a tiger vanishes. Not the kind where your socks go after laundry day. I’m writing about musicians who drift beyond the horizon for a spell and come back carrying stories nobody expected.
That brings us to Juan Son.
You might remember him from Porter, that band from Guadalajara, Mexico that sounded like they were transmitting dreams through a broken carnival mirror. Porter came along and bent indie rock into strange new shapes.
Juan Son's voice is elastic, restless, full of strange colors. Open your ears for that track “Vaquero Galáctico” or “Bailando con mi Virginidad” or his solo “Abandonado” and his one absolutely perfect “Amor Maicero” oh me oh my. One minute his voice is floating like smoke over city lights, the next it's cracking apart like an old transistor radio picking up signals from somewhere beyond the map. There's a playful danger in the way he sings, as if he's chasing a melody that's trying to escape him. You hear echoes of rock, psychedelia, and something entirely his own. Not many singers sound like they're discovering the song at the exact moment they're singing it. Juan Son does. Not many singers sound exactly like the record when performing live. Juan Son does. And that's a rare thing.
Ok, so here comes the turnaround of the tortilla. Somewhere along the road, Juan Son stepped away from the vehicle. And disappear he did. He packed a bag, slipped out of the center ring and hit the road to who knows where. No mobile phone no nothing. While the world was getting faster, louder, more connected, Juan Son seemed to wander into his own dimension taking small jobs here and there. Years rolled by. Entire digital civilizations rose and fell. People stopped buying CDs, started carrying the whole jukebox in their pockets, and invented new ways to communicate using dancing cats and pictures of distracted boyfriends. Meanwhile, Juan Son was off exploring artistic wilderness.
Then one day he came back. And here's my favorite part of the story: by the time he returned, the culture had changed so much that he reportedly didn't even know what a meme was. Imagine that. A man leaves the party for a little while and comes back to find everybody speaking in hieroglyphics made of reaction images and inside jokes. Somewhere along the way, the internet had turned into a giant campfire where millions of people told the same joke a thousand different ways. Juan Son looked around and said, essentially: "A what now?" There's something beautiful about that. I admire him for that. While the rest of us were measuring time in notifications, he was measuring it somewhere else entirely. Most people fear being out of touch. Some artists disappear long enough to discover what touch really means.
When he returned, he didn't come back as a museum piece or a nostalgia act. He came back sounding like someone who had been listening to signals from another frequency. The track “Siento” with its marvelous video was born. The years away hadn't preserved him in amber; they'd transformed him.
And maybe that's the lesson. Sometimes the world races ahead inventing memes, trends, hashtags, and digital dialects. Sometimes an artist vanishes into the woods, into the sea and returns carrying something older and stranger than any of them.
He'd been living in a caravan, making music from there, following his own rhythm far from the noise. A truthful Aquarius.
Juan Son missed the meme. But he didn't miss the music.
ink, watercolor on paper
contact ibarraloana@gmail.com
Open archive, es-tu-dios(a), proceso.
acrylic, oilcloth, embroidery on canvas.
contact ibarraloana@gmail.com
Mirza Shahzad Akbar the Pakistani lawyer and director at the Foundation for Fundamental Rights, renowned for his legal action against the USA for drone strikes in Pakistan, has criticized the USA for authorizing drone strikes in Yemen. In an article by Jason Koebler on Aljazeera, Akbar states “They can’t kill them if they know someone is a low value target, however they can kill if they don’t know that person… They have a checklist, and here’s what they’re looking for—Are they carrying weapons? Do they have a beard and a turban? Are they traveling with a large group of people? Well, everyone in that area carries a weapon, a beard is part of the religion, turban is part of the culture. As for traveling in a group, well, it’s a society that has bigger families. If you’re looking for a pattern like this, you’re killing citizens and civilians. …The CIA is, so far, the only source of information. Look at the quality of the information they give you—it’s nothing. Who are they killing? Who are these people? What are their names? They say they’re taking out the bad guys, but the facts on the ground are very different, there are a huge number of women, children, elderly and incapacitated people. …Once people learn what’s really happening, they’ll complain. People need to make an informed decision.” Inspired by Jason Koebler ow.ly/bs4MT image source Twitter ow.ly/bs5QO
Henri Matisse (1869-1954), was a leader of the fauves, a group of French painters working in the early 1900s, known for their expressive use of color. Matisse is best known for his paintings of interior scenes, and for Jazz, a series of paper cutouts he completed late in his career.
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
Shot at Maidan, Calcutta during an afternoon spent with family.
In the distance, the iconic Vidyasagar Setu (bridge) can be seen.
More images: Facebook page.
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
SKIN: [DD] SKING*SANTOSS*NATURAL slurl.com/secondlife/DD%20GROUP/112/66/55
SHAPE: made by himself
EYES: Expressive eyes blue 1 by Nany Merlin "SOUL SKIN" slurl.com/secondlife/Skin/194/144/39
HAIR: <> Prim Hair [ SHONO ] MilkyBrown
CLOTHES: ::GABRIEL::Luxury RED suit / in black shirt slurl.com/secondlife/GABRIEL/128/124/23
The monsters are closer than you think. That’s right, is Guillermo, Guillermo del Toro we celebrate today.
Now that’s a name like a secret code, isn’t it? Like something carved into a cathedral wall, or whispered by a ghost behind a velvet curtain. Guillermo means ‘William’ in Spanish… and ‘del Toro’? That means ‘of the bull.’ But this ain’t no cowboy story, and he ain’t no matador. He’s a dreamer, a weaver of shadow and gold.
“I come from a culture of arranging. In Mexico, you give us five objects we’ll make an altar. We communicate by arranging all these complex things. To the point where the Baroque (style) was just Baroque enough for Europeans, but when it came to Mexico we made the Baroque of the Baroque, which is Churriguera. Which means, when the Europeans came in with their excesses, we said, ‘It needs more shit.’ That’s me.”
Oh Guillermo I hear you. That’s me too.
He was born in Guadalajara, Mexico. Land of color, land of ghosts, land of saints with bleeding eyes and demons that sleep under your bed. Grew up drawing monsters instead of superheroes, and reading books about things you ain’t supposed to talk about in polite company. He said he met a ghost when he was a boy, and I believe him. Most folks run from monsters. Guillermo runs toward them. Gives them names. Gives them hearts. Says they’re misunderstood. Says the real monsters wear suits, hold power, shake hands while they sharpen knives behind their backs. He made a movie about a vampire in the sewer. Another one about a devil with a cigar and a red right hand. And one about a girl who fell in love with a fish-man and gave him everything she had. Sounds strange, doesn’t it? But love usually is.
They say his house is full of curiosities, (life), sized wax figures, Victorian medical diagrams, old books that smell like sorrow and dust. There’s a room called The Rain Room, where it’s always drizzling. He keeps it for thinking. I knew a guy once who had a thunderstorm in his closet, but that’s another story.
Guillermo’s the kind of guy who makes the ugly beautiful and the scary sacred. He don’t make movies, he makes lullabies for the damned. Gothic fairy tales with teeth. Tells the kind of stories where the princess saves herself or dies trying.
So if you ever find yourself walking down a dark alley and something scuttles across the bricks, don’t be afraid. Could be one of Guillermo’s friends. Could be a story looking for an ending. Or maybe it’s just the city breathing heavy in its sleep.
watercolor, ink on paper
contact ibarraloana@gmail.com
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
There’s a kid in this story, a girl, a five year old, with knees a little shaky, dreams a little too big for ballet slippers, and a stubborn little flame burning inside. Every Monday, Wednesday, and Friday, she’d walk into the only studio in town like it was a cathedral, where the altar was a mirror and the prayer was movement. Classical ballet — where every toe point had a purpose and every pirouette and plié -petit, demi, grand- was a rebellion against gravity.
From five to twelve, it wasn’t just discipline, it was devotion. A kind of quiet fire, practiced in pink tights, a too tight slick bun with the help of lemon juice and metallic dark-blue body. You don’t clock in for ballet. You surrender to it. And somewhere in that stretch of childhood, around the age of nine, the world paused for a moment.
Picture this: A grand, echoey room. Royal Academy of Classical Ballet London to examine her devotion. One child, alone. The music? Chopin, played live by a pianist whose fingers spoke in sighs. And the judge? A strict woman with a face carved from stone, dressed in gray, platinum hair, posture carved from legacy. No smiles. No second takes. No movements except for a strict hand taking notes. That kid? She danced. No backup dancers, no applause, just her body talking to the air. Talking to Chopin. Talking to the silence. There are diplomas in an archive, somewhere between a Jim Morrison book filled of poems and a shrine, quiet little witnesses to what happened that day. Proof that she stood there, trembling scared, but still danced like her life depended on it.
Because for her, it kinda did.
See, some people grow up needing answers.
Others grow up needing to ask questions. But her? She needed to manifest. To make meaning from movement. To tell stories without a single word.
Years later, ballet gave way to something wilder. Something with heels that struck the floor like thunder. Flamenco. Seven hours a week; sweat, song, mystery and soul. Not just steps, but duende. The stuff Lorca wrote poems about. And just like that, it wasn’t about the Royal Academy anymore. It was about reclaiming rhythm. Shaping identity with each stomp and spin. Dance as defiance. Dance as prayer. But here’s a little secret, all that ballet background is very useful in Flamenco, a very strong ground to be proud of (despite deformed feet); the shape, the body awareness, the arm movements, the straight back, the shape of the hands alone, the fingers, the lion chest.
And that kid? It’s I, still dancing, still calling it my lifesaver. Even when I’m standing still.
//Carl Jung once said “it’s better to dance through life”, Loana Ibarra says that too.
A Glitch "Niqab (κερί) ~ Ètude I”
This art piece were created for my PhD and based on a Digital and Analog Aesthetic Research on "Artistic Practices, Digital Art in Social Networks and Net Art", some digital techniques used of artistic diversity, such as the re-mixed appropriation of image or video, also work conceived as original data work called creative altered binary code, datamoshing, generative art and glitch art worked in all its forms and expressions; works of art with a strong focus decoding the i-frames of images and videos (also known as key frames and altered or distorted creative binary code) mixed with seductive techniques of Pixelsorting Art; making it seem extremely sensitive and abstract; created exclusively for the virtual gallery on-line.
by ™℗®© Louis M o n t i e l
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