View allAll Photos Tagged immutable
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS60D
Objetiboa / Lens: Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (300x1.5mm)
ISO: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/400"
F zenbakia / number F: 8
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
May 17-30, 2018
Opening Reception: Thursday May 17 from 6-8:00 pm
The clock’s influence is inseparable from contemporary life – not only does it synchronize individual circadian rhythms but it also produces the stable temporal foundation for both scientific tradition and capitalism to flourish. However, there is a significant gap between what is measured by clocks and what is perceived by the individual. The perceived acceleration of time in contemporary life leaves us with a feeling of being continually deprived of this precious resource. While many technologies promise to help us get-time-back, they only entangle us further in their construction. Scientific time, duration measured by clocks, is regarded as immutable, indefatigable, and infallible – the opposite of the humans it ostensibly serves. Slower Than Time Itself uses the syncopated rhythms and unquantifiable output of mechanical clocks to suggest a slowing and plurality to the current monoculture of time, more sympathetic to the human condition and timescapes outside of human perception. Trueman’s sculptural and video works explore the idea of slowness as a gateway to multiplicity and ponders whether it is possible to use a clock to escape time itself.
Artist Biography
After studying mechanical engineering at Fanshawe, Trueman completed his undergraduate degree in fine arts at Western University where he is currently a Master of Fine Art candidate. He will be completing a clock installation at I-Park Residency (East Haddam, Connecticut) this summer, and will be exhibiting at PLUS Art Fair 2018 (Toronto). His first publication So Long South Street, a photographic series showing the demolition of famed South Street Hospital, was launched earlier in 2018. His work has been shown at Museum London, McMaster Museum of Art (Hamilton), Thames Art Gallery (Chatham), and DNA Art Space (London).
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2018; Department of Visual Arts; Western University
By Ryan Gander
Four life-size sentinels – based on armatures used by artists to model the human form – are positioned in dramatic poses, each evoking a different emotion, despite their featureless faces. Two characters recreate the scene of the Pietà (meaning pity in Italian) in which Mary cradles the limp body of Jesus; one reaches down into a glowing portal and another contemplates his brethren, as well as a draped mirror and a stairway to heaven. Collectively titled Dramaturgical frameworks for structure and stability, in reference to Erving Goffman’s sociological approach that uses theatre to portray and evaluate social interaction, these figures also play on the notion of spectatorship, shifting the relationship between spectator and spectacle.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
By Tony Cragg
Tony Cragg (born 1949, UK) is one of the world’s foremost sculptors, constantly pushing to find new relations between people and the material world. In the 1980s, Cragg began to make sculptures suggestive of architecture...
These totemic piles of found objects and machined parts suggest an industrial counterpoint to the history of man-made achievements, while his other work nearby, Tools, made from sandstone, conveys the opposite, being hand wrought versions of mechanical aids, such as screwdrivers and mallets. Cragg sees no difference between the natural and the artificial, preferring to acknowledge the bridges between the two, the synthetic here acquiring figurative qualities in some of the bust-like tools, while his stacked turrets of spacers, washers and engine spares travel back through time to suggest archaeological accretions and geological strata.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
Gli zigomi cadenti, le forme morbide e generose, il contrasto cromatico, le dimensioni importanti parlano della funzione per la quale la maschera venne pensata. Essa appare durante Mukanda e Nkhanda, i riti di iniziazione e circoncisione dei ragazzi, e deve incutere loro soggezione, ricordando il valore dell’obbedienza e il rispetto che si deve agli Anziani. Chi indossa la maschera Kakuungu non parla e non danza, ad evoca la stabilità immutabile delle tradizioni, mentre un suo assistente sputa sugli iniziati lo tsengwa, un miscuglio di foglie masticate e destinate a rafforzare il carattere dei partecipanti al rito. La maschera auspica la futura fecondità, ma il suo aspetto inquietante ricorda che essa svolge anche funzioni di pacificazione tra persone in lite.
si veda tra l'altro Bernhard Gardi, " ZAIRE, MASKEN FIGUREN", Basel 1986 pag. 39 fig. 25 e SURA DJIE visage et racines du Zaire . Paris 1982 , pag. 61 fig. 3.12
SUKU KAKUUNGU MASK
The sagging cheekbones, the soft and generous shapes, the chromatic contrast, the important dimensions speak of the function for which the mask was designed. It appears during Mukanda and Nkhanda, the initiation and circumcision rites of boys, and must awe them, reminding them of the value of obedience and the respect due to the Elders. The wearer of the Kakuungu mask neither speaks nor dances, evoking the immutable stability of traditions, while one of his assistants spits on the initiates the tsengwa, a mixture of chewed leaves intended to strengthen the character of the participants in the ritual. The mask augurs future fertility, but its disturbing appearance reminds us that it also performs the functions of reconciliation between people in dispute.
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
May 17-30, 2018
Opening Reception: Thursday May 17 from 6-8:00 pm
The clock’s influence is inseparable from contemporary life – not only does it synchronize individual circadian rhythms but it also produces the stable temporal foundation for both scientific tradition and capitalism to flourish. However, there is a significant gap between what is measured by clocks and what is perceived by the individual. The perceived acceleration of time in contemporary life leaves us with a feeling of being continually deprived of this precious resource. While many technologies promise to help us get-time-back, they only entangle us further in their construction. Scientific time, duration measured by clocks, is regarded as immutable, indefatigable, and infallible – the opposite of the humans it ostensibly serves. Slower Than Time Itself uses the syncopated rhythms and unquantifiable output of mechanical clocks to suggest a slowing and plurality to the current monoculture of time, more sympathetic to the human condition and timescapes outside of human perception. Trueman’s sculptural and video works explore the idea of slowness as a gateway to multiplicity and ponders whether it is possible to use a clock to escape time itself.
Artist Biography
After studying mechanical engineering at Fanshawe, Trueman completed his undergraduate degree in fine arts at Western University where he is currently a Master of Fine Art candidate. He will be completing a clock installation at I-Park Residency (East Haddam, Connecticut) this summer, and will be exhibiting at PLUS Art Fair 2018 (Toronto). His first publication So Long South Street, a photographic series showing the demolition of famed South Street Hospital, was launched earlier in 2018. His work has been shown at Museum London, McMaster Museum of Art (Hamilton), Thames Art Gallery (Chatham), and DNA Art Space (London).
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2018; Department of Visual Arts; Western University
By Tony Cragg
Tony Cragg (born 1949, UK) is one of the world’s foremost sculptors, constantly pushing to find new relations between people and the material world. In the 1980s, Cragg began to make sculptures suggestive of architecture...
These totemic piles of found objects and machined parts suggest an industrial counterpoint to the history of man-made achievements, while his other work nearby, Tools, made from sandstone, conveys the opposite, being hand wrought versions of mechanical aids, such as screwdrivers and mallets. Cragg sees no difference between the natural and the artificial, preferring to acknowledge the bridges between the two, the synthetic here acquiring figurative qualities in some of the bust-like tools, while his stacked turrets of spacers, washers and engine spares travel back through time to suggest archaeological accretions and geological strata.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
An experimental cover.
---
This book is about a new and specific form of the tetradic (or four-fold) way of thinking, for which the term quadralectics has been coined. Its main feature is that any reflection is the result of four considerations, and that visibility has a four-fold bond with the observer. This statement might not look very sensational at first sight, but this view may change when the knowledge of its consequence increases. It will be shown that various forms of division thinking are very elementary indeed.
Tetradic thinking is probably as old as mankind itself. However, it was the Greek philosopher Empedocles (ca 492 – 432 BC), who amalgamated the historic material of division thinking into some sort of theory. He suggested four elements or roots as the main constituents of all common experience: fire, air, earth and water. These basic entities were indivisible, eternal and immutable. The different mixtures of the four elements produced a visible world in all its richness.
Other tetradic world views can be encountered in many forms, embedded in many cultures throughout history. The old Egyptian pyramid builders may have had one, translated in the form of their buildings. The sons of Horus, and their place in the funeral culture, did reflect a tetradic setting of the mind. The Meso-American Indians like the Mayas and Incas were fascinated with quadripartite divisions. European history is bestrewed with possible clues, to be found in Celtic ornaments, the buildings of the Roman Emperor Hadrian, the writings of the early Church fathers, features in the French cathedrals: to name only a few.
It is, therefore, at least remarkable, that this body of cultural knowledge was never placed in a philosophical context and regarded as a ‘system of thought’. Any reference to the number four and its dynamic use is systematically described as ‘numerological’, a term with a definite negative meaning within the world of science.
Quadralectic thinking is a new form of the old, archaic four-fold way of thinking. The neologism expresses a distinct frame of mind in which four phases of being are governing a communication. The following cognitive impressions, which have a cyclic connection with each other, are in the center of the new approach:
The acceptance of a distinct area of complete and unlimited incomprehension in the invisible realm;
The knowledge that certain ideas can be developed for reference and mental guidance;
The admission of the existence of an area of limited comprehension in the visible realm;
The understanding that a wider frame of mind can lead to new discoveries.
The journey through life is an adventure, because we don’t know what lies ahead. The comprehension of human existence is an undertaking on its own, with uncertain boundaries and countless possibilities. And it is shaped by a desire to find out what our presence is all about. This book will try to provide an answer to such a question – a daring project that is bound to reach short of its goal. It is, like so many efforts in life, the attempt, which counts.
It can be stated that the most mature achievement within our personal development is the realization of scale. There are layers of magnitude, which can be seen only in the proper setting of observation. Certain features are within reach, are stumbled upon without any effort. They often seem trivial, and will go unnoticed because of their conventionality. However, there are also qualities at the edges of our comprehension, which can be understood with the utmost endeavor or the use of artificial means to enhance the visibility.
The age old 'Walkabout' mode, of hitting the bricks until their aren't any more-- via the North American method that says; 'Go West' until drawn into the Nevada Great Basin for a years rebooting and stocking of my brainpan/nuclear core/soul and whole body into a highly reflective feed back loop on the Unified Theory writ large and small 24/7/200 something days plus a lifetime hacking away at the rocks before me, to make sense of the beaches, and the seas; while (not exactly) idling on the American Outback- btw, the overland migration super-highway from Eurasia to the Americas over the repeated Ages which I know comprehend at every level of organization; historical, evolutionary, climate, anthropological,, geological-- to the present day political; and lay of the resource land; via the magic of Particle Physics and e=mc2 and the application of the core of evolutionary theory shaved to the critical mass of the top of the bell curve of every known interaction of Economics, Man, and Nature, for maxim effect and efficiency of the market of the nature of the beast/hairball shaved clean of noise from the signal w/ Occams razor technology, to wit: "Entities are not to be multiplied without necessity', or 'It is vain to do with more what can be done with fewer'. That is to say, if everything in some science can be interpreted without assuming a complicated hypothesis, there is no ground for assuming the complicated version."
Mine was a classic case and half of ;
LIVING IN THE BIG EMPTY SEG 1 : www.youtube.com/watch?v=Pk2gh_pWfWU
-- w/o drinking or blinking -- living to see the program and the hills in the long form, than most (full version) ; watch.knpb.org/video/1436643442/
Abstract as Post Script to this work in progress so as to be semi coherent pardon the 'form factor' while the prose is random dynamically re-stacked as rhetorical revisions to this photo essay that attempts to form then finesse the logical thread through the Eye of the Needle of Reality in so many ways shapes and factors so as to craft a lucid, cogent, and coherent logical and scientifically consistent airtight case that makes air for the consideration of en.wikipedia.org/wiki/Dark_matter as 100% presently accounted for in the form of Bacteria. Primarily the family of Bacteria know as en.wikipedia.org/wiki/Cyanobacteria which powers the combustion chain by means of its role the natural manufacture and fixation of Nitorgen in the form of N2O that can be seen powering this photo as the Dark Matter and Energy of contained in the atomic stack of examples of reality in search of a theory that drives the expansion of the Universe and a burger chain, whereby it is possible 'Billions' are successfully 'Served' so much Bacterial Dark Matter that proves fuel as Energy as expressed as so many 'Big Macs' and or 'Happy Meals' or plates of pasta + the decision process over which to choose as dinner which results in a chain reaction of Hiesenburgian proportions rippling though the micro economics of the BTU (British and or Bacterial Thermal Units) of calories and bacteria as slow and fast food to power a world served by the billion by the 'Golden Arches' and iron skillet as examples of how my reasoning flows from the following data set and where it points after being clued into the role of bacteria and its large role in the combustion chain of N20 mfg. (c/o reading reporting in the Science News over the years and drawing conclusions from that, confirmed by) what wikipedia has condensed as the entire 'nutshell' of the case (which makes possible nutshells): "Nitrous oxide is emitted by bacteria in soils and oceans, and thus has been a part of Earth's atmosphere for millennia. ... Nitrous oxide reacts with ozone in the stratosphere. Nitrous oxide is the main naturally occurring regulator of stratospheric ozone. Nitrous oxide is a major greenhouse gas. Considered over a 100-year period, it has 298 times more impact per unit weight than carbon dioxide. Thus, despite its low concentration, nitrous oxide is the fourth largest contributor to these greenhouse gases. It ranks behind water vapor, carbon dioxide, and methane. Control of nitrous oxide is part of efforts to curb greenhouse gas emissions. " - en.wikipedia.org/wiki/Nitrous_oxide . In addition there is the world of undersea Bacteria which seems to be massive as source of gasses, energy and life as explored in; moreintelligentlife.com/content/ideas/some-it-very-hot?pa...
Thus, in the quest to complete the Dark Energy and Matter puzzle the need to grab the 'keys to the car' of conceptually understooding of the 'bits of information' scooped up on the million miles of the road 'less traveled' at high and low speed on the highway of life in a peddle to the metal race to complete the General Unified Theory I am thinking presently of the 'the need for speed' in completing a thought started terms of Talladaga Nights Logic and following the theoretical chain of combustion command and control like a hawk from the suns moving the matter of their food like the balls in the early en.wikipedia.org/wiki/Pachinko machines so noting their spin and path right through the conceptual food chain with zen like concentration to plumb the answer to the riddle so as to stoke and keep the self sustaining bacterial fire in my belly burning with the bizzaro thought;
"If you ain't first, you're last!"
en.wikipedia.org/wiki/Talladega_Nights:_The_Ballad_of_Ric...
Note; phys.org/news/2012-12-dark.html "The excitement now is that we are closing in on an answer, and only once in the history of humans will someone discover it. There will be some student or postdoc or experimentalist someplace who is going to look in the next 10 years at their data, and of the seven or so billion people in the world that person will discover what galaxies are mostly made of. It's only going to happen once."
One more time with meaning; It is hypothesised here that the en.wikipedia.org/wiki/File:Phylogenetic_tree.svg whose branches are gaseous and or part of the combustion/food chain as discovered/understood ('t
“Imagine walking out in the countryside and not being able to tell a snake from a cow from a mouse from a blade of grass,” he said. “That’s been the level of our ignorance.” on the subject as understood best ' by the late great Carl Woese ( www.nytimes.com/2013/01/01/science/carl-woese-dies-discov... ) who was able to "prove that all life on earth was related.” It is suggested here (again) that light and thus life is made possible by single celled life running the combustion chain by means nitrous oxide manufacture without which combustion is not possible is the singular candidate for being Dark Matter begets Dark Energy due to its immutable nature of the nuclear core of the nucleus of Bacteria.
Accordingly every angle of a drop of salsa in the micro should bend light by the same 'dark material/energy' means of 'economic activity of biological growth drawn from the Sun and the field by the roots reaching for energy and drawing them to a plant to form sugar that creates the shade being cast by Phylogenetic tree as so much gas/power as a by product in the process that moves at near the speed of light as observed and made a example of the micro case of en.wikipedia.org/wiki/Refractometry that corresponds to the macro of 'cosmic microwaves' (which act as break and limit on the speed of light [in another evolving story line located at] -->);
flic.kr/p/8zt3aQ
This is set of data points in process for for the best possible explanation of cosmic expansion in terms of Dark Matter and Energy being made possible by the interplay of the nuclear material of the Phylogenetic tree burning to bring the light while explaining how the grow the Universe at the variable speed of -1 which is not constant see graphic and apply this logic to the fluctuations inherent in the construct presented in conjunction with the notion of a cyclical super vast redundant Universe we are at some random point in the 'Grande Scheme of Things' as well illustrated, and described, with the Dark Matter piece well described, but alas the missing variable that my Theory here now and for all time offers up as the nuclear head of cyanobacteria on a pike as the little prick that is responsible for all N20 in nature, hence combustion. Therefore, working in conjunction with that nuclear illumination running the logic and providing a set of clues to run down the road to find every last stone that could possibly be Dark Matter and Energy in the Math of the Solar System, and find every thing we need to know according to the he words of Andrew Liddle puts it, "the cosmological principle [means that] the universe looks the same whoever and wherever you are." in Darkness on the Edge of the Universe
By BRIAN GREENE Published: January 15, 2011) www.nytimes.com/2011/01/16/opinion/16greene.html?scp=6&am....
Some disagree and say Dark Matter is nonexistent and or immaterial. I respectful disagree, and hopefully have provided additional information in order to assist with understanding how my view came to be on this subject, such that some some new common ground can be broken by bacteria being the dark energetic means and motor along with algae as the agents of the fixation and productions of the nitrogen that is the gas of the Universe.
As more data is generated in understanding how perspective can never stay the same as per the logic contained in a draconian application of the en.wikipedia.org/wiki/Lorentz_transformation to a unwillingness to see the shadow as being cast by the flip side of a reflection, as light is consumed by and transformed by the power of life the is the foam of space which are quarks of bacterial nuclei in repair.
Details in the photo captions herein.
That the same transformation that powers the light switch where I might find enough between my ears to communicate the understanding that the bugs have been digesting themselves into energy per this chart; en.wikipedia.org/wiki/File:080998_Universe_Content_240.jpg
If in the words of Bronkowski: "All science is the search for unity in hidden likeness." as being understood to be what makes the world go round in the compost heap, vineyard, farm that power a food chain, that provides a Inn and spa with the bill of fare or by the same token a Star on the other side of the Universe the power by means of 'paired quark technology' to recompose itself atomically for some more light -- to further expand our understanding by means of the power of light and dark matter to producing 'grey matter' which is consciousness. That the grass is not 'greener' or made of substantively some wonder material of a Dark Nature in another galaxy, therefore Dark Matter, and Energy 'is what it is' the immutable atomic information of 'microorganisms' cycling at relative light speed as so many 'cups of tea', or conceptual coffee, 'primordial soup' to perhaps nuts -- or maybe, just maybe, the 'hidden likeness' is before us in the form of Microorganisms nuclear core that make up the macro.
Look no farther, this is that 7 billionth needle in the haystack of discovery making the attempted case (long improbable form expanded in the photo gallery in great detail) that the seeds of nuclear material that keep and make us all connected as singular and a planet grade life/being/form and function -- is the Dark Energy and Matter which is the basic building blocks of life which are ID'ed here and now for all time by me - 'like I have been sayin' as the three families of Bacterial life which produce combustion gasses, as best understood by the late great Carl Woese; www.nytimes.com/2013/01/01/science/carl-woese-dies-discov... which contains the seeds/strings if you will* of a expanding en.wikipedia.org/wiki/Supersymmetry
with the nuclei of bacteria standing in for Dark Matter in a Universe at the speed of the en.wikipedia.org/wiki/Cosmological_constant with enough force to power back the sun in resolution of the Faint Young Star Paradox, and bending light with enough economic activity to explain the en.wikipedia.org/wiki/Lorentz_transformation by dint of glare of the photons on the matter that it transforms bringing them to life as measured by growth of waters expansion in the 'foam of space' when heated by the addition of light, or measured from any given distance -- one notices a relative difference this is due to the presence of the nuclei of bacterial matter or their radiological remains as rendered as the unpaired quarks/photon gas/ of the foam of space in mid re-mix of its perpetual quantum dynamic seeking a natural release and propulsion which explains the roads to and fro, the tides, as well as both the past and presents process of quantum tunneling whereby “we beat on, boats against the current, borne back ceaselessly into the past.” with a eye toward the west and what that brings thus therein lays the answer to the riddle of the ages. Energy is yin and yang forward and backward moving of quarks in motion over time and space under power of the Sun that set the chain of events and matter in motion will that Sun never set as a series of consequences beating ceaselessly into the past against the current to bring the light found shining at approximately my end of the conceptual nitrogen majority atmosphere, to comprehend the fullness of the the big picture Dark Energy as the Universal glue that also acts as the agent of expansion at the local light speed limit.
If this hypothesis that comports with my reality jibes with that of the Universe that is my aim, and would 'rock' just fine, w/ the exception of everybody but my critic who shall remain nameless, and also perhaps act like Dark Matter is a huge mystery; which suites me perfectly. I'll be all over this limb, with more detailed answers as they become gapingly obvious. For all to see, in what better factor than buried in flickr. While I get the totality of this picture dialed, so as to relearn the ways of writing a science paper, and get the movie and record recorded. So the whole thing does not stand as a photo essay w/ captions.
The spoken work version with full musical accompany will also serve to work this hypothesis from the inner cores of the the earth sun stars via Black Hole radiation with total rhetorical + scientific precision deep grooved into bottomless beats.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS60D
Objetiboa / Lens: Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (163x1.5mm)
ISO: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/400"
F zenbakia / number F: 14
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
Victorian gold
immutably beautiful
heavy in my hand
stern monarch in widows weeds
stares blindly into the west
(This poem is an example of the Chinese Tanka. Like the haiku it is a closed form with a fixed number of syllables per line (5,7,5.7,7)
1. DSC_0348 YELLOW ROAD, 2. Immutable Law Of The Universe #4, 3. Pipoca, 4. Disney - Cinderella And Blue Bird
Created with fd's Flickr Toys.
1. Favorite movie as a kid? Wizard Of Oz
2. What movie has been shotin your hometown or near you? No movies, but they filmed the Chuckle Brothers in my street once!
3. While watching a flick, your favorite snack at the theatre or on your sofa? Salted Popcorn
4. What movie character do you think you're most like? Cinderella, I feel like most of the time!
©Tirage Argentique NB / Analog Photography BW.
Minolta X700 - Ektachrome 35mm.
Paris, France
Le narrateur de la première ambassade anglaise en Chine, au XVIIIème siècle, s'émerveillait de cet art dont , à la différence des brocards, des épices ou du thé importés par les chameliers mulsumans de la Route de la soie et les voiliers des Compagnies des Indes Orientales qui n'avaient jugé profitable d'en inonder l'Europe:
"Sur plusieurs tables, on avait placés dans des caisses remplies de terre des arbres nains, tels que des pins, des chênes ou des orangers avec leurs fruits. Aucun de ces arbustes n'avaient plus de deux pieds de haut. Ils étaient corrodés et couverts de lichen, comme ils eussent été placés là depuis des siècles. La terre était parsemée de cailloux qui, proportions gardées, pouvaient être appelés rochers."
The narrator of the first English Embassy in China, in the 18th century, was surprised by this art which, unlike brocades, spices or tea imported by camel mulsumans of the Silk Road and sailboats of the East India Company
"On several tables, it was placed in boxes filled with earth dwarf trees, such as pine, oak or orange with fruit. None of these trees were more than two feet high. They were corroded and covered with lichen, as they had been placed there for centuries. Land was littered with stones which, relatively speaking, could be called rocks. "
Ce n'est qu'au XIXème siècle que le Bonsaï ne fut plus un art réservé à la noblesse, et devint l'apanage des grands bourgeois et des riches marchands. Aujourd'hui l'Art du Bonsaï est accessible à tous et dans le monde entier se regroupent des amateurs passionnés. Chacun d'entre nous peut créer son bonsaï, refaisant les gestes immuables du premier chinois...
It was not until the 19th century that Bonsai was no more an art reserved for the nobility and became apanage of big bourgeoisie and rich merchants. Today the Art of Bonsai is accessible to all and around the world gather amateurs passionated. Each of us can create bonsai, resurfacing gestures immutable of the first Chinese ...
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS60D
Objetiboa / Lens: Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (300x1.5mm)
ISO: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/320"
F zenbakia / number F: 18
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Siso Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
View of Mount Etna - 1842
Thomas Cole (1801 - 1848)
Cole wrote a poetic description of this painting after he returned from Italy in 1842: Etna "lifts its snowy head in the warm sunlight, while the base of the mountain is partly veiled in the vapoury atmosphere and the mists of the morning."
Ruins overgrown with vegetation litter the foreground of the image. They are dwarfed by the snow-capped volcanic peak in the distance, a comment on the impermanence of human endeavor and the immutability of nature. A shepherd plays a flute for his flock, referencing the Arcadian life celebrated in ancient Greek and Roman poetry. Asher Brown Durand depicted Cole holding a similar woodwind instrument in his painting Kindred Spirits. The allusion to music and poetry in both works demonstrates thematic continuities between painting and related art forms.
---------------------------------------------------------------------------------------------
This World Class attraction was everything we expected and more. Construction has just begun on a major expansion, but that has been managed in such a way that it does not in any way detract from the experience now.
This album focuses on the artwork inside the buildings and on the other interior spaces including the Eleven Restaurant and the Gift Shop. A separate album posted a few days ago is devoted to the two April mornings that we spent exploring just some of the trails that crisscross the 120 acres of Arkansas forest around the museum.
Alice Walton and her co-creative team can be proud of the vision and execution of everything on this 120 acre site.
_____________________________________________
"Crystal Bridges Museum of American Art is a museum of American art in Bentonville, Arkansas. The museum, founded by Alice Walton and designed by Moshe Safdie, officially opened on 11 November 2011. It offers free public admission.
Alice Walton, the daughter of Walmart founder Sam Walton, spearheaded the Walton Family Foundation's involvement in developing Crystal Bridges. The museum's glass-and-wood design by architect Moshe Safdie and engineer Buro Happold features a series of pavilions nestled around two creek-fed ponds and forest trails. The 217,000 square feet complex includes galleries, several meeting and classroom spaces, a library, a sculpture garden, a museum store designed by architect Marlon Blackwell, a restaurant and coffee bar, named Eleven after the day the museum opened, "11/11/11". Crystal Bridges also features a gathering space that can accommodate up to 300 people. Additionally, there are outdoor areas for concerts and public events, as well as extensive nature trails. It employs approximately 300 people, and is within walking distance of downtown Bentonville."
en.wikipedia.org/wiki/Crystal_Bridges_Museum_of_American_Art
crystalbridges.org/nature-trails/
...
Have a dork for a parent, you will be a dork for a lot of your life as well.
Don't try to run from it. Embrace it, 'cause genetics can be a real bitch. : P
(May God Have Mercy On Him. Heh.)
Smiling for no reason is one of the greatest, most infectious phenomenons in the world.
Don't believe me?
Try it for yourself. Hey, it's free and sure as heck can't hurt anything. : )
Smiling is infectious,
You can catch it like the flu.
Someone smiled at me today,
And I started smiling too.
~Author Unknown
View of Mount Etna - 1842
Thomas Cole (1801 - 1848)
Cole wrote a poetic description of this painting after he returned from Italy in 1842: Etna "lifts its snowy head in the warm sunlight, while the base of the mountain is partly veiled in the vapoury atmosphere and the mists of the morning."
Ruins overgrown with vegetation litter the foreground of the image. They are dwarfed by the snow-capped volcanic peak in the distance, a comment on the impermanence of human endeavor and the immutability of nature. A shepherd plays a flute for his flock, referencing the Arcadian life celebrated in ancient Greek and Roman poetry. Asher Brown Durand depicted Cole holding a similar woodwind instrument in his painting Kindred Spirits. The allusion to music and poetry in both works demonstrates thematic continuities between painting and related art forms.
---------------------------------------------------------------------------------------------
This World Class attraction was everything we expected and more. Construction has just begun on a major expansion, but that has been managed in such a way that it does not in any way detract from the experience now.
This album focuses on the artwork inside the buildings and on the other interior spaces including the Eleven Restaurant and the Gift Shop. A separate album posted a few days ago is devoted to the two April mornings that we spent exploring just some of the trails that crisscross the 120 acres of Arkansas forest around the museum.
Alice Walton and her co-creative team can be proud of the vision and execution of everything on this 120 acre site.
_____________________________________________
"Crystal Bridges Museum of American Art is a museum of American art in Bentonville, Arkansas. The museum, founded by Alice Walton and designed by Moshe Safdie, officially opened on 11 November 2011. It offers free public admission.
Alice Walton, the daughter of Walmart founder Sam Walton, spearheaded the Walton Family Foundation's involvement in developing Crystal Bridges. The museum's glass-and-wood design by architect Moshe Safdie and engineer Buro Happold features a series of pavilions nestled around two creek-fed ponds and forest trails. The 217,000 square feet complex includes galleries, several meeting and classroom spaces, a library, a sculpture garden, a museum store designed by architect Marlon Blackwell, a restaurant and coffee bar, named Eleven after the day the museum opened, "11/11/11". Crystal Bridges also features a gathering space that can accommodate up to 300 people. Additionally, there are outdoor areas for concerts and public events, as well as extensive nature trails. It employs approximately 300 people, and is within walking distance of downtown Bentonville."
en.wikipedia.org/wiki/Crystal_Bridges_Museum_of_American_Art
crystalbridges.org/nature-trails/
...
..and let the troubles of the world tumble and flow around you. Yeah - they'll still wear you down eventually. But it'll take a long, long time.
Doesn't mean we have to turn a blind eye though.
Take for instance the price of gas.. The price of gasoline doesn’t exist in a vacuum. When the price of energy (oil) rises – everything is affected. Everything we see, do, touch, eat or drink is affected by the price of oil. The keys and mouse you're using now. The chair you're sitting in. The coffee you had for breakfast, and the toast, the butter and the fridge you got it out of. Everything.
The President believes that by allowing the price of gasoline to rise, the price of alternatives will become more acceptable. Not cheaper - just closer to the price of oil, which he despises. That's what he means when he says we need to ignore our pain, and concentrate on 'The Big Picture'.. You know - like he does.
Because why would anyone switch to more expensive, more complicated, and less reliable forms of energy as long as the price of gasoline is low? But, if you make the price of gasoline high, the theory goes – then by comparison, the price of the alternatives is more competitive.. Right? But there’s a problem with this simple logic..
And that is, the immutable fact that the price of energy affects everything. Everything. Including the manufacturing, maintenance, delivery, installation and price of those alternative sources of energy. Not to mention the price of Corn Flakes and milk. All that happens when the price of oil goes up, is that there is a 'sea rise' effect, where all forms of energy rise in cost, and as the additional costs are passed on to the consumer. Uh - that's you..
Which in turn makes the price of oil competitive again.. It's a conundrum, is what is is.. At least to those who believe the laws of nature - and the marketplace - don't apply to them.
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
Amazing sounds from ice records !
Artist Claudia Märzendorfer DJ delicate records made of ice on specially prepared turntables for her act “VLUN/Much ado about nothing”. In stark contrast to the immutability of contemporary methods of sound storage – the digital world of mp3s, wavs and AIFFs – the artist has chosen a storage medium that disintegrates almost immediately.
After the first few grooves the sound begins to degrade as the stylus digs deeper through the deteriorating groovestructures. Each disc lasts an average of only ten minutes, and most can be played only once. The medium melts, the grooves disintegrate into puddles. Metaphors abound in the art of freezing sounds and melting records : the impermanence and fragility of art and life.
Nik Hummer est membre du groupe autrichien Thilges, dans lequel il joue notamment du Trautonium.
en.wikipedia.org/wiki/Trautonium
fr.wikipedia.org/wiki/Trautonium
Le CD "La double absence" de Thilges est disponible à la Médiathèque (Bruxelles-Passage 44) :
By Haroon Mirza
A Chamber for Horwitz,
Sonakinatography Transcriptions in Surround Sound, 2015
Wall work: Channa Horwitz
Sonakinatography Composition III, 1996
Haroon Mirza (born 1977, UK) has won international acclaim for installations that test the interplay and friction between sound and light waves and electric current. Transcribing a complex working drawing by LA-based artist Channa Horwitz (1932–2013), Mirza turns her notational sequences and matrices into a multi-coloured, sonic score. The electric noise of the currents that light the LEDs in one of the eight possible configurations and colour combinations, as marked by Horwitz, is simul-taneously translated via speakers to audible noise pulses in different octaves. Together, these acoustic, visual interpretations of the Horwitz data result in a choreographed, compositional concert, which is at once computer-programmed and man-made – both ‘live’ and historic.
A Chamber for Horwitz; Sonakinatography Transcriptions in Surround Sound is a conceptual development of an earlier piece by Mirza, titled Adam, Eve, Others and a UFO (2013).
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
Where the line between soda and pop blurs...
Where putt-putt is played on a mini-golf course...
Where the remote is seen immutably as a box
Like my photos? Buy me a coffee!
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
www.tryzub.org/ukrainian-festival-2016.php
Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence
Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.
Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS60D
Objetiboa / Lens: Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (79x1.5mm)
ISO: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/400"
F zenbakia / number F: 14
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
Non / Where: Muskildi, (Zuberoa) (Basque Country)
Noiz / When: 2016/01/24
Kamara / Camera: CANON EOS60D
Objetiboa / Lens: Objetiboa / Lens: COSINA 70-300 F[4.5-5.6] (AF) (163x1.5mm)
ISO: 800
Programa / Program: Tv (Abiadurari lehentasuna / Speed priority)
Exposizioa / Exposition time: 1/400"
F zenbakia / number F: 13
Software: Photoshop
MASKARADAK: PROBABLY THE OLDEST CARNIVAL IN EUROPE
The maskarada [mas̺ˈkaɾada] is a popular set of traditional, theatrical performances that take place annually during the time of carnival in the Basque region of Soule, Basque Country (Zuberoa in the Basque language). It is generally referred to in the plural (maskaradak) as it is repeated across the region on the streets of villages (one day per village) over the span of a month or two in late winter through spring. The plays are performed by the villages' (usually younger) inhabitants, and the arrangements for each maskarada are the responsibility of each participating village. Sometimes, when two villages are very small, they will share the duties together.
Though naturally the actors change from year to year, a friendly air of informality, formed of deep familiarity pervades throughout. The Maskaradak follow variations on very traditional themes that make use of time-honoured sets and age-old, immutable characters. A motley parade of musicians (atabal, ttun-ttun and xirula players), traditional dancers and assorted actors, villagers and visitors walk merrily along a route that meanders up and down the village's streets.
At particular points of the parade, the barrikadak take place, where the marchers stop in front of a stall put there by the villagers, and bestow on them a dance, sometimes even a song, this in exchange for snacks (biscuits, crisps, and the like), and refreshments (wine and liquor), which is then shared with bystanders. The process is repeated over and over, perhaps lasting all day, from early in the morning till afternoon (with a popular lunch somewhere in the middle), until the end of the final performance at the parade terminus - usually the village market place or Basque pelota court.
Maskaradas represent a genuine example of traditional popular carnival theatre struggling to survive, much in step with the modest revival of the Basque language. It's connected to pastoral in many aspects, such as recurrent fixed characters, a marked distinction in the group (e.g. the reds stand for the good, while the blacks represent the evil) or a rigid structuring and development. The language used by the actors remains bilingual Zuberoan Basque, for the most part, and Bearnais, despite some difficulties to hand either language over to new generations.
The early snow of November 2010 froze the roses still in full blooming.
Now they had emerged crispy and papery in their immutable beauty.
(no editing besides raw->jpg adjustments)
Το κάστρο της Μονεμβασιάς
Το 375 μ.Χ. μία σεισμική δόνηση απέκοψε τη χερσόνησο δημιουργώντας ένα βράχο που έμελλε να μείνει στη θάλασσα αγέρωχος και αναλλοίωτος στην αιωνιότητα, φυσικό φρούριο, προστάτης ψυχών, διακηρυγμένος πόθος των μεγαλύτερων αυτοκρατοριών που γνώρισε ο πλανήτης. Αυτός ο βράχος, κάποτε μονοπάτι του Μυκηναϊκού και του Μινωικού πολιτισμού, χάρη στη μία και μοναδική πρόσβαση (μόνη έμβαση) που τον ενώνει με την Πελοπόννησο ονομάστηκε Μονεμβάσια.
The castle of Monemvasia
In 375 AD an earthquake cut off the peninsula, creating a rock that was to remain at sea cocky and immutable in eternity, a natural fortress, professed desire of the largest empires the world has known. This rock, sometimes the path of the Mycenaean and Minoan culture, through a single access who joins the Peloponnesus, called Monemvasia.
Nathalie Djurberg & Hans Berg
The floating world of The Black Pot, first shown in the round at the Garage Museum in Moscow and now reimagined and reconfigured as a room of interlocking screens, can be experienced from outside, as a looping stream of Rorschach inkblots, or from within, as a fluid, psychedelic environment, approximating a cocooned cosmos.
[everythingatonce.com]
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Available for sale - History and Painting are damn liars, frauds, shams. As well they both express profound truths. If the fraud is performed deftly the recipient of either will become a complicit disciple and agree to turn a blind eye to the deceit, and perpetuate the lie with the inexorable law of inertia.
At best painting can be a fraud perpetrated to tell a deeper truth. At worst history can be a fraud perpetrated to comfort the conscience of the victor, or to further an unsavory agenda.
What is the truth of any person with their contradictions? That person might have an ever lengthening, convoluted path filled perhaps with situational justifications. Where can an observer find the brick immutable truth in the history or representation of a legend, a hero, a despot, killer of ones kin, a cruel or righteous person passed into mythic proportions? Who actually is to judge, to know - if even the subject, the historian, prejudiced bystander or casual viewer? Perhaps the observer is the judge, in turn being judged in perpetuity.
By Anish Kapoor
Part of Everything at Once
Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand
October-December 2017
Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.
As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.
In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...
[Lisson Gallery]
1865; Oil on canvas, 30 x 60 cm (11 7/8 x 23 3/4 in); San Diego Museum of Art
This is an early work done a quarter-century before the famous Wheatstack series of 1890-91. In those later works, Monet succeeded in expressing the immutable essence of the Wheatstacks; here they are integrated into the overall landscape. The relative sizes of the Haystacks as well as the inclination of the low-lying clouds leads the eye forcefully toward the vanishing point of the rising sun. This leftward-leaning composition is accentuated by the exaggerated horizontality of the canvas. The muted colors and relatively finished brushwork, along with the pyramidal shapes of the haystacks, convey a sense of permanence that somewhat contradicts the depiction of something as transient as a sunrise. This is an important early reference point illustrating the artistic problems Monet worked to resolve as his style developed.
Niki's Oasis Restaurant & Jazz Bar 138 Bree Street Newtown Cultural Precinct Johannesburg South Africa with Simnikiwe Sondlo and Bushy Dubazana Jazz Band with the Immutable Themba Fassie
Great Food and Music Highly Recommended
Frozen Records :
www.youtube.com/watch?v=h5G2scukRSM
Amazing sounds from ice records ! Here : the fridge.
Artist Claudia Märzendorfer DJ delicate records made of ice on specially prepared turntables for her act “VLUN/Much ado about nothing”. In stark contrast to the immutability of contemporary methods of sound storage – the digital world of mp3s, wavs and AIFFs – the artist has chosen a storage medium that disintegrates almost immediately.
After the first few grooves the sound begins to degrade as the stylus digs deeper through the deteriorating groovestructures. Each disc lasts an average of only ten minutes, and most can be played only once. The medium melts, the grooves disintegrate into puddles. Metaphors abound in the art of freezing sounds and melting records : the impermanence and fragility of art and life.
Nik Hummer est membre du groupe autrichien Thilges, dans lequel il joue notamment du Trautonium.
en.wikipedia.org/wiki/Trautonium
fr.wikipedia.org/wiki/Trautonium
Le CD "La double absence" de Thilges est disponible à la Médiathèque (Bruxelles-Passage 44) :