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The studio setup. On the big screen is Logic Pro 8, with Ableton Live 6 on the smaller screen feeding into it as a ReWire slave. Radium 61 keyboard, Trigger Finger drum pad, KRK Rockit 5 studio monitors.
Logic Vision Collective & Digital Alchemists present The Ritual: Gathering of the Tribes @ Chutes de Sainte Agathe Lotbiniere, Quebec, Canada August 16-19, 2013
Photos by Kyle Rober
The Ritual: The Xperience 2014:
www.facebook.com/events/415497831904495/
Links:
The Ritual 2013:
www.facebook.com/events/431476333570283
Logic Vision Collective:
www.logicvisioncollective.com/
www.facebook.com/groups/logicvisionrecs
------------------------------------
"How to I anchor these experiences and solidify these changes when I leave the forest?" And that brings me full circle back to my art practice and the question of the art object. Every festival does this for me, but every once in a while there is a festival space that goes so far to the core of my being, that it transcends everything I held to be true, and everything changes for me. This year The Ritual did that for me. '' J.S ((( )))
jodisharp-inprocess.blogspot.ca/2013/09/the-ritual-and-ho...
------------------------------------
The DIGITAL ALCHEMISTS are proud to present:
THE RITUAL: Gathering of the Tribes 2013. Where the paths of Mysticism, Spirituality & Consciousness meet... Let's Bring Back our Sacred Rituals !
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
Every year, a number of festivals are celebrated in the world. These festivals are looked forward to, for many, with a lot of enthusiasm.
Although these festivals, different kinds of rituals are performed (with utmost care), and provide you mystical experiences.
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
PROLOGUE :
Focused around a central element, throughout the gathering, there is a sacred container being collectively created and held, in collaboration with the Native peoples who have honored us with the use of their land.
We believe in the healing potential of intentional gatherings.
We have dedicated our lives for facilitating these opportunities for a collective evolution.
Our mission : to create the perfect transformation into Peace, Unity and Global Respect...
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
4 days Open-Air Festival
International Music acts
International Deco concept
More info coming soon...
Pono Pono
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
Logic Vision Collective est fier de vous présenter :
La Réunion des Tribus 2013
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
Chaque année, un certain nombre de festivals sont célébrés dans le monde. Ces réunions sont organisés avec beaucoup de respect et sont attendus, pour beaucoup, avec enthousiasme. Ils sont exécutés avec un soin extrême pour vous offrir une expérience psychedelique mystique unique.
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
PROLOGUE :
Autour d'un conteneur sacré est centré un élément, créé et collectivement gardé avec les Peuples autochtones, nous ayant honorés de l'usage de leur terre.
Nous croyons aux guérisons et au potentiel des intentions.
Nous consacrons nos vies à faciliter ces réunions, pour l'évolution collective.
Notre mission : créer une transformation parfaite dans la Paix, l'Union et le Respect Global...
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
4 Jours de Festival en Plein-Air
Artistes internationaux
Concept Déco international
Bientôt d'autres nouvelles...
O Pono Pono
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
International Artists:
✔ PSYKOVSKY live! (Osom Music - Russia) - Psychedelia
✔ KASHYYYK live! (Kamino recs - Mexico) - Hitech Psychedelic Trance
✔ INSECTOR live! (Kamino recs - Hungary) - Hitech Psychedelic Trance
✔ ENICHKIN live! (Mind Expension - D-A-R-K recs - Russia) - Psychedelic Trance & Psydub
✔ VENSKER Djset! (Kamino recs - D-A-R-K rec | Mexico) ::: Hitech Psytrance
✔ PRIMORDIAL OOZE live+djset (Anti-shanti recs | D-A-R-K recs- USA) ::: Psytrance
✔ LUNECELL live+djset+Vjset (Occulta recs - USA) ::: Psychedelia
✔ AXIS MUNDI live! (Touch Samadhi - USA) :::: Psychedelic trance
✔ DOG OF TEARS live! (Active Meditation Music - USA) ::: Psychedelic trance
✔ MANIPULATION live! (Kinematic recs - USA)) ::: Psychedelic
✔ BRANDON ADAMS (Bom Shanka Music/Free Radical Recs/SYNC/Dreamcatcher - USA)::: Psychedelic
✔ THE HIPPIE DISCO PROJECT live! (D-A-R-K recs - USA)::: Groovadelic Circuit Bending
✔ RICCO MAZZER (Uroborous recs -Brazil) ::: Darkprog
✔ MISSKEY DJSET! (Arkona Creation - United Kingdom) ::: Psygressive
✔ Z3NKAI Djset! (PSYNON records - Switzerland)::: Psychedelic
✔ HARDKOR NATE live+djset ( Spacecamp Psyfari, Denver USA] ::: Psychedelic Trance
✔ ASCENSION LIVE+DJSET [Chilluminati, Spacecamp Psyfari, Denver USA] ::: Psychedelic Trance
✔ DEFTSPANK live! (D-A-R-K recs - Venezuela)::: Darkpsy
:::::::::::::::::::::::
Local Heros
Live-Acts:
✔ 1,618 live! (Montreal) ::: Progressive Psytrance
✔ ATHERIA live! (Geomagnetic recs - Toronto) ::: Progressive
✔ AURA live! (Aura Music - Montreal) ::: Psydub
✔ DUGONG LIVE ! (FEATURING SPECIAL GUESTS) Tom Lemann & Logan Hollow (BELLYOFTHEWHALECTRONICA inc. - Montreal) ::: Tribal Minimalism
✔ DER DENKER live! (Concepto Hypnotico - Montreal)::: Dark Minimal
✔ Dr STRANGEFUNK live! (Werk It Music - St Jerome) ::: Zenonesque
✔ FLORIAN MSK live! (Concepto Hypnotico - Montreal) ::: Dark Minimal
✔ KLOUD NIN9 live! (Glitchy Tonic - Montreal) ::: ProgDark
✔ SOURSWEET live! (Logic Vision recs - Montreal) ::: Psysufi
✔ SPACEY KOALA live! (Logic Vision recs - Montreal) ::: Psytrance
✔ UBER live! (Indy - Montreal) ::: Progressive
✔ VIRTUAL LIGHT live (Prism Code - Montreal) ::: Psytrance
✔ ZENTRIX live! (Digital Mind recs - Montreal) ::: Zenonesque
::::::::::::::::::::::::::::
DJsets
✔ ALAKAZOO (Logic Vision - Samsara Festival) ::: Darkprog
✔ ALIEN RAINFOREST (Ajnavision recs- Ottawa) ::: Psydub
✔ AKSHOBHYA (Logic Vision - Montreal) ::: Psytrance
✔ ANIMA vs NTSHANTI (OuI-R1 - Montreal) ::: Psyprog
✔ BANJANKRI (Organic Family - Toronto) ::: Forest Le Pendu
✔ BENDALA (Space Gathering - Montreal)
✔ CODE-AMA (Logic Vision - Montreal) ::: Dark Grooves
✔ DIRTY HARRY (St Jerome) ::: Zenonesque
✔ EFFLUX (Montreal) ::: DMTechno
✔ ELVIRA (Osiris Collective - Montreal) ::: Forest Psytrance
✔ FIELD EQUATION (Montreal) ::: Chillstep
✔ G-PI (Techno Agricole - Montreal) ::: Psyprog
✔ JOEL MCDUFF (OUIR1 - Montreal) ::: Progressive
✔ KHALIL (Speakeasy - Montreal) ::: Electroswing Balkan
✔ KOALUNA (Logic Vision - Montreal) ::: Troglodyte Psytrance
✔ KISS of VENUS (New York) ::: Psychedelic Techno
✔ KRIKKITT (Osiris prods - Montreal) ::: Psydub
✔ MACHINELF (Timewave Productions, Om Reunion Project-Toronto) ::: Progressive Psytrance
✔ MOHINIA (Logic Vision - Montreal) ::: Psytrance
✔ MYTHROPHAN (Toronto) ::: Progressive
✔ MYKUL ELF (Organic Family - ToMontrealronto) ::: Psybass
✔ NAAZ djset (D.A.R.K recs - Montreal) ::: psychedelic trance
✔ NAINITA (Logic Vision - Quebec) ::: Forest Psytrance
✔ NIKOCH (Montreal) ::: Native Tribal Trance
✔ NIKOLI Djset (Outer World Prods, Manifesting Magic festival - Ottawa) ::; Progressive
✔ NISMO (Cyberloft - Montreal) ::: Progressive
✔ OBSIDIAN (Logic Vision - Ottawa) ::: Psydub
✔ OGICHIDA (Organic Family - Toronto) ::: Forest
✔ OTKUN djset (kamino recs - Montreal) ::: Forest Hitech
✔ PLAN B (Shakti Collective - Toronto) ::: Psytrance
✔ PRANAPAPA (Logic Vision - Quebec) ::: Ethno Trance
✔ PSYBERTH (Openmind Festival - Can) ::: Psybass
✔ PYROTRICH (Logic Vision - Montreal) ::: Forest Psytrance
✔ RED ELECTRIC EARTH (Love Project - Montreal) ::: Progressive
✔ RON JON (Logic Vision - Ottawa) ::: Psytrance
✔ SABI NON STOP (Tatanka fest - Montreal) ::: Psydub
✔ SARA DOPSTAR (Kosmic Juice, Toronto) ::: Psyprog
✔ SHANGO (Logic Vision - Quebec) ::: Dakrpsy
✔ SPOONANI (Pounjah - Quebec) ::: Drum & Bass
✔ SYNTHETIK (Prism Code - Montreal) ::: Psytrance
✔ TRANSISCO (Om Project - Toronto) ::: Morning Psy
✔ WARRIORS (Big Tooth - Montreal) ::: Deep BASS
✔ XONICA (Logic Vision rec - Toronto) ::: Psychedelic Trance
✔ YGRIEGA (Sourcecode | OUI R1 - Montreal) ::: Psyprog
✔ ZAGA (Cosmic Juice - Toronto) ::: Progressive
::::::::
Deco Artists:
✔ WIZART VISIONS (USA) ::: Decoration
WizArt Visions is a visionary art project of New York based artist Olga Klimova and her team dedicated to creating an intense mind-opening visual environment for events.
www.facebook.com/pages/WizArt-Visions/444814318878170
✔ ORGANIC FAMILY (CAN) ::: DECO
✔ CESAR AR (CAN) ::: Visionnary ARt
✔ MYRKO (CAN) ::: Visionnary ARt
:::::::::::::::::::::::::::::::::::::::::::::::
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
SERVICES
----------------------------------------
- Restaurant végétarien et méditerranéen / Vegetarian and mediterranean restaurant
- Kiosque de jus frais & Tchai / Fresh juice stand & Tchai
- Plage et baignade sur le site / Beach and swimming on the site
- Toilettes / WC
- Camping gratuit / Free camping
- Sécurité professionnelle et amicale sur le site / Professionnal and friendly security on the site.
REGLEMENT / REGULATION
---------------------------------------------
- Respectez l’environnement / Respect the environment
- Aucun objet en verre sur le site / No glass on the site
- Les feux sont interdits / Fires are forbidden
- Baignade interdite la nuit / No swimming at night
- Aucun animal domestique sur le site / Pets are not allowed on the site
- Aucun système de son indépendant ne sera toléré sur le site / Independant sound systems will be not tolerated on the site.
MERCI DE BIEN VOULOIR RESPECTER CES REGLES ! ...
THANK YOU FOR RESPECTING THOSE RULES ! ...
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
The INDIAN MARKET !
The Ritual Festival will offer a wide assortment of food/drink, crafts, and other vendors throughout the Festival site.
Le RItuel Festival vous offrira un assortiment très large de restaurants ainsi qu'une variété de kiosques nous proposants des produits d'ici et d'ailleurs
please email us at: theritual.festival@gmail.com
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
。ॐ。*。ॐ。
ॐ。＼｜／。ॐ
--- PEACE ---
ॐ。／｜＼。ॐ
。ॐ。*。ॐ
With open minds and adventurous souls, there will always be sounds to move to and beats to feel.
We hope you are as excited as we are !
Avec l'esprit ouvert et aventureux, il y aura toujours des rythmes pour vous faire bouger et des musiques à ressentir.
Nous espérons que vous êtes aussi enthousiasmés que nous le sommes !
Info Contact : theritual.festival@gmail.com
COLLABORATORS & SPONSORS
Digital-Audio-Records-Kompany
Cybeloft
Kamino records
Tantruum recs
MAIA Brazil records
Osom records
Glitchy Tonic records
Organic FamilyThe DIgital ALchemists
:::::::::::::::::::::::::::::::::::::::::::::::::
Timetables
Galactic Portal:
Vendredi / Friday
18:00 XONICA ::: OPENING Ceremony
19:00 Krikkitt djset :: Psychedelic
20:30 Pyrotrich djset ::: Forest Psychedelic Trance
22:00 Mohinia djset ::: Psychedelic
23:30 Shango & Nainita ::: Forest Psy
Samedi / Saturday
01:00 CAUSAI (Vancouver) ::: Psytrance
02:30 PREGAKORE (Portugal) ::: Psychedelic
04:00 VENSKER Djset! (USA) ::: Psychedelic
05:30 AXIS MUNDI live! (USA) ::: Psychedelic
07:00 Virtual Light djset ::: Morning Psy
08:30 HIPPIE DISCO live ! (USA) ::: Morning FUnky
10:00 SPACEY KOALA live :::Funky Psytrance
11:00 MISSKEY djset! (UK) ::: Progressive Trance
12:30 ATHERIA live ! (Toronto) ::: Psytrance
01:30 Dr Strangefunk live! ::: Zenonesque
02:30 Zentrix live!::: Zenonesque
03:30 Ygriega ::: Progressive Trance
05:00 KLOUD Nin9 live! ::: darkprog OTEZUKA (France) :::: Progressive
06:00 RICCO MAZZER live! (Brazil) ::: Zenonesque
07:30 FRACTAL PHONO (USA) ::: Zenonesque
09:00 LUNECELL live! (USA) ::: Psychedelic
10:30 Otkun (Montreal) ::: Psychedelic Moon
Dimanche / Sunday
00:00 KASHYYYK live! (MEXICO) ::: Hitech
03:00 INSECTOR live! (HUNGARY) ::: Hitech
06:00 PRIMORDIAL OOZE live!(USA) ::: Psychedelic
08:30 BRANDON ADAMS (USA) :: Full Power
10:00 MANIPULATION live (USA) ::: Morning
11:30 HARDKOR NATE djset (USA) ::: Psytrance
13:00 ASCENTION liveset (USA) ::: Psytrance
14:00 A.C. LYON live! (USA) ::: Psychedelic
15:30 Dugong live! ::: Dark Tribal Minimalism
17:00 Florian live! ::: Dark Minimal
18:00 Der Denker ::: Dark Minimal
20:00 Anima vs Nt Shanti ::: Psygressive
21:30 Akshobhya ::: Psychedelic
23:00 Plan B ::: Psychedelic
Lundi / Monday
00:30 DEFTSPANK live (Venezuela) ::: Psychedelic
01:30 Ogichida vs Banjankari::: Forest Psytrance
03:00 PSYKOVSKY live ! (Russia)::: Psychedelic
07:30 DOG OF TEARS live! (USA) ::: Psychedelic
09:30 NAAZ ::: Psychedelic
11:00 CODE-AMA ::: Psychedelic
12:30 RONJON ::: Psychedelic
14:00 OTEZUKA ::: Psyprog
16:00 The DIGITAL ALCHEMISTS ::: CLOSING
Dream Catcher Portal
Friday / Vendredi:
08:00 Zaga (Toronto) ::: Dark Minimal
10:00 MAJESTER (British COlumbia) ::
Saturday / Samedi:
00:00 Elvira ::: Hitech
01:30 Koaluna ::: forestpsy
03:00 Play Different live! (Toronto) ::: Psytrance
04:30 Synthetik ::: psytrance
06:00 MACHINE ELF (Toronto) ::: Psy trance
08:00 MYTHROPHAN (Toronto) ::: Progressive Trance
10:00 TRANCISCO (Toronto) ::: Progressive Psytrance
12:00 Glitch (Quebec) :: Progressive
01:30 Red ELectric Earth ::: Progresive
03:00 G-Pi ::: Minimal
04:30 Uber live! ::: Progressive
06:00 Nismo & Franky-Owl::: Progressive
07:30 Alakazoo ::: Psyprog
09:00 SARA DOPSTAR (Toronto) ::: Progressive
11:00 1,618 live! :: Psytech
Sunday / Dimanche
00:30 ZENKAI ::: Psytrance
02h30 SPOONANI vs ZENTRIX ::: Progressive
04:00 FLICKER LIGHT (Brazil) ::: Progressive
05:30 Efflux ::: Minimal
07:00 Dirty Harry ::: Zenonesque
08:30 Joel Mac Duff ::: Progressive
10:30 AURA live! (Portugal) ::: Psybient
12:00 KHALIL ::: Gypsy PsyDub
02:00 KATNIP (British Columbia) ::: Psybreaks
03:30 NIKOLI (Ottawa) ::: Temple Step
05:00 SOURSWEET live!::: IDM
07:00 LUNECELL djset! ::: Temple Step
09:00 OBSIDIAN (Ottawa) ::: Temple Step
Monday / Lundi
00:00 SPOONANI (Quebec) ::: DnB
01:30 Pranapapa ::: Progressive Dub
03:00 Psyberth djset :: Progressive Dub
04:30 KISSofVenus (USA) ::: Minimalism
06:00 RED ELECTRICH ::: Zenonesque
07:30 Transurfer ::: Progressive
09:00 Sabi Non STop ::: Psydub
10:30 Bendala ::: Psybass
12:00 MAYA EFF ::: PsyBass
END OF THE VORTEX _/\_ AHO
“But if you can love someone with your whole heart – even if he’s a terrible person and even if he doesn’t love you back – life is not a hell, at least, though it might be kind of dark. Is that what you’re saying?” Ayumi asked.
“Exactly.”
“But still,” Ayumi said, “it seems to be that this world has a serious shortage of both logic and kindness.”
“You may be right,” Aomame said. “But it’s too late to trade it in for another one.”
- 1Q84 by Haruki Murakami
Logic Vision Collective & Digital Alchemists present The Ritual: Gathering of the Tribes @ Chutes de Sainte Agathe Lotbiniere, Quebec, Canada August 16-19, 2013
Photos by Kyle Rober
The Ritual: The Xperience 2014:
www.facebook.com/events/415497831904495/
Links:
The Ritual 2013:
www.facebook.com/events/431476333570283
Logic Vision Collective:
www.logicvisioncollective.com/
www.facebook.com/groups/logicvisionrecs
------------------------------------
"How to I anchor these experiences and solidify these changes when I leave the forest?" And that brings me full circle back to my art practice and the question of the art object. Every festival does this for me, but every once in a while there is a festival space that goes so far to the core of my being, that it transcends everything I held to be true, and everything changes for me. This year The Ritual did that for me. '' J.S ((( )))
jodisharp-inprocess.blogspot.ca/2013/09/the-ritual-and-ho...
------------------------------------
The DIGITAL ALCHEMISTS are proud to present:
THE RITUAL: Gathering of the Tribes 2013. Where the paths of Mysticism, Spirituality & Consciousness meet... Let's Bring Back our Sacred Rituals !
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
Every year, a number of festivals are celebrated in the world. These festivals are looked forward to, for many, with a lot of enthusiasm.
Although these festivals, different kinds of rituals are performed (with utmost care), and provide you mystical experiences.
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
PROLOGUE :
Focused around a central element, throughout the gathering, there is a sacred container being collectively created and held, in collaboration with the Native peoples who have honored us with the use of their land.
We believe in the healing potential of intentional gatherings.
We have dedicated our lives for facilitating these opportunities for a collective evolution.
Our mission : to create the perfect transformation into Peace, Unity and Global Respect...
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
4 days Open-Air Festival
International Music acts
International Deco concept
More info coming soon...
Pono Pono
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
Logic Vision Collective est fier de vous présenter :
La Réunion des Tribus 2013
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
Chaque année, un certain nombre de festivals sont célébrés dans le monde. Ces réunions sont organisés avec beaucoup de respect et sont attendus, pour beaucoup, avec enthousiasme. Ils sont exécutés avec un soin extrême pour vous offrir une expérience psychedelique mystique unique.
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
PROLOGUE :
Autour d'un conteneur sacré est centré un élément, créé et collectivement gardé avec les Peuples autochtones, nous ayant honorés de l'usage de leur terre.
Nous croyons aux guérisons et au potentiel des intentions.
Nous consacrons nos vies à faciliter ces réunions, pour l'évolution collective.
Notre mission : créer une transformation parfaite dans la Paix, l'Union et le Respect Global...
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
4 Jours de Festival en Plein-Air
Artistes internationaux
Concept Déco international
Bientôt d'autres nouvelles...
O Pono Pono
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
International Artists:
✔ PSYKOVSKY live! (Osom Music - Russia) - Psychedelia
✔ KASHYYYK live! (Kamino recs - Mexico) - Hitech Psychedelic Trance
✔ INSECTOR live! (Kamino recs - Hungary) - Hitech Psychedelic Trance
✔ ENICHKIN live! (Mind Expension - D-A-R-K recs - Russia) - Psychedelic Trance & Psydub
✔ VENSKER Djset! (Kamino recs - D-A-R-K rec | Mexico) ::: Hitech Psytrance
✔ PRIMORDIAL OOZE live+djset (Anti-shanti recs | D-A-R-K recs- USA) ::: Psytrance
✔ LUNECELL live+djset+Vjset (Occulta recs - USA) ::: Psychedelia
✔ AXIS MUNDI live! (Touch Samadhi - USA) :::: Psychedelic trance
✔ DOG OF TEARS live! (Active Meditation Music - USA) ::: Psychedelic trance
✔ MANIPULATION live! (Kinematic recs - USA)) ::: Psychedelic
✔ BRANDON ADAMS (Bom Shanka Music/Free Radical Recs/SYNC/Dreamcatcher - USA)::: Psychedelic
✔ THE HIPPIE DISCO PROJECT live! (D-A-R-K recs - USA)::: Groovadelic Circuit Bending
✔ RICCO MAZZER (Uroborous recs -Brazil) ::: Darkprog
✔ MISSKEY DJSET! (Arkona Creation - United Kingdom) ::: Psygressive
✔ Z3NKAI Djset! (PSYNON records - Switzerland)::: Psychedelic
✔ HARDKOR NATE live+djset ( Spacecamp Psyfari, Denver USA] ::: Psychedelic Trance
✔ ASCENSION LIVE+DJSET [Chilluminati, Spacecamp Psyfari, Denver USA] ::: Psychedelic Trance
✔ DEFTSPANK live! (D-A-R-K recs - Venezuela)::: Darkpsy
:::::::::::::::::::::::
Local Heros
Live-Acts:
✔ 1,618 live! (Montreal) ::: Progressive Psytrance
✔ ATHERIA live! (Geomagnetic recs - Toronto) ::: Progressive
✔ AURA live! (Aura Music - Montreal) ::: Psydub
✔ DUGONG LIVE ! (FEATURING SPECIAL GUESTS) Tom Lemann & Logan Hollow (BELLYOFTHEWHALECTRONICA inc. - Montreal) ::: Tribal Minimalism
✔ DER DENKER live! (Concepto Hypnotico - Montreal)::: Dark Minimal
✔ Dr STRANGEFUNK live! (Werk It Music - St Jerome) ::: Zenonesque
✔ FLORIAN MSK live! (Concepto Hypnotico - Montreal) ::: Dark Minimal
✔ KLOUD NIN9 live! (Glitchy Tonic - Montreal) ::: ProgDark
✔ SOURSWEET live! (Logic Vision recs - Montreal) ::: Psysufi
✔ SPACEY KOALA live! (Logic Vision recs - Montreal) ::: Psytrance
✔ UBER live! (Indy - Montreal) ::: Progressive
✔ VIRTUAL LIGHT live (Prism Code - Montreal) ::: Psytrance
✔ ZENTRIX live! (Digital Mind recs - Montreal) ::: Zenonesque
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DJsets
✔ ALAKAZOO (Logic Vision - Samsara Festival) ::: Darkprog
✔ ALIEN RAINFOREST (Ajnavision recs- Ottawa) ::: Psydub
✔ AKSHOBHYA (Logic Vision - Montreal) ::: Psytrance
✔ ANIMA vs NTSHANTI (OuI-R1 - Montreal) ::: Psyprog
✔ BANJANKRI (Organic Family - Toronto) ::: Forest Le Pendu
✔ BENDALA (Space Gathering - Montreal)
✔ CODE-AMA (Logic Vision - Montreal) ::: Dark Grooves
✔ DIRTY HARRY (St Jerome) ::: Zenonesque
✔ EFFLUX (Montreal) ::: DMTechno
✔ ELVIRA (Osiris Collective - Montreal) ::: Forest Psytrance
✔ FIELD EQUATION (Montreal) ::: Chillstep
✔ G-PI (Techno Agricole - Montreal) ::: Psyprog
✔ JOEL MCDUFF (OUIR1 - Montreal) ::: Progressive
✔ KHALIL (Speakeasy - Montreal) ::: Electroswing Balkan
✔ KOALUNA (Logic Vision - Montreal) ::: Troglodyte Psytrance
✔ KISS of VENUS (New York) ::: Psychedelic Techno
✔ KRIKKITT (Osiris prods - Montreal) ::: Psydub
✔ MACHINELF (Timewave Productions, Om Reunion Project-Toronto) ::: Progressive Psytrance
✔ MOHINIA (Logic Vision - Montreal) ::: Psytrance
✔ MYTHROPHAN (Toronto) ::: Progressive
✔ MYKUL ELF (Organic Family - ToMontrealronto) ::: Psybass
✔ NAAZ djset (D.A.R.K recs - Montreal) ::: psychedelic trance
✔ NAINITA (Logic Vision - Quebec) ::: Forest Psytrance
✔ NIKOCH (Montreal) ::: Native Tribal Trance
✔ NIKOLI Djset (Outer World Prods, Manifesting Magic festival - Ottawa) ::; Progressive
✔ NISMO (Cyberloft - Montreal) ::: Progressive
✔ OBSIDIAN (Logic Vision - Ottawa) ::: Psydub
✔ OGICHIDA (Organic Family - Toronto) ::: Forest
✔ OTKUN djset (kamino recs - Montreal) ::: Forest Hitech
✔ PLAN B (Shakti Collective - Toronto) ::: Psytrance
✔ PRANAPAPA (Logic Vision - Quebec) ::: Ethno Trance
✔ PSYBERTH (Openmind Festival - Can) ::: Psybass
✔ PYROTRICH (Logic Vision - Montreal) ::: Forest Psytrance
✔ RED ELECTRIC EARTH (Love Project - Montreal) ::: Progressive
✔ RON JON (Logic Vision - Ottawa) ::: Psytrance
✔ SABI NON STOP (Tatanka fest - Montreal) ::: Psydub
✔ SARA DOPSTAR (Kosmic Juice, Toronto) ::: Psyprog
✔ SHANGO (Logic Vision - Quebec) ::: Dakrpsy
✔ SPOONANI (Pounjah - Quebec) ::: Drum & Bass
✔ SYNTHETIK (Prism Code - Montreal) ::: Psytrance
✔ TRANSISCO (Om Project - Toronto) ::: Morning Psy
✔ WARRIORS (Big Tooth - Montreal) ::: Deep BASS
✔ XONICA (Logic Vision rec - Toronto) ::: Psychedelic Trance
✔ YGRIEGA (Sourcecode | OUI R1 - Montreal) ::: Psyprog
✔ ZAGA (Cosmic Juice - Toronto) ::: Progressive
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Deco Artists:
✔ WIZART VISIONS (USA) ::: Decoration
WizArt Visions is a visionary art project of New York based artist Olga Klimova and her team dedicated to creating an intense mind-opening visual environment for events.
www.facebook.com/pages/WizArt-Visions/444814318878170
✔ ORGANIC FAMILY (CAN) ::: DECO
✔ CESAR AR (CAN) ::: Visionnary ARt
✔ MYRKO (CAN) ::: Visionnary ARt
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☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
SERVICES
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- Restaurant végétarien et méditerranéen / Vegetarian and mediterranean restaurant
- Kiosque de jus frais & Tchai / Fresh juice stand & Tchai
- Plage et baignade sur le site / Beach and swimming on the site
- Toilettes / WC
- Camping gratuit / Free camping
- Sécurité professionnelle et amicale sur le site / Professionnal and friendly security on the site.
REGLEMENT / REGULATION
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- Respectez l’environnement / Respect the environment
- Aucun objet en verre sur le site / No glass on the site
- Les feux sont interdits / Fires are forbidden
- Baignade interdite la nuit / No swimming at night
- Aucun animal domestique sur le site / Pets are not allowed on the site
- Aucun système de son indépendant ne sera toléré sur le site / Independant sound systems will be not tolerated on the site.
MERCI DE BIEN VOULOIR RESPECTER CES REGLES ! ...
THANK YOU FOR RESPECTING THOSE RULES ! ...
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
The INDIAN MARKET !
The Ritual Festival will offer a wide assortment of food/drink, crafts, and other vendors throughout the Festival site.
Le RItuel Festival vous offrira un assortiment très large de restaurants ainsi qu'une variété de kiosques nous proposants des produits d'ici et d'ailleurs
please email us at: theritual.festival@gmail.com
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
。ॐ。*。ॐ。
ॐ。＼｜／。ॐ
--- PEACE ---
ॐ。／｜＼。ॐ
。ॐ。*。ॐ
With open minds and adventurous souls, there will always be sounds to move to and beats to feel.
We hope you are as excited as we are !
Avec l'esprit ouvert et aventureux, il y aura toujours des rythmes pour vous faire bouger et des musiques à ressentir.
Nous espérons que vous êtes aussi enthousiasmés que nous le sommes !
Info Contact : theritual.festival@gmail.com
COLLABORATORS & SPONSORS
Digital-Audio-Records-Kompany
Cybeloft
Kamino records
Tantruum recs
MAIA Brazil records
Osom records
Glitchy Tonic records
Organic FamilyThe DIgital ALchemists
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Timetables
Galactic Portal:
Vendredi / Friday
18:00 XONICA ::: OPENING Ceremony
19:00 Krikkitt djset :: Psychedelic
20:30 Pyrotrich djset ::: Forest Psychedelic Trance
22:00 Mohinia djset ::: Psychedelic
23:30 Shango & Nainita ::: Forest Psy
Samedi / Saturday
01:00 CAUSAI (Vancouver) ::: Psytrance
02:30 PREGAKORE (Portugal) ::: Psychedelic
04:00 VENSKER Djset! (USA) ::: Psychedelic
05:30 AXIS MUNDI live! (USA) ::: Psychedelic
07:00 Virtual Light djset ::: Morning Psy
08:30 HIPPIE DISCO live ! (USA) ::: Morning FUnky
10:00 SPACEY KOALA live :::Funky Psytrance
11:00 MISSKEY djset! (UK) ::: Progressive Trance
12:30 ATHERIA live ! (Toronto) ::: Psytrance
01:30 Dr Strangefunk live! ::: Zenonesque
02:30 Zentrix live!::: Zenonesque
03:30 Ygriega ::: Progressive Trance
05:00 KLOUD Nin9 live! ::: darkprog OTEZUKA (France) :::: Progressive
06:00 RICCO MAZZER live! (Brazil) ::: Zenonesque
07:30 FRACTAL PHONO (USA) ::: Zenonesque
09:00 LUNECELL live! (USA) ::: Psychedelic
10:30 Otkun (Montreal) ::: Psychedelic Moon
Dimanche / Sunday
00:00 KASHYYYK live! (MEXICO) ::: Hitech
03:00 INSECTOR live! (HUNGARY) ::: Hitech
06:00 PRIMORDIAL OOZE live!(USA) ::: Psychedelic
08:30 BRANDON ADAMS (USA) :: Full Power
10:00 MANIPULATION live (USA) ::: Morning
11:30 HARDKOR NATE djset (USA) ::: Psytrance
13:00 ASCENTION liveset (USA) ::: Psytrance
14:00 A.C. LYON live! (USA) ::: Psychedelic
15:30 Dugong live! ::: Dark Tribal Minimalism
17:00 Florian live! ::: Dark Minimal
18:00 Der Denker ::: Dark Minimal
20:00 Anima vs Nt Shanti ::: Psygressive
21:30 Akshobhya ::: Psychedelic
23:00 Plan B ::: Psychedelic
Lundi / Monday
00:30 DEFTSPANK live (Venezuela) ::: Psychedelic
01:30 Ogichida vs Banjankari::: Forest Psytrance
03:00 PSYKOVSKY live ! (Russia)::: Psychedelic
07:30 DOG OF TEARS live! (USA) ::: Psychedelic
09:30 NAAZ ::: Psychedelic
11:00 CODE-AMA ::: Psychedelic
12:30 RONJON ::: Psychedelic
14:00 OTEZUKA ::: Psyprog
16:00 The DIGITAL ALCHEMISTS ::: CLOSING
Dream Catcher Portal
Friday / Vendredi:
08:00 Zaga (Toronto) ::: Dark Minimal
10:00 MAJESTER (British COlumbia) ::
Saturday / Samedi:
00:00 Elvira ::: Hitech
01:30 Koaluna ::: forestpsy
03:00 Play Different live! (Toronto) ::: Psytrance
04:30 Synthetik ::: psytrance
06:00 MACHINE ELF (Toronto) ::: Psy trance
08:00 MYTHROPHAN (Toronto) ::: Progressive Trance
10:00 TRANCISCO (Toronto) ::: Progressive Psytrance
12:00 Glitch (Quebec) :: Progressive
01:30 Red ELectric Earth ::: Progresive
03:00 G-Pi ::: Minimal
04:30 Uber live! ::: Progressive
06:00 Nismo & Franky-Owl::: Progressive
07:30 Alakazoo ::: Psyprog
09:00 SARA DOPSTAR (Toronto) ::: Progressive
11:00 1,618 live! :: Psytech
Sunday / Dimanche
00:30 ZENKAI ::: Psytrance
02h30 SPOONANI vs ZENTRIX ::: Progressive
04:00 FLICKER LIGHT (Brazil) ::: Progressive
05:30 Efflux ::: Minimal
07:00 Dirty Harry ::: Zenonesque
08:30 Joel Mac Duff ::: Progressive
10:30 AURA live! (Portugal) ::: Psybient
12:00 KHALIL ::: Gypsy PsyDub
02:00 KATNIP (British Columbia) ::: Psybreaks
03:30 NIKOLI (Ottawa) ::: Temple Step
05:00 SOURSWEET live!::: IDM
07:00 LUNECELL djset! ::: Temple Step
09:00 OBSIDIAN (Ottawa) ::: Temple Step
Monday / Lundi
00:00 SPOONANI (Quebec) ::: DnB
01:30 Pranapapa ::: Progressive Dub
03:00 Psyberth djset :: Progressive Dub
04:30 KISSofVenus (USA) ::: Minimalism
06:00 RED ELECTRICH ::: Zenonesque
07:30 Transurfer ::: Progressive
09:00 Sabi Non STop ::: Psydub
10:30 Bendala ::: Psybass
12:00 MAYA EFF ::: PsyBass
END OF THE VORTEX _/\_ AHO
Because if he closes his eyes I can't see him. Actually, with his ears back I imagine he just isn't a happy camper.
The tigers were out in the sun the last time I visited the the Bio Park so I hung around the enclosure and snapped what I hope is a decent series of shots.
If you don't like tigers...just pretend they are snowy owls :)))
Thank you for your comments and faves – they are greatly appreciated!
Select photos from my Flickr stream are available for purchase as prints or personal download at [www.winterfirephotographicarts.com].
Palazzo Trinci at Foligno (Umbria) contains many beautiful frescoes, painted between 1411 and 1412 by Gentile da Fabriano, with the assistance of Jacopo Bellini and many pupils. The best of medieval culture is represented. The frescoes relate to the style of Ottaviano Nelli, who painted the chapel of Palazzo Trinci in 1424.
More of Palazzo Trinci at
johanphoto.blogspot.nl/2013/07/de-schatten-van-palazzo-tr...
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
Analizando las distintas temáticas de una obra que se ha compuesto de una serie de colecciones que se irán defiendo en las próximas semanas
Temáticas
Desde los primeros cuadros, que el pintor define como “primitivos” (1948 a 1964), aparece una lógica evolución de la primera acuarela de 1948 a la actualidad, tanto en la evolución de la propia pintura, materiales utilizados e ideas llevadas a cabo, destacando el papel arroz, la serigrafía o la investigación en los murales realizados en los exteriores e iglesias de Bilbao a Vitoria. De esta manera, a lo largo del siguiente Post, enumeramos una serie de contenidos que nos acercan al resumen y síntesis de un artista especializado en todo lo que ha tocado y llevado a cabo. Premio Nacional de Pintura en 1958, la Exposición de Bilbao, en la Sala Arthogar (noviembre de 1960), fue el paso a una serie de eventos que lograron centrar la atención de los medios de comunicación en un artista que dejó una serie de claves de su arte. De aquella época y etapa, por medio de las lecciones en la Escuela Cervantes y al lado de José de Lorenzo Solís, junto a otros coetáneos como José María Cundín, Ergüin enseñaba bodegones, paisajes de exterior, primeros retratos y una voluntad en la descripción del País Vasco, su estudio de la Calle María Muñoz, o bien, aquellas impresiones de los viajes realizados a Castro Urdiales, Castilla y, en especial, a Cuenca y Toledo, sin dejar de lado los campos de la meseta, que calificó de “mares sin agua”, por su luz, llanura, extensiones y cambios de temperatura.
Buscando la facilidad en el proyecto, después del análisis de más de 30.000 fotografías, 3.000 documentos personales y la realización de una serie de listas que analizan las diapositivas del pasado, los vídeos de la actualidad y la configuración de un dossier de prensa, nos encontramos con la puesta en marcha de una recopilación de toda la obra (inventario) y la posibilidad de poner los puntos sobre las “íes” a todos los procesos, como la opción de destacar las temáticas de una carrera profesional que se inició en 1948, se consolida en 1958 y consigue llegar a la crítica, público y medios de comunicación en los primeros eventos de 1960 hasta 2013.
Iñaki García Ergüin se especializó, personalizó y profesionalizó en la realización de paisajes exteriores (Castro Urdiales, Toledo, País Vasco, Cuenca, Lanzarote, etc), retratos por encargo (personalidades, desconocidos, etc), o bien en los siguientes temas:
-Toros:
La plaza de toros, su ambiente, las fincas dedicadas a la crianza de los toros bravos, la pasión en un arte y espectáculo, así como la posibilidad de conocer a los toreros, la tauromaquia desde dentro, y las relaciones consolidadas con el tiempo lograron la atención del pintor, que ha sentido admiración por la fiesta, sus elementos y sus tertulias, como las distintas apariciones en el Club Cocherito de Bilbao, Café Lepanto o el Café Metrópoli. Además, las figuras de Pedro Gutiérrez Moya (El Niño de la Capea), Francisco Camino Sánchez (Paco Camino), Juan Antonio Ruiz (Espartaco) o Manuel Benítez “El Cordobés” han sido personalidades que han motivado a Ergüin en la elaboración de algunos cuadros con respecto al mundo del toreo.
Quizás, como explica, “el día que conocí a Marcial Lalanda me di cuenta de lo duro que es un arte que forma parte de un espectáculo arriesgado”. En palabras de Ernest Miller Hemingway, “Lalanda puede enfrentarse con cualquier toro y con todos ellos puede hacer un trabajo hábil y sincero. Como torero completo y científico es el mejor que hay en España, es el maestro indiscutible de la lidia actual” (Muerte en la tarde, 23 de septiembre de 1932).
Asimismo, por medio de la amistad que Ergüin mantuvo con Alejandro Cabrera, conocido como “El Niño de la Prensa” y personaje célebre de la ciudad de Bilbao en los ochenta y noventa, Alejandro formó parte de un cuadro llevado a cabo en 1981 y que llevó el título de “Alejandro torero”. Las conversaciones sobre toros, toreros y la fiesta en general fueron muy bien consideradas, debido a los conocimientos de Cabrera en este terreno en los distintos foros.
Para más información:
www.garciaerguin.es/anoro-la-tradicion-seria-en-la-plaza-...
www.aplausos.es/noticia/12309/Eventos/Bilbao-muestra-las-...
www.plazatorosbilbao.com/carteles-toros-bilbao.asp
-Ópera Carmen:
Un proyecto que se dividió en dos. En un primer lugar, la creación de los escenarios, telas y composiciones para ambientar los distintos actos, consolidaron a Ergüin como un artista que supo pintar una ópera con detalles llamativos, estilo propio y con el respaldo de la crítica, que tuvo buenas palabras ante un proyecto que nació a principios de los noventa y consiguió hacerse un hueco en la cartelera de Sevilla, Bilbao y Génova.
De esta experiencia apareció un libro titulado Carmen, ritmo y color en la pintura de García Ergüin (José E. Perallón), que consiguió describir los procesos a la hora de pintar algunas de las composiciones que aparecieron en el musical, y nos sirvió para tener un repaso de la biografía de Ergüin y algunas anotaciones finales sobre su obra dedicada al Jazz, Cielos, Playas y paisajes de exterior, que nos aproximaron a conocer la evolución en parte de su arte.
Por otra parte, de los cuadros relacionados con la Ópera Carmen, en 1992 se expusieron en Madrid, aunque Ergüin, con el paso de los años, ha trabajado en escenas del propio musical, analizando cada pasaje y desarrollando una colección privada en la que el colorido, expresionismo de la obra y el sentido de Carmen y don José nos acerca a la propia realidad de los textos de Mérimée.
Para más información:
www.garciaerguin.es/de-ese-libro/
-La Boheme y Manon:
En el ámbito de las óperas, Ergüin mostró un interés por los decorados, los dibujos, bocetos para cada acto y escena, participación en los procesos y destacando sus cualidades para dar a conocer una serie de obras que han acompañado otros proyectos que han tenido una representación en los principales teatros.
La buhardilla, la escenografía completa, las coristas y los propios moros con sus caras alargadas hacen que pasemos a la obra de Manon, que recoge ejemplos y ejemplos de otra de las piezas en la que el pintor se sintió “realizado y recompensado por el esfuerzo”. De esta manera, es obligada la cita de los cuadros que recogen el Hotel Transylvanie, Course Lareine, Hostelería de Amiens, El Havre o San Sulpicio realizados en 1997.
Para más información:
www.flickr.com/photos/garciaerguin/sets/
-Toledo:
Desde los primeros viajes realizados a la capital de la cultura en 1952, 1955 y hasta 2012, Ergüin ha sentido una plena admiración por la ciudad de Toledo, su arte, historia y las distintas panorámicas, paisajes y posibilidades de una localidad que cuenta con un importante patrimonio cultural, social y donde cada calle, paseo y edificio cuenta con un pasado.
Garcilaso de la Vega, El Greco o Miguel de Cervantes Saavedra son figuras que nacieron, residieron y murieron (El Greco), o bien, se basaron en su contexto para situar una historia, unos personajes o narraciones de una interesante calidad literaria.
Ergüin buscó Toledo a lo largo de las fases del día hasta la noche (1972), la descripción de los distintos edificios (Catedral, El Alcázar, Puente de San Martín, etc) y la profundidad de sus perspectivas desde la lejanía, con el objeto de jugar con los colores, tonalidades y elementos y materiales. El 12 de enero de 2012 se realizó en la Galería de Lumbreras una exposición que llevó el título de Toledo y que resumió los cincuenta años de trayectoria profesional del pintor.
Es muy probable, aunque está todavía por confirmar, que se pueda repetir la experiencia, pero en la propia ciudad de Toledo.
Para más información:
www.garciaerguin.es/hablamos-de-toledo/
galerialumbreras.com/exposiciones/inaki-garcia-erguin-2/
infoenpunto.com/not/5653/inaki_garcia_erguin_celebra_en_l...
www.elcorreo.com/vizcaya/v/20120112/cultura/regreso-maest...
-Castilla:
Tierra de Campos es una colección que recoge los paisajes de la meseta, de Castilla La Vieja (Burgos, Soria, Segovia, Ávila, Valladolid y Palencia, aunque en 1833 aparecieron Logroño y Santander), y Castilla La Nueva (Ciudad Real, Cuenca, Guadalajara, Madrid y Toledo), sin dejar de lado aquellos viajes realizados por Iñaki García Ergüin a Salamanca, para descubrir las fincas, su frío, el pasto de los toros y conseguir una serie de obras de gran calidad por medio del contraste de la luz, según la estación del año.
Los colores, la descripción de las iglesias, pueblos, personas, ciudadanos, campos y las explanadas fueron refugio de un artista que encontró la quietud, silencio y reflexión en unos paisajes que “eran como el mar, pero sin agua”. La investigación desde 1960 en adelante logró que Ergüin se consolidase como un experto en los campos de Castilla, por medio de un interés manifiesto y la admiración que sintió al encontrar nuevos argumentos y referencias para su pintura.
-Etapa religiosa:
El retablo de la Iglesia de San Antón de Bilbao (2003), La Cena del Señor (Parroquia de San Vicente Mártir de Abando – 2008) y El Pórtico de Gracia (Parroquia de San Vicente Mártir de Abando – 2010) son algunas de las obras más importantes en la etapa religiosa de Iñaki García Ergüin, el cual manifiesta que “asumí el reto como parte de un proyecto de gran envergadura”.
En el caso de la Iglesia de San Antón, el Retablo Mayor es un conjunto sin mazonería que consta de doce elementos: siete pinturas realizadas por el artista bilbaíno contemporáneo Iñaki García Ergüin e, intercaladas entre ellas, cinco motivos escultóricos, a saber: en la predela, dos relieves representando el Lavatorio de los Pies y la Última Cena; en el cuerpo intermedio, dos bultos redondos de San Pedro y San Pablo; y en el lugar del ático, un Cristo crucificado.
Los dos bultos y los dos relieves formaban parte de un desaparecido retablo romanista correspondiente a los últimos años siglo XVI, ejecutado por Esteban de Velasco según trazas de Martín Ruiz de Zubiate. El Cristo es una talla anterior, de la primera fase del renacimiento español. Inmediata al presbiterio, junto a la puerta de entrada, se dispone una talla en madera policromada de San Antón, gótica del siglo XV. Con respecto a La Cena del Señor, el 24 de octubre de 2008 se estrenó el Mural la “Cena del Señor” del pintor Ignacio García Ergüin en la Parroquia San Mártir de Abando (Bilbao).
El colorido, la complejidad de la escena y el mensaje de las distintas tablas supusieron un estudio pormenorizado del tema, argumento y mensaje por parte del pintor. Asimismo, en el año 2010, se realizó el Pórtico de Gracia que es la descripción de la Gracia de Dios, uno de los momentos más importantes en la religión católica, que se muestra en una manifestación que Ergüin desarrolló y describió en forma de tríptico.
Para más información:
www.flickr.com/photos/garciaerguin/sets/72157631785094961/
www.flickr.com/photos/garciaerguin/sets/72157630080044758/
www.flickr.com/photos/garciaerguin/sets/72157630017706325/
-Jazz:
Un estilo, un movimiento, un dinamismo en el escenario, una sucesión de melodías, armonías y destellos de la Preservation Hall Jazz Band, que es un conjunto que nació a principios de los sesenta en New Orleans, Louisiana, y que tienen por objetivo recuperar el estilo del auténtico Jazz de la zona, dar la oportunidad a nuevos músicos para la interpretación de las canciones y dar conciertos por todo el mundo. A mediados de los sesenta, Ergüin conoció la realidad del Barrio Francés de Nueva Orleans, vivió allí, consiguió exponer y personalizó su pintura hacia el nuevo descubrimiento del Jazz, que fue una sonora influencia por las atmósferas, naturaleza del propio estilo musical y espectáculo generado por los músicos, que fueron más que un divertimento verlos en directo.
De la etapa dedicada al Jazz, han aparecido multitud de cuadros, referencias y trabajos que aparecen en un lugar importante en la vida de Ergüin, así como en el Bar Grill del Hotel Carlton, que recoge dos obras de una colección que ha levantado excelentes críticas para el pintor. La Exposición Preservation Hall Jazz Band, bajo el título de Pinturas negras, tuvo un recorrido a mediados de los 90 por toda España, en especial por Vitoria y Madrid. De la misma manera, en 1980, en la Sala de Exposiciones Brosolí (Barcelona), se llevó a cabo un evento para recoger las mejores obras expuestas con respecto a esta temática.
Para más información:
hemeroteca.lavanguardia.com/preview/1980/11/15/pagina-30/...
www.flickr.com/photos/garciaerguin/sets/72157630668763872/
www.flickr.com/photos/garciaerguin/sets/72157630509735680/
-Playas:
Las Playas es una colección que ha tenido tres lugares y espacios que han posibilitado la creación de una sucesión de cuadros con respecto a un tema que recoge la tranquilidad, quietud, perspectiva, dimensión y paz desde Hendaya hasta Corralejo (Fuerteventura), pasando por Playa Blanca (Lanzarote) y las distintas playas que conoció por primera vez en 1976.
Pueblo Marinero (Teguise), Playa Blanca, Yaiza o la Playa Papagayo son localidades, lugares y sitios en los que Ergüin siguió creando y apostando por una temática en la que la luz, los colores, la aparición de pequeños elementos decorativos han acercado sus playas a países como Estados Unidos, Méjico o las distintas exposiciones que se realizaron en España. La Galería Arte y Proyección de Méjico fue una de las salas que recuerda el pintor cuando mira la vista atrás y analiza, paso a paso y de forma cronológica, su proyección internacional, que le llevó a Estados Unidos, de nuevo, a principios de los 90.
Para más información:
www.flickr.com/photos/garciaerguin/sets/72157631194310554/
www.flickr.com/photos/garciaerguin/sets/72157631178725480/
www.garciaerguin.es/del-inicio-a-la-madurez/
www.garciaerguin.es/lanzarote/
-Cielos:
El contraste perfecto entre los campos de Castilla y las playas de Hendaya, Lanzarote y Fuerteventura, así como una continuidad entre la tierra y el cielo, los amaneceres, atardeceres y anocheceres que son propios de la fase del día. La desaparición del sol, la aparición de la luna, un cielo con nubes, la claridad entre las nubes o la luminosidad de cada cielo en función de donde se ha realizado el cuadro son representaciones y escenas de la propia colección.
En obra grande (medidas), nos encontramos con una serie de representaciones de una etapa que cautivó a la crítica a mediados de los noventa, después del éxito de la Ópera Carmen, la participación en los telones y escenarios de La Boheme, así como los recuerdos de otros retratos ejecutados en la ciudad de Bilbao.
Para más información:
www.flickr.com/photos/garciaerguin/sets/72157632319427465/
www.flickr.com/photos/garciaerguin/sets/72157632165713355/
-Lonja de Bermeo:
Sus gentes, la cofradía, los barcos, el puerto, el cielo, la salida de un pesquero y la fiesta en sí, su ambiente y los retratos de los ciudadanos de una localidad que llamó la atención del pintor por su fuerza, el uso del negro y la planificación de una obra más grande de lo habitual a finales de los setenta, aunque los primeros esbozos datan de la década de los sesenta y las primeras exposiciones en las que participó en Bermeo.
Tierra de pescadores, tratamiento del pescado, pesqueros pequeños y mundo de lonja, el pintor hace un significativo repaso a una singular localidad que, con el paso de los años, ha evolucionado su mercado, puerto y barcos.
Para más información:
www.youtube.com/watch?v=fG2guK77-t0
-Athletic Club de Bilbao:
Amante del deporte en general, pero en especial del fútbol, boxeo y de los deportes vascos, García Ergüin recibió un encargo del Athletic Club de Bilbao para la realización de una serie de murales sobre el club, los jugadores y el significado del fútbol a mediados de los setenta. Ese proyecto, que con el paso del tiempo se convirtió en la primera piedra de una colaboración que se ha consolidado en el tiempo, logró la realización de una serie de murales y cuadros sobre el equipo, los valores y cultura en general, así como una significativa colección que recoge una serie de acciones de los propios partidos a los que asistió junto a los jugadores.
La alegría en la consecución de un gol, la parada de un portero, un cabezazo en el área rival o la creación del logotipo del centenario del Athletic Club de Bilbao en 1998 han formado parte de un arte consolidado, respetado y querido por la ciudad, afición, peñas y directivos del equipo.
Para más información:
www.flickr.com/photos/garciaerguin/sets/72157630841531714/
-Deporte vasco:
Jai Alai (punta de cesta), Harrijasoketa (levantamiento de piedras) o Sokamuturra (toro ensogado) son algunas obras de un estilo, tema y colección que tuvo su apogeo a mediados de los setenta, debido a la acción descrita, uso del negro y movimiento de los propios cuadros, en los que aparecen varios jugadores.
Jai Alai (punta de cesta) y otros títulos introducen al testigo y visitante en un escenario que es extraordinario, no sólo por su antigüedad, sino por la propia forma en la que se juega a este deporte. En la cesta-punta, se agarra la pelota con la cesta, se toma impulso y se lanza hacia el frontón. El peso de ésta oscila entre los 200 y 600 gramos, siendo su longitud de 62 cm para los delanteros y 68 cm los zagueros. La cesta se fabrica con madera de castaño, tejida de mimbre, no obstante en la actualidad se utilizan materiales sintéticos.
La forma de la cesta curva, cóncava, alargada y estrecha es al parecer una modificación de la antigua chistera. Encaja en la mano a modo de guante (atándola con una cuerda) y va provista de una bolsa que ayuda a retener la pelota, según las informaciones consultadas.
De origen vasco, jugado en frontones, generalmente entre 54 a 60 m. La principal característica de la cesta es la de lanzar la pelota con mayor fuerza y eficacia después de recogerla y dejarla deslizar hasta su extremo, desde donde saldrá despedida contra el frontón, intentando hacer “tanto” para conseguir el mayor número de puntos. La modalidad habitual es el juego por parejas, siendo los países más especializados Francia, España, México, Filipinas y Estados Unidos.
En este sentido, García Ergüin se atrevió con el Harrijasoketa, es decir, el levantamiento de piedras propio del deporte rural vasco y que se practica en los territorios tradicionales, en el que los dos jugadores compiten por levantar un número superior de veces piedras de diferentes formas, dimensiones y pesos determinados. Uno de los harrijasotzaile campeón más célebre es Iñaki Perurena quien en 1999 alcanzó el récord de 1000 levantamientos continuos de una piedra de 100 kg en 5 h, 4 minutos y 46 segundos. Fue el primer levantador que alzó piedras de 300 o más kg, llegando en 1994 a 320 kg. Mikel Saralegi, de Leiza como Iñaki, ostenta el récord actual (329 kg), obtenido en 2001.
Para más información:
www.garciaerguin.es/deporte-vasco/
-Expresionismo:
El expresionismo es una corriente artística y movimiento cultural que surgió en Alemania a principios del siglo XX y que transformó la realidad para expresar de forma más subjetiva la naturaleza y al ser humano, dando primacía a la plasmación de los sentimientos más que a la descripción objetiva de la realidad. El viaje realizado a la ciudad de Múnich en 1963, por medio de una beca concedida por Iberduero, transformó el concepto de la pintura en García Ergüin, que aprovechó para avanzar en su evolución, adaptar aquello que le gustaba y lograr evocar un mensaje más social en sus propios cuadros, aunque respetando el origen, su interpretación de la realidad y logrando un mensaje, como apareció en determinadas críticas artísticas de finales de los sesenta.
El expresionismo, como movimiento, tendencia, corriente y forma de expresión, amplió los conocimientos del pintor en la elaboración de paisajes, narrar la Fiesta Vasca de Hendaya 1900, los trajes de época o los paisajes de la propia ciudad de Bilbao, con la incorporación de nuevos colores y el tratamiento de la luz.
-Espacios:
En el año 2000, después de haber realizado el proyecto del logotipo para la celebración del centenario del Athletic Club de Bilbao, el pintor desea plasmar nuevos proyectos creativos por medio del uso del color en la colección Espacios, que deja al interesado y público la opción de interpretar de forma libre una sucesión de imágenes, en las que nos encontramos con una línea que divide cada cuadro en función del uso de un color.
Rojo, amarillo, negro, blanco o naranja se dan cita en una obra que es actual, innovadora y sedujo a la crítica por su originalidad, y supone un paso más en la evolución de la pintura de García Ergüin.
Para más información:
www.flickr.com/photos/garciaerguin/sets/72157630764123022/
-Obra sobre papel arroz:
El papel arroz, descrito como “una buena piel”, logró que el pintor se fijase en otros materiales al margen del óleo para poder crear nuevos proyectos y definir una serie de colecciones en un soporte delicado, pero con buenas sensaciones desde el punto de vista visual, y que ha sido empleado para algunas de sus colecciones más prestigiosas (Toledo, Lanzarote, etc).
-Retratos:
El análisis e interpretación son dos factores esenciales en el arte del retrato. Desde los miembros de la familia, personalidades del mundo de la política, empresarios, futbolistas, desconocidos, amigos, otros pintores y músicos, Ergüin ha recurrido al retrato, al desafío de captar el mensaje de una cara y de la figura de la propia esencia del ser humano, en una colección que se inició a mediados de los cincuenta del siglo XX.
Para más información:
www.flickr.com/photos/garciaerguin/sets/72157632238216006/
Fuente de información:
-Archivos de Iñaki García Ergüin.
-Medios de comunicación.
Para más información
Ignacio García Ergüin
Web: www.garciaerguin.es
Facebook: facebook.com/garciaerguin
Twitter: twitter.com/garciaerguin
Flickr: flickr.com/photos/garciaerguin
YouTube: youtube.com/inakigarciaerguin
Google Plus: plus.google.com/108846756574271829051
I was playing with my stereo microscope, and figured I'd look at the surface of my Saleae Logic. It looks like an anodized aluminum case that's been laser engraved. Here you can see the rather crinkly texture of the anodized aluminum, then you can see the little dots they burned into the surface to create the Logic logo. Each dot made a tiny crater in the surface.
(Sorry for the slightly blurry photo- it's much clearer in person, but I don't really have a good way to take clear photos through the lens of the microscope yet.)
Had noticed that the low beam on drivers side was just about to to give up the ghost.
So today I drove down to the local auto shop to buy a replacement globe.
Instructions on how to remove globe.
Buy 9 inch angle grinder and two cut off discs. Mark line from just under windshield to back of wheel-arch. Across bonnet to centre, then straight down to grill and continue through front engine mount. Remove offending obstacles
Replace bulb!
What was the design engineer thinking, five years at university wasted!
Two wiring harnesses, one fuse box and a bloody engine coolant stork in the way. One screw on water tight cap. One metal clip to hold globe in place, and wiring connection to remove.
A pair of glasses that don't let the wearer focus closer than 20 foot away, kept falling of the head as I was doubled over. Two bloody great big mits that could not hold on to the items and then perform the tasks to remove them.
By now you get the picture that this was not a five minute job!
Got the globe connected to the wiring connection. Thought I would try first to see if the globe works before trying to install everything.
By the time I walked from the drivers door to front of car. A inferno had erupted and I could hear distant sirens from approaching fire engines.
The globe had come to rest against a plastic sheath protecting wiring. I tried to get to the globe to remove it. Third degree burns to two fingers! Managed to grab hold of it by only place one could touch it. Ok .... now how do I turn the lights off. Just as well I'm a old fashioned guy that still carries a cotton handkerchief. Placed item between globe and plastic components ...... ran like hell to turn lights off before rest of car burns.
This globe is so powerful that one could cook a baked dinner for a party of six in under four minutes.
Had 80 thousand people queued behind me thinking they were entering a stadium to watch a night game of football.
Scientists were pointing their telescopes in my direction thinking a new star had been born.
It would have been quicker to trade the car in and buy a new one!
GC1H7FQ
The Taos Hum & The Oklahoma Connection
I knew it was too good to be true, I knew it was only a matter of time before they had found out that I was on to them, the insideous secret that I had discovered a while back. The signs were there and I took heed, those tricky government agents weren't going to get the step on me. They found my device and disposed of it but because I have the knowledge, the facts and figures trapped in my cortex of logic, they cannot cover it up as long as I am alive and I get the word out. So I went into hiding, deep and deeper into the realm of non existance, disappearing inside myself, seeking the inner sanctuary of Area 51 LabWerx and built a new device, one more muggleflaged than the last one. And as I was working on it, I have found new material that now associates this structure with ELF and the infamous Taos hum! Oh yes, the plot on this structure thickens. Read on my friends, read on.
Since 1991, people in the Taos, New Mexico area have reported hearing an annoying, low-frequency hum, the cause of which has yet to be identified. Recent reports suggest that the Hum is not merely localized to Taos, but may be a nationwide, or perhaps even worldwide, problem. Some investigators suspect the Hum may be caused by the Extremely Low Frequency (ELF) submarine communications system. The frequency of the Hum seems to be between 33 and 80 Hertz, while the USA's ELF system is believed to operate at frequencies around 76 Hertz.
The US Navy first conducted experiments on ELF wave propagation and environmental effects in 1969, using two antennas each 14 miles long located at Clam Lake, Wisconsin. Experiments with this facility continued until 1976, when when actual ELF communications with submarines were demonstrated. Shortly thereafter, the Navy made plans for an operational ELF communications system using buried antennas so as to be hardened against nuclear attack. This system, code-named Sanguine, was cancelled after studies determined that the system would be vulnerable to nuclear attack. Despite the cancellation of Sanguine, the Navy began development of an above-ground ELF system using antennas 28 miles long, also located at Clam Lake. This system, code-named Seafarer, was opposed by environmental groups and residents of the area concerned about possible adverse health effects of ELF radiation.
President Carter cancelled Seafarer in 1978, but the program was revived by President Reagan in 1981. The revived ELF system employs antennas 56 miles long on the upper penninsula of Michigan, in addition to the 28 mile long antennas in Wisconsin. Each antenna is powered with a 660 kilowatt transmitter. This system became operational in 1987. The ELF communications system used by the United States uses two frequency bands, 40 to 50 Hertz, and 70 to 80 Hertz. The principle operating frequency is thought to be 76 Hertz, which seems to be one of the frequencies associated with the Taos Hum.
The Commonwealth of Independent States is believed to be maintaining the ELF communications system used by the former Soviet Union. The Soviet system was probably in operation as early as the 1970s, and used two transmitters at Riga and Gomel. The Soviet system broadcast at 8 Hertz, and perhaps other frequencies as well. In addition to the USA and the CIS, there is a British ELF site in the Glen Cally Forest in Scotland, and a French system sited at Roshay. Both the British and French systems were due to be operational prior to 1990.
As mentioned above, the ELF transmitting facilities in Wisconsin were opposed by residents and environmental groups. A number of studies of possible health and environmental effects were supported by the Navy, and there was an exhaustive review of ELF-related research by the National Academy of Sciences in 1976.The National Academy of Sciences review looked at studies of the effects of ELF on genetics, reproduction, cell growth and division, circadian rhythms, electro-sensitive fish, insect behavior, bird migration, effects on plants, soil organisms, and effects on neurophysiology and behavior of mammals. Apparently, though, nobody thought to study the simpler question of whether anyone could HEAR a hum from the ELF fields.
Despite a few studies that suggested that ELF fields do cause some measurable biological effects, the NAS review panel concluded that the ELF communications system was unlikely to cause any health or environmental problems. Curiously, the studies on mammalian neurophysiology that were reviewed by the NAS panel did contain some evidence that brain nerve cells could be effected by ELF fields. In fact, it was assumed that ELF fields could stimulate electrical activity in the brain, but it was also assumed that these effects shouldn't be noticable because they would be far smaller than the normal electrical activity in the brain. Despite these assumptions, there was, in fact, some evidence that changes in brain nerve cell response could occur even from very weak electrical influences, much weaker than the normal nerve impulses.
The NAS panel concluded based on extrapolation rather than direct evidence, that neurophysical and neurochemical effects would only occur for electric and magnetic field strengths much higher than those expected to be induced by the ELF system.The National Academy of Sciences review seemed, at least at the time, nearly 20 years ago, to give the ELF communications system a clean bill of health. It's not known whether any follow-up studies have been done since the ELF communications system became operational.Since the frequency used by the ELF communications system, around 75 Hertz, is within the range reported for the Taos Hum, the ELF system seems a natural suspect as the cause of the hum. However, it is not known why the Hum was not detected until 1991 if the ELF communications system went into operation in 1987. If there was a direct cause and effect relationship, one would expect that the Hum would have been noticed several years earlier. Furthermore, the Hum is reported to have frequency components ranging from 17 to 32 Hertz and higher, yet these are not frequencies in use for the ELF communications system. Even if the 76 Hertz ELF system were contributing to the Hum, the other frequency components would need to be explained. Perhaps the 76 Hertz frequency match is coincidental. Obviously, further investigation is needed to identify the cause of the Taos Hum.
Yes another easy Park and Grab for those like minded cachers looking for something without involving the more exotic animals of Oklahoma, the flora of Oklahoma and the insanity of Darkmoon. Just a simple log only Darkmoon Creation which you will need to bring your own writing stick. Oh yeah, there is a government base hidden under the asphalt here that links up to Tinker Air Force Base (which houses a crew of Navy Personnel, think I am crazy now?)so don't dally to much in the area. Or you might be followed by the guys in the unmarked vans like I am. Oh yes, good ole government conspiracies are alive and doing well in Oklahoma. And when I put my ear to the steel structures, I could almost make out this humming noise that sounded like...Cause it's one, two, three strikes You're out At the old ball game. Does that make any sense to you all? Good luck and have fun!
A good panoramic view of China’s recent development and its current rejection of the democracy model for its own governance, by former Singapore ambassador to the UN, Kishore Mahbubani:
Columbia Professor Jeffrey Sachs on the Covid vaccines, New World Order, global leadership and multilateralism:
Former U.S. Ambassador Max Baucus on Speaker Nancy Pelosi's Taiwan trip:
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The Foreign Affairs article below is typical American, full of obligatory and unsubstantiated propaganda spread by the West even though it's not all complimentary about the U.S. The fact is China has alleviated extreme poverty; millions of Chinese tourists have visited overseas with hundreds of thousands of students attended various universities in the West without a single individual seeking political asylum. If China were as repressive as the West describes, wouldn't these tourists and students seek political asylum while abroad? There have been no proven evidence of any mistreatment of Uyghurs inside China. If as many as 2 million Uyghurs were incarcerated, surely, the West can show us satellite photos of these humongous prison camps, right? The fact is an overwhelming majority of the people in China believe their country is heading the right direction.
worldpopulationreview.com/country-rankings/freedom-index-...
In this 2022 freedom Index, Hong Kong ranks #30, ahead of South Korea (31) France (34) and Singapore (48).
When President Jimmy Carter established diplomatic relationship with China in 1978, he agreed to the Shanghai Communiqué which reads, among others, "The Government of the United States of America acknowledges the Chinese position that there is but one China and Taiwan is part of China."
The author fails to disclose that Taiwan's Tsai Ing-wen unwillingness to accept the 1992 Consensus is one of main reasons for Mainland China's treatment of her.
www.foreignaffairs.com/china/china-trap-us-foreign-policy...
The China Trap
U.S. Foreign Policy and the Perilous Logic of Zero-Sum Competition
By Jessica Chen Weiss
Competition with China has begun to consume U.S. foreign policy. Seized with the challenge of a near-peer rival whose interests and values diverge sharply from those of the United States, U.S. politicians and policymakers are becoming so focused on countering China that they risk losing sight of the affirmative interests and values that should underpin U.S. strategy. The current course will not just bring indefinite deterioration of the U.S.-Chinese relationship and a growing danger of catastrophic conflict; it also threatens to undermine the sustainability of American leadership in the world and the vitality of American society and democracy at home.
There is, of course, good reason why a more powerful China has become the central concern of policymakers and strategists in Washington (and plenty of other capitals). Under President Xi Jinping especially, Beijing has grown more authoritarian at home and more coercive abroad. It has brutally repressed Uyghurs in Xinjiang, crushed democratic freedoms in Hong Kong, rapidly expanded its conventional and nuclear arsenals, aggressively intercepted foreign military aircraft in the East and South China Seas, condoned Russian President Vladimir Putin’s invasion of Ukraine and amplified Russian disinformation, exported censorship and surveillance technology, denigrated democracies, worked to reshape international norms—the list could go on and will likely only get longer, especially if Xi secures a third five-year term and further solidifies his control later this year.
Yet well-warranted alarm risks morphing into a reflexive fear that could reshape American policy and society in counterproductive and ultimately harmful ways. In attempting to craft a national strategy suited to a more assertive and more powerful China, Washington has struggled to define success, or even a steady state, short of total victory or total defeat, that both governments could eventually accept and at a cost that citizens, businesses, and other stakeholders would be willing to bear. Without a clear sense of what it seeks or any semblance of a domestic consensus on how the United States should relate to the world, U.S. foreign policy has become reactive, spinning in circles rather than steering toward a desired destination.
To its credit, the Biden administration has acknowledged that the United States and its partners must provide an attractive alternative to what China is offering, and it has taken some steps in the right direction, such as multilateral initiatives on climate and hunger. Yet the instinct to counter every Chinese initiative, project, and provocation remains predominant, crowding out efforts to revitalize an inclusive international system that would protect U.S. interests and values even as global power shifts and evolves. Even with the war in Ukraine claiming considerable U.S. attention and resources, the conflict’s broader effect has been to intensify focus on geopolitical competition, reinforced by Chinese-Russian convergence.
Leaders in both Washington and Beijing claim to want to avoid a new Cold War. The fact is that their countries are already engaged in a global struggle. The United States seeks to perpetuate its preeminence and an international system that privileges its interests and values; China sees U.S. leadership as weakened by hypocrisy and neglect, providing an opening to force others to accept its influence and legitimacy. On both sides, there is growing fatalism that a crisis is unavoidable and perhaps even necessary: that mutually accepted rules of fair play and coexistence will come only after the kind of eyeball-to-eyeball confrontation that characterized the early years of the Cold War—survival of which was not guaranteed then and would be even less assured now.
Even in the absence of a crisis, a reactive posture has begun to drive a range of U.S. policies. Washington frequently falls into the trap of trying to counter Chinese efforts around the world without appreciating what local governments and populations want. Lacking a forward-looking vision aligned with a realistic assessment of the resources at its disposal, it struggles to prioritize across domains and regions. It too often compromises its own broader interests as fractious geopolitics make necessary progress on global challenges all but impossible. The long-term risk is that the United States will be unable to manage a decades-long competition without falling into habits of intolerance at home and overextension abroad. In attempting to out-China China, the United States could undermine the strengths and obscure the vision that should be the basis for sustained American leadership.
The lodestar for a better approach must be the world that the United States seeks: what it wants, rather than what it fears. Whether sanctions or tariffs or military moves, policies should be judged on the basis of whether they further progress toward that world rather than whether they undermine some Chinese interest or provide some advantage over Beijing. They should represent U.S. power at its best rather than mirroring the behavior it aims to avert. And rather than looking back nostalgically at its past preeminence, Washington must commit, with actions as well as words, to a positive-sum vision of a reformed international system that includes China and meets the existential need to tackle shared challenges.
That does not mean giving up well-calibrated efforts to deter Chinese aggression, enhance resilience against Chinese coercion, and reinforce U.S. alliances. But these must be paired with meaningful discussions with Beijing, not only about crisis communications and risk reduction but also about plausible terms of coexistence and the future of the international system—a future that Beijing will necessarily have some role in shaping. An inclusive and affirmative global vision would both discipline competition and make clear what Beijing has to lose. Otherwise, as the relationship deteriorates and the sense of threat grows, the logic of zero-sum competition will become even more overwhelming, and the resulting escalatory spiral will undermine both American interests and American values. That logic will warp global priorities and erode the international system. It will fuel pervasive insecurity and reinforce a tendency toward groupthink, damaging the pluralism and civic inclusion that are the bedrock of liberal democracy. And if not altered, it will perpetuate a vicious cycle that will eventually bring catastrophe.
THE INEVITABLE RIVALRY?
In Washington, the standard account for why the relationship has gotten so bad is that China changed: in the past decade or two, Beijing has stopped “biding its time,” becoming more repressive at home and assertive abroad even while continuing to take advantage of the relationships and institutions that have enabled China’s economic growth.
That change is certainly part of the story, and it is as much a product of China’s growing clout as of Xi’s way of using that clout. But a complete account must also acknowledge corresponding changes in U.S. politics and policy as the United States has reacted to developments in China. Washington has met Beijing’s actions with an array of punitive actions and protective policies, from tariffs and sanctions to restrictions on commercial and scientific exchanges. In the process, the United States has drifted further from the principles of openness and nondiscrimination that have long been a comparative advantage while reinforcing Beijing’s conviction that the United States will never tolerate a more powerful China. Meanwhile, the United States has wavered in its support for the international institutions and agreements that have long structured global interdependence, driven in part by consternation over China’s growing influence within the international system.
The more combative approach, on both sides, has produced a mirroring dynamic. While Beijing believes that only through protracted struggle will Americans be persuaded to coexist with a strong China, Washington believes that it must check Chinese power and influence to defend U.S. primacy. The result is a downward spiral, with each side’s efforts to enhance its security prompting the other to take further steps to enhance its own.
In explaining growing U.S.-Chinese tensions, some scholars point to structural shifts in the balance of power. Graham Allison has written of “the Thucydides trap”: the notion that when a rising state challenges an established power, a war for hegemony frequently results. Yet a focus on capabilities alone has trouble accounting for the twists and turns in U.S.-Chinese relations, which are also driven by shifting perceptions of threat, opportunity, and purpose. Following President Richard Nixon’s 1972 visit to Beijing, Washington came to view China as a strategic partner in containing the Soviet Union. And as the post–Cold War era dawned, U.S. policymakers began hedging against growing Chinese military power even while seeking to encourage the country’s economic and political liberalization through greater integration.
Throughout this period, Chinese leaders saw a strategic opportunity to prioritize China’s development in a stable international environment. They opened the country’s doors to foreign investment and capitalist practices, seeking to learn from foreign expertise while periodically campaigning against “spiritual pollution” and “bourgeois liberalization.” Despite occasional attempts to signal resolve, including during the 1995–96 Taiwan Strait crisis and after the 1999 NATO bombing of the Chinese embassy in Yugoslavia, Chinese leaders largely adhered to the former leader Deng Xiaoping’s lying-low strategy to avoid triggering the sense of threat that could precipitate efforts to strangle China’s rise.
If there is a year that marked an inflection point in China’s approach to the world, it is not 2012, when Xi came to power, but 2008. The global financial crisis prompted Beijing to discard any notion that China was the student and the United States the teacher when it came to economic governance. And the Beijing Olympics that year were meant to mark China’s arrival on the world stage, but much of the world was focused instead on riots in Tibet, which Chinese officials chalked up to outside meddling, and on China’s subsequent crackdown. The Chinese Communist Party (CCP) became increasingly fixated on the idea that foreign forces were intent on thwarting China’s rise.
In the years that followed, the halting movement toward liberalization went into reverse: the party cracked down on the teaching of liberal ideas and the activities of foreign nongovernmental organizations, crushed pro-democracy protests in Hong Kong, and built a sprawling surveillance state and system of internment camps in Xinjiang—all manifestations of a broader conception of “national security,” animated by fears of unrest. Internationally, China gave up any semblance of strategic humility. It became more assertive in defending its territorial and maritime claims (along the Indian border, in the East and South China Seas, and with regard to Taiwan). Having surpassed Japan as the world’s second-largest economy in 2010, it began wielding its economic power to compel deference to CCP interests. It ramped up development of military capabilities that could counter U.S. intervention in the region, including expanding its once limited nuclear arsenal. The decision to develop many of these capabilities predated Xi, but it was under his leadership that Beijing embraced a more coercive and intolerant approach.
As it registered China’s growing capabilities and willingness to use them, Washington increased its hedging. The Obama administration announced that it would “pivot” to Asia, and even as Washington sought a constructive role for China in the international system, the pace of China’s rise quickly outstripped U.S. willingness to grant it a correspondingly significant voice. With Donald Trump’s election as president, Washington’s assessment became especially extreme: a Marxist-Leninist regime was, in Trump’s telling, out to “rape” the United States, dominate the world, and subvert democracy. In response, the Trump administration started a trade war, began to talk of “decoupling” the U.S. and Chinese economies, and launched a series of initiatives aimed at countering Chinese influence and undermining the CCP. In speeches, senior U.S. officials hinted at regime change, calling for steps to “empower the Chinese people” to seek a different form of government and stressing that “Chinese history contains another path for China’s people.”
The Biden administration has stopped any talk of regime change in China and coordinated its approach closely with allies and partners, a contrast with Trump’s unilateralism. But it has at the same time continued many of its predecessor’s policies and endorsed the assessment that China’s growing influence must be checked. Some lines of effort, such as the Justice Department’s China Initiative, which sought to prosecute intellectual property theft and economic espionage, have been modified. But others have been sustained, including tariffs, export controls, and visa restrictions, or expanded, such as sanctions against Chinese officials and companies. In Congress, meanwhile, ever more vehement opposition to China may be the sole thing that Democrats and Republicans can agree on, though even this shared concern has produced only limited agreement (such as recent legislation on domestic semiconductor investments) on how the United States should compete.
Over five decades, the United States tried a combination of engagement and deterrence to bring China into an international system that broadly sustains U.S. interests and values. American policymakers knew well that their Chinese counterparts were committed to defending CCP rule, but Washington calculated that the world would be less dangerous with China inside rather than outside the system. That bet largely succeeded—and is still better than the alternative. Yet many in Washington always hoped for, and to varying degrees sought to promote, China’s liberal evolution as well. China’s growing authoritarianism has thus fed the narrative of a comprehensive U.S. policy failure, and the focus on correcting that failure has entrenched Beijing’s insecurity and belief that the United States and its allies will not accept China as a superpower.
Now, both countries are intent on doing whatever is necessary to demonstrate that any move by the other will not go unmet. Both U.S. and Chinese decision-makers believe that the other side respects only strength and interprets restraint as weakness. At this year’s Shangri-La Dialogue in Singapore in June, China’s defense minister, General Wei Fenghe, pledged to “fight to the very end” over Taiwan a day after meeting with U.S. Defense Secretary Lloyd Austin.
TELL ME HOW THIS ENDS
Where the current trajectory leads is clear: a more dangerous and less habitable world defined by an ever-present risk of confrontation and crisis, with preparation for conflict taking precedence over tackling common challenges.
Most policymakers, at least those in Washington, are not seeking a crisis between the United States and China. But there is growing acceptance that a crisis is more or less inevitable. Its consequences would be enormous. Even if both sides want to avoid war, crises by definition offer little time for response amid intense public scrutiny, making it difficult to find pathways to deescalation. Even the limited application of force or coercion could set in motion an unpredictable set of responses across multiple domains—military, economic, diplomatic, informational. As leaders maneuver to show resolve and protect their domestic reputations, a crisis could prove very difficult to contain.
Taiwan is the most likely flash point, as changes in both Taipei and Beijing have increasingly put the island at the center of U.S.-Chinese tensions. Demographic and generational shifts in Taiwan, combined with China’s crackdown in Hong Kong, have heightened Taiwan’s resistance to the idea of Beijing’s control and made peaceful unification seem increasingly fanciful. After Taiwan’s traditionally pro-independence Democratic Progressive Party (DPP) won the presidency in 2016, Beijing took a hard line against the new president, Tsai Ing-wen, despite her careful efforts to avoid moves toward formal independence. Cross strait channels of communication shut down, and Beijing relied on increasingly coercive measures to punish and deter what it perceived as incremental moves toward Taiwan’s permanent separation.
In response, the United States increased military patrols in and around the Taiwan Strait, loosened guidelines for interacting with Taiwanese officials, broadened U.S. declaratory policy to emphasize support for Taiwan, and continued to advocate for Taiwan’s meaningful participation in international organizations, including the United Nations. Yet many well-intentioned U.S. efforts to support the island and deter China have instead fueled Beijing’s sense of urgency about the need to send a shot across the bow to deter steadily growing U.S.-Taiwanese ties.
Even with an official U.S. policy of “strategic ambiguity” on whether the United States would intervene in the event of an attack on Taiwan, Chinese military planners expect U.S. involvement. Indeed, the anticipated difficulty of seizing Taiwan while also holding the United States at bay has long underpinned deterrence across the Taiwan Strait. But many U.S. actions intended to bolster the island’s ability to resist coercion have been symbolic rather than substantive, doing more to provoke than deter Beijing. For example, the Trump administration’s efforts to upend norms around U.S. engagement with Taiwan—in August 2020, Secretary for Health and Human Services Alex Azar became the highest-ranking cabinet member to visit Taiwan since full normalization of U.S.-Chinese relations in 1979—prompted China to send combat aircraft across the center line of the Taiwan Strait, ignoring an unofficial guardrail that had long served to facilitate safe operations in the waterway. Intrusions into Taiwan’s Air Defense Identification Zone (ADIZ) have become a frequent means for Beijing to register displeasure with growing U.S. support. In October 2021, Chinese intrusions into Taiwan’s ADIZ hit a new high—93 aircraft over three days—in response to nearby U.S.-led military exercises.
This action-reaction cycle, driven by mutually reinforcing developments in Beijing, Taipei, and Washington, is accelerating the deterioration of peace and stability across the Taiwan Strait. In recent months, Chinese official rhetoric has become increasingly threatening, using phrases that have historically signaled China’s intent to escalate. “Whoever plays with fire will get burnt,” Xi has repeatedly told U.S. President Joe Biden. In May, after Biden implied an unconditional commitment to defend Taiwan, rather than simply expressing the longstanding U.S. obligation to provide the island with the military means to defend itself and to maintain the U.S. capacity to resist any use of force, the Chinese Foreign Ministry stressed that Beijing “will take firm actions to safeguard its sovereignty and security interests.”
Although Beijing continues to prefer peaceful unification, it is coming to believe that coercive measures may be necessary to halt moves toward Taiwan’s permanent separation and compel steps toward unification, particularly given the Chinese perception that Washington’s support for Taiwan is a means to contain China. Even if confidence in China’s military and economic trajectory leads Beijing to believe that “time and momentum” remain on its side, political trends in Taiwan and in the United States make officials increasingly pessimistic about prospects for peaceful unification. Beijing has not set a timetable for seizing Taiwan and does not appear to be looking for an excuse to do so. Still, as the political scientist Taylor Fravel has shown, China has used force when it thinks its claims of sovereignty are being challenged. High-profile symbolic gestures of U.S. support for Taiwan are especially likely to be construed as an affront that must be answered. (As of this writing, Nancy Pelosi’s visit to Taiwan, the first trip by a U.S. speaker of the house since 1997, has prompted Chinese warnings that “the Chinese military will never sit idly by,” followed by unprecedently threatening military exercises and missile tests around Taiwan.)
As both the United States and Taiwan head into presidential elections in 2024, party politics could prompt more efforts to push the envelope on Taiwan’s political status and de jure independence. It is far from clear whether Tsai’s successor as president will be as steadfast as she has been in resisting pressure from strident advocates of independence. Even under Tsai, there have been troubling signs that DPP leaders are not content with the status quo despite its popularity with voters. DPP leaders have lobbied Washington to refrain from making statements that the United States does not support Taiwan independence. In March, Taipei’s representative office in Washington gave former Secretary of State Mike Pompeo a hefty honorarium to visit Taiwan, where he called on the United States to offer the island “diplomatic recognition as a free and sovereign country.”
The risk of a fatal collision in the air or at sea is also rising outside the Taiwan Strait. With the Chinese and U.S. militaries operating in proximity in the East and South China Seas, both intent on demonstrating their willingness to fight, pilots and operators are employing dangerous tactics that raise the risk of an inadvertent clash. In 2001, a Chinese fighter jet collided with a U.S. reconnaissance plane over the South China Sea, killing the Chinese pilot and leading to the 11-day detention of the U.S. crew. After initial grandstanding, the Chinese worked to head off a full-blown crisis, even cracking down on displays of anti-Americanism in the streets. It is much harder to imagine such a resolution today: the desire to display resolve and avoid showing weakness would make it exceedingly difficult to defuse a standoff.
THE CENTER CANNOT HOLD
Even if the two sides can avoid a crisis, continuation of the current course will reinforce geopolitical divisions while inhibiting cooperation on global problems. The United States is increasingly focused on rallying countries around the world to stand against China. But to the extent that a coalition to counter China forms, especially given the ideological framing that both the Trump and Biden administrations have adopted, that coalition is unlikely to include the range of partners that might stand to defend universal laws and institutions. “Asian countries do not want to be forced to choose between the two,” Singaporean Prime Minister Lee Hsien Loong wrote of China and the United States in these pages in 2020. “And if either attempts to force such a choice—if Washington tries to contain China’s rise or Beijing seeks to build an exclusive sphere of influence in Asia—they will begin a course of confrontation that will last decades and put the long-heralded Asian century in jeopardy.”
The current approach to competition is also likely to strengthen the alignment between China and Russia. The Biden administration has managed to deter Chinese military assistance to Russia in Ukraine, and China has mostly complied with sanctions, demonstrating that there are in fact limits to Beijing and Moscow’s “no limits” partnership. But so long as the two governments share a belief that they cannot be secure in a U.S.-led system, they will continue to deepen their cooperation. In the months since the invasion of Ukraine, they have carried out joint military patrols in the Pacific Ocean and worked to develop alternatives to the U.S.-controlled financial system.
Ultimately, Chinese-Russian relations will be shaped by how Beijing weighs its need to resist the United States against its need to preserve ties to international capital and technology that foster growth. China’s alignment with Russia is not historically determined: there is an ongoing high-level debate within Beijing over how close to get to Moscow, with the costs of full-fledged alignment producing consternation among some Chinese analysts. Yet unless Washington can credibly suggest that Beijing will see strategic benefits, not only strategic risks, from distancing itself from Moscow, advocates of closer Chinese-Russian cooperation will continue to win the argument.
Growing geopolitical tension also crowds out progress on common challenges, regardless of the Biden administration’s desire to compartmentalize certain issues. Although U.S. climate envoy John Kerry has made some headway on climate cooperation with China, including a joint declaration at last year’s climate summit in Glasgow, progress has been outweighed by acrimony in areas where previous joint efforts had borne fruit, including counternarcotics, nonproliferation, and North Korea. On both sides, too many policymakers fear that willingness to cooperate will be interpreted as a lack of resolve.
Such tensions are further eroding the already weak foundations of global governance. It is not clear how much longer the center of the international rules-based order can hold without a broad-based effort at its renewal. But as Beijing has grown more concerned that the United States seeks to contain or roll back its influence—by, for example, denying it a greater say in international economic governance—the more it has invested in alternative institutions, such as the Asian Infrastructure Investment Bank. Meanwhile, China’s engagement with the multilateral system is increasingly aimed at discrediting U.S. leadership within it. Even though Beijing has not exactly demonstrated fealty to many of the principles it claims to support, the divide between the haves and have-nots has allowed it to cast the United States as protecting the privileges of a minority of powerful states. At the United Nations, Beijing and Washington too often strive to undercut each other’s initiatives, launching symbolic battles that require third countries to choose between the two.
Last but far from least, a fixation on competition brings costs and dangers in the United States. Aggressive U.S. efforts to protect research security, combined with increased attacks against Asian Americans, are having a chilling effect on scientific research and international collaboration and are jeopardizing the appeal of the United States as a magnet for international talent. A 2021 survey by the American Physical Society found that 43 percent of international physics graduate students and early career scientists in the United States considered the country unwelcoming; around half of international early career scientists in the United States thought the government’s approach to research security made them less likely to stay there over the long term. These effects are particularly pronounced among scientists of Chinese descent. A recent study by the Asian American Scholar Forum found that 67 percent of faculty of Chinese origin (including naturalized citizens and permanent residents) reported having considered leaving the United States.
As the United States has sought to shield itself from Chinese espionage, theft, and unfair trading practices, it has often insisted on reciprocity as a precondition for commercial, educational, and diplomatic exchanges with Beijing. But strict reciprocity with an increasingly closed system like China’s comes at a cost to the United States’ comparative advantage: the traditional openness, transparency, and equal opportunity of its society and economy, which drive innovation, productivity, and scientific progress.
The climate of insecurity and fear is also having pernicious effects on democracy and the quality of public debate about China and U.S. policy. The desire to avoid appearing “soft” on China permeates private and public policy discussions. The result is an echo chamber that encourages analysts, bureaucrats, and officials to be politically rather than analytically correct. When individuals feel the need to out-hawk one another to protect themselves and advance professionally, the result is groupthink. A policy environment that incentivizes self-censorship and reflexive positioning forecloses pluralistic debate and a vibrant marketplace for ideas, ingredients critical to the United States’ national competitiveness.
From the World War II internment of Japanese Americans to the McCarthyism of the 1950s to hate crimes against Muslim and Sikh Americans after September 11, U.S. history is replete with examples of innocent Americans caught in the crossfire of exaggerated fears of the “enemy within.” In each case, overreaction did as much as or more than the adversary to undermine U.S. democracy and unity. Although the Biden administration has condemned anti-Asian hate and stressed that policy must target behavior rather than ethnicity, some government agencies and U.S. politicians have continued to imply that an individual’s ethnicity and ties to family abroad are grounds for heightened scrutiny.
BEFORE CATASTROPHE
If the United States and Soviet Union could arrive at détente, there is no reason that Washington and Beijing cannot do so as well. Early in the Cold War, President John F. Kennedy, hailing the need to “make the world safe for diversity,” stressed that “our attitude is as essential as theirs.” He warned Americans “not to see conflict as inevitable, accommodation as impossible, and communication as nothing more than an exchange of threats.”
Even while making clear that Beijing will pay a high price if it resorts to force or other forms of coercion, Washington must present China with a real choice. Deterrence requires that threats be paired with assurances. To that end, U.S. policymakers should not be afraid of engaging directly with their Chinese counterparts to discuss terms on which the United States and China could coexist, including mutual bounds on competition. It was relatively easy for Americans to imagine coexistence with a China thought to be on a one-way path of liberalization. The United States and its partners now have the harder task of imagining coexistence with an authoritarian superpower, finding a new basis for bilateral interaction that focuses on shaping outward behavior rather than changing China’s domestic system.
The most pressing need relates to Taiwan, where the United States must bolster deterrence while also clarifying that its “one China” policy has not changed. This means ensuring that Beijing knows how costly a crisis over Taiwan would be, putting at risk its broader development and modernization objectives—but also that if it refrains from coercive action, neither Washington nor Taipei will exploit the opportunity to push the envelope further. While Secretary of State Antony Blinken and other senior officials have affirmed that the United States does not support Taiwan’s independence, other actions by the administration (especially Biden’s repeated statements suggesting an end to “strategic ambiguity”) have sown doubt.
While helping bolster Taiwan’s resilience to Chinese coercion, Washington should avoid characterizing Taiwan as a vital asset for U.S. interests. Such statements feed Beijing’s belief that the United States seeks to “use Taiwan to contain China,” as China’s ambassador to Washington put it in May. The United States should instead make clear its abiding interest in a peaceful process for resolving cross-strait differences rather than in a particular outcome. And as they highlight the costs Beijing can expect if it escalates its coercive campaign against Taiwan, U.S. policymakers should also stress to Taipei that unilateral efforts to change Taiwan’s political status, including calls for de jure independence, U.S. diplomatic recognition, or other symbolic steps to signal Taiwan’s permanent separation from China, are counterproductive.
These steps will be necessary but not sufficient to pierce the growing fatalism regarding a crisis, given Beijing’s hardening belief that the United States seeks to contain China and will use Taiwan to that end. To put a floor beneath the collapsing U.S.-China relationship will require a stronger effort to establish bounds of fair competition and a willingness to discuss terms of coexistence. Despite recent meetings and calls, senior U.S. officials do not yet have regular engagements with their counterparts that would facilitate such discussions. These discussions should be coordinated with U.S. allies and partners to prevent Beijing from trying to drive a wedge between the United States and others in Europe and Asia. But Washington should also forge a common understanding with its allies and partners around potential forms of coexistence with China.
Skeptics may say that there is no reason for the leadership in Beijing to play along, given its triumphalism and distrust. These are significant obstacles, but it is worth testing the proposition that Washington can take steps to stabilize escalating tensions without first experiencing multiple crises with a nuclear-armed competitor. There is reason to believe that Beijing cares enough about stabilizing relations to reciprocate. Despite its claim that the “East is rising and the West is declining,” China remains the weaker party, especially given its uncertain economic trajectory. Domestic challenges have typically tended to restrain China’s behavior rather than, as some Western commentators have speculated, prompting risky gambles. The political scientist Andrew Chubb has shown that when Chinese leaders have faced challenges to their legitimacy, they have acted less assertively in areas such as the South China Sea.
Because Beijing and Washington are loath to make unilateral concessions, fearing that they will be interpreted as a sign of weakness at home and by the other side, détente will require reciprocity. Both sides will have to take coordinated but unilateral steps to head off a militarized crisis. For example, a tacit understanding could produce a reduction in Chinese and U.S. operations in and around the Taiwan Strait, lowering the temperature without signaling weakness. Military operations are necessary to demonstrate that the United States will continue to fly and sail wherever international law allows, including the Taiwan Strait. But ultimately, the United States’ ability to deter and Taiwan’s ability to defend against an attempt at armed unification by Beijing have little to do with whether the U.S. military transits the Taiwan Strait four, eight, 12, or 24 times a year.
In the current atmosphere of distrust, words must be matched by actions. In his November 2021 virtual meeting with Biden, Xi said, “We have patience and will strive for the prospect of peaceful reunification with utmost sincerity and efforts.” But Beijing’s actions since have undercut its credibility in Taipei and in Washington. Biden likewise told Xi that the United States does not seek a new Cold War or want to change Beijing’s system. Yet subsequent U.S. actions (including efforts to diversify supply chains away from China and new visa restrictions on CCP officials) have undermined Washington’s credibility among not just leaders in Beijing but also others in the region. It does not help that some administration officials continue to invoke Cold War parallels.
To bolster its own credibility, the Biden administration should also do more to preempt charges of hypocrisy and double standards. Consider U.S. policy to combat digital authoritarianism: Washington has targeted Chinese surveillance technology firms more harshly than similar companies based in the United States, Israel, and other Western democracies.
THE WORLD THAT OUGHT TO BE
So far, the Biden administration’s order-building efforts have centered on arrangements that exclude China, such as the Quad (Quadrilateral Security Dialogue) and the Indo-Pacific Economic Framework. Although officials have been careful to insist that these initiatives are not targeted at any one country, there is little sign of any corresponding effort to negotiate Beijing’s role in the international or regional order. At the margins, there have been some signs that inclusive groupings can still deliver. (The World Trade Organization has struck agreements on fishing subsidies and COVID-19 vaccines.) But if investments in narrower, fit-for-purpose coalitions continue to take priority over broader, inclusive agreements and institutions, including those in which China and the United States both have major roles to play, geopolitical tensions will break rather than reinvigorate the international system.
Renewing U.S. leadership will also require doing more to address criticism that a U.S.-led order means “rules for thee but not for me.” Clear and humble acknowledgment of instances where the United States has violated the UN Charter, such as the invasion of Iraq, would be an important step to overcoming that resentment. And Washington must deliver value for citizens in developing countries, whether on COVID-19, climate, hunger, or technology, rather than simply urging them not to work with China. At home, Washington must work to rebuild bipartisan support for U.S. engagement with the international system.
As the United States reimagines its domestic and international purpose, it should do so on its own terms, not for the sake of besting China. Yet fleshing out an inclusive, affirmative vision of the world it seeks would also be a first step toward clarifying the conditions under which the United States would welcome or accept Chinese initiatives rather than reflexively opposing them. The countries’ divergent interests and values would still result in the United States opposing many of Beijing’s activities, but that opposition would be accompanied by a clear willingness to negotiate the terms of China’s growing influence. The United States cannot cede so much influence to Beijing that international rules and institutions no longer reflect U.S. interests and values. But the greater risk today is that overzealous efforts to counter China’s influence will undermine the system itself through a combination of paralysis and the promotion of alternate arrangements by major powers.
Finally, the United States must do much more to invest in the power of its example and to ensure that steps taken to counter China do not undermine that example by falling into the trap of trying to out-China China. Protective or punitive actions, whether military, economic, or diplomatic, should be assessed not just on the basis of whether they counter China but also on how they affect the broader system and whether they reflect fidelity to U.S. principles.
Competition cannot become an end in itself. So long as outcompeting China defines the United States’ sense of purpose, Washington will continue to measure success on terms other than on its own. Rankings are a symbolic construct, not an objective condition. If the pursuit of human progress, peace, and prosperity is the ultimate objective, as Blinken has stated, then the United States does not need to beat China in order to win.
JESSICA CHEN WEISS is the Michael J. Zak Professor of China and Asia-Pacific Studies at Cornell University. She served as a Council on Foreign Relations International Affairs Fellow on the Policy Planning Staff at the U.S. Department of State from August 2021 to July 2022. The views expressed here are her own.
Logic Vision Collective & Digital Alchemists present The Ritual: Gathering of the Tribes @ Chutes de Sainte Agathe Lotbiniere, Quebec, Canada August 16-19, 2013
Photos by Kyle Rober
The Ritual: The Xperience 2014:
www.facebook.com/events/415497831904495/
Links:
The Ritual 2013:
www.facebook.com/events/431476333570283
Logic Vision Collective:
www.logicvisioncollective.com/
www.facebook.com/groups/logicvisionrecs
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"How to I anchor these experiences and solidify these changes when I leave the forest?" And that brings me full circle back to my art practice and the question of the art object. Every festival does this for me, but every once in a while there is a festival space that goes so far to the core of my being, that it transcends everything I held to be true, and everything changes for me. This year The Ritual did that for me. '' J.S ((( )))
jodisharp-inprocess.blogspot.ca/2013/09/the-ritual-and-ho...
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The DIGITAL ALCHEMISTS are proud to present:
THE RITUAL: Gathering of the Tribes 2013. Where the paths of Mysticism, Spirituality & Consciousness meet... Let's Bring Back our Sacred Rituals !
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Every year, a number of festivals are celebrated in the world. These festivals are looked forward to, for many, with a lot of enthusiasm.
Although these festivals, different kinds of rituals are performed (with utmost care), and provide you mystical experiences.
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PROLOGUE :
Focused around a central element, throughout the gathering, there is a sacred container being collectively created and held, in collaboration with the Native peoples who have honored us with the use of their land.
We believe in the healing potential of intentional gatherings.
We have dedicated our lives for facilitating these opportunities for a collective evolution.
Our mission : to create the perfect transformation into Peace, Unity and Global Respect...
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4 days Open-Air Festival
International Music acts
International Deco concept
More info coming soon...
Pono Pono
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Logic Vision Collective est fier de vous présenter :
La Réunion des Tribus 2013
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Chaque année, un certain nombre de festivals sont célébrés dans le monde. Ces réunions sont organisés avec beaucoup de respect et sont attendus, pour beaucoup, avec enthousiasme. Ils sont exécutés avec un soin extrême pour vous offrir une expérience psychedelique mystique unique.
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PROLOGUE :
Autour d'un conteneur sacré est centré un élément, créé et collectivement gardé avec les Peuples autochtones, nous ayant honorés de l'usage de leur terre.
Nous croyons aux guérisons et au potentiel des intentions.
Nous consacrons nos vies à faciliter ces réunions, pour l'évolution collective.
Notre mission : créer une transformation parfaite dans la Paix, l'Union et le Respect Global...
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4 Jours de Festival en Plein-Air
Artistes internationaux
Concept Déco international
Bientôt d'autres nouvelles...
O Pono Pono
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International Artists:
✔ PSYKOVSKY live! (Osom Music - Russia) - Psychedelia
✔ KASHYYYK live! (Kamino recs - Mexico) - Hitech Psychedelic Trance
✔ INSECTOR live! (Kamino recs - Hungary) - Hitech Psychedelic Trance
✔ ENICHKIN live! (Mind Expension - D-A-R-K recs - Russia) - Psychedelic Trance & Psydub
✔ VENSKER Djset! (Kamino recs - D-A-R-K rec | Mexico) ::: Hitech Psytrance
✔ PRIMORDIAL OOZE live+djset (Anti-shanti recs | D-A-R-K recs- USA) ::: Psytrance
✔ LUNECELL live+djset+Vjset (Occulta recs - USA) ::: Psychedelia
✔ AXIS MUNDI live! (Touch Samadhi - USA) :::: Psychedelic trance
✔ DOG OF TEARS live! (Active Meditation Music - USA) ::: Psychedelic trance
✔ MANIPULATION live! (Kinematic recs - USA)) ::: Psychedelic
✔ BRANDON ADAMS (Bom Shanka Music/Free Radical Recs/SYNC/Dreamcatcher - USA)::: Psychedelic
✔ THE HIPPIE DISCO PROJECT live! (D-A-R-K recs - USA)::: Groovadelic Circuit Bending
✔ RICCO MAZZER (Uroborous recs -Brazil) ::: Darkprog
✔ MISSKEY DJSET! (Arkona Creation - United Kingdom) ::: Psygressive
✔ Z3NKAI Djset! (PSYNON records - Switzerland)::: Psychedelic
✔ HARDKOR NATE live+djset ( Spacecamp Psyfari, Denver USA] ::: Psychedelic Trance
✔ ASCENSION LIVE+DJSET [Chilluminati, Spacecamp Psyfari, Denver USA] ::: Psychedelic Trance
✔ DEFTSPANK live! (D-A-R-K recs - Venezuela)::: Darkpsy
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Local Heros
Live-Acts:
✔ 1,618 live! (Montreal) ::: Progressive Psytrance
✔ ATHERIA live! (Geomagnetic recs - Toronto) ::: Progressive
✔ AURA live! (Aura Music - Montreal) ::: Psydub
✔ DUGONG LIVE ! (FEATURING SPECIAL GUESTS) Tom Lemann & Logan Hollow (BELLYOFTHEWHALECTRONICA inc. - Montreal) ::: Tribal Minimalism
✔ DER DENKER live! (Concepto Hypnotico - Montreal)::: Dark Minimal
✔ Dr STRANGEFUNK live! (Werk It Music - St Jerome) ::: Zenonesque
✔ FLORIAN MSK live! (Concepto Hypnotico - Montreal) ::: Dark Minimal
✔ KLOUD NIN9 live! (Glitchy Tonic - Montreal) ::: ProgDark
✔ SOURSWEET live! (Logic Vision recs - Montreal) ::: Psysufi
✔ SPACEY KOALA live! (Logic Vision recs - Montreal) ::: Psytrance
✔ UBER live! (Indy - Montreal) ::: Progressive
✔ VIRTUAL LIGHT live (Prism Code - Montreal) ::: Psytrance
✔ ZENTRIX live! (Digital Mind recs - Montreal) ::: Zenonesque
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DJsets
✔ ALAKAZOO (Logic Vision - Samsara Festival) ::: Darkprog
✔ ALIEN RAINFOREST (Ajnavision recs- Ottawa) ::: Psydub
✔ AKSHOBHYA (Logic Vision - Montreal) ::: Psytrance
✔ ANIMA vs NTSHANTI (OuI-R1 - Montreal) ::: Psyprog
✔ BANJANKRI (Organic Family - Toronto) ::: Forest Le Pendu
✔ BENDALA (Space Gathering - Montreal)
✔ CODE-AMA (Logic Vision - Montreal) ::: Dark Grooves
✔ DIRTY HARRY (St Jerome) ::: Zenonesque
✔ EFFLUX (Montreal) ::: DMTechno
✔ ELVIRA (Osiris Collective - Montreal) ::: Forest Psytrance
✔ FIELD EQUATION (Montreal) ::: Chillstep
✔ G-PI (Techno Agricole - Montreal) ::: Psyprog
✔ JOEL MCDUFF (OUIR1 - Montreal) ::: Progressive
✔ KHALIL (Speakeasy - Montreal) ::: Electroswing Balkan
✔ KOALUNA (Logic Vision - Montreal) ::: Troglodyte Psytrance
✔ KISS of VENUS (New York) ::: Psychedelic Techno
✔ KRIKKITT (Osiris prods - Montreal) ::: Psydub
✔ MACHINELF (Timewave Productions, Om Reunion Project-Toronto) ::: Progressive Psytrance
✔ MOHINIA (Logic Vision - Montreal) ::: Psytrance
✔ MYTHROPHAN (Toronto) ::: Progressive
✔ MYKUL ELF (Organic Family - ToMontrealronto) ::: Psybass
✔ NAAZ djset (D.A.R.K recs - Montreal) ::: psychedelic trance
✔ NAINITA (Logic Vision - Quebec) ::: Forest Psytrance
✔ NIKOCH (Montreal) ::: Native Tribal Trance
✔ NIKOLI Djset (Outer World Prods, Manifesting Magic festival - Ottawa) ::; Progressive
✔ NISMO (Cyberloft - Montreal) ::: Progressive
✔ OBSIDIAN (Logic Vision - Ottawa) ::: Psydub
✔ OGICHIDA (Organic Family - Toronto) ::: Forest
✔ OTKUN djset (kamino recs - Montreal) ::: Forest Hitech
✔ PLAN B (Shakti Collective - Toronto) ::: Psytrance
✔ PRANAPAPA (Logic Vision - Quebec) ::: Ethno Trance
✔ PSYBERTH (Openmind Festival - Can) ::: Psybass
✔ PYROTRICH (Logic Vision - Montreal) ::: Forest Psytrance
✔ RED ELECTRIC EARTH (Love Project - Montreal) ::: Progressive
✔ RON JON (Logic Vision - Ottawa) ::: Psytrance
✔ SABI NON STOP (Tatanka fest - Montreal) ::: Psydub
✔ SARA DOPSTAR (Kosmic Juice, Toronto) ::: Psyprog
✔ SHANGO (Logic Vision - Quebec) ::: Dakrpsy
✔ SPOONANI (Pounjah - Quebec) ::: Drum & Bass
✔ SYNTHETIK (Prism Code - Montreal) ::: Psytrance
✔ TRANSISCO (Om Project - Toronto) ::: Morning Psy
✔ WARRIORS (Big Tooth - Montreal) ::: Deep BASS
✔ XONICA (Logic Vision rec - Toronto) ::: Psychedelic Trance
✔ YGRIEGA (Sourcecode | OUI R1 - Montreal) ::: Psyprog
✔ ZAGA (Cosmic Juice - Toronto) ::: Progressive
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Deco Artists:
✔ WIZART VISIONS (USA) ::: Decoration
WizArt Visions is a visionary art project of New York based artist Olga Klimova and her team dedicated to creating an intense mind-opening visual environment for events.
www.facebook.com/pages/WizArt-Visions/444814318878170
✔ ORGANIC FAMILY (CAN) ::: DECO
✔ CESAR AR (CAN) ::: Visionnary ARt
✔ MYRKO (CAN) ::: Visionnary ARt
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☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
SERVICES
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- Restaurant végétarien et méditerranéen / Vegetarian and mediterranean restaurant
- Kiosque de jus frais & Tchai / Fresh juice stand & Tchai
- Plage et baignade sur le site / Beach and swimming on the site
- Toilettes / WC
- Camping gratuit / Free camping
- Sécurité professionnelle et amicale sur le site / Professionnal and friendly security on the site.
REGLEMENT / REGULATION
---------------------------------------------
- Respectez l’environnement / Respect the environment
- Aucun objet en verre sur le site / No glass on the site
- Les feux sont interdits / Fires are forbidden
- Baignade interdite la nuit / No swimming at night
- Aucun animal domestique sur le site / Pets are not allowed on the site
- Aucun système de son indépendant ne sera toléré sur le site / Independant sound systems will be not tolerated on the site.
MERCI DE BIEN VOULOIR RESPECTER CES REGLES ! ...
THANK YOU FOR RESPECTING THOSE RULES ! ...
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
The INDIAN MARKET !
The Ritual Festival will offer a wide assortment of food/drink, crafts, and other vendors throughout the Festival site.
Le RItuel Festival vous offrira un assortiment très large de restaurants ainsi qu'une variété de kiosques nous proposants des produits d'ici et d'ailleurs
please email us at: theritual.festival@gmail.com
☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯☯
。ॐ。*。ॐ。
ॐ。＼｜／。ॐ
--- PEACE ---
ॐ。／｜＼。ॐ
。ॐ。*。ॐ
With open minds and adventurous souls, there will always be sounds to move to and beats to feel.
We hope you are as excited as we are !
Avec l'esprit ouvert et aventureux, il y aura toujours des rythmes pour vous faire bouger et des musiques à ressentir.
Nous espérons que vous êtes aussi enthousiasmés que nous le sommes !
Info Contact : theritual.festival@gmail.com
COLLABORATORS & SPONSORS
Digital-Audio-Records-Kompany
Cybeloft
Kamino records
Tantruum recs
MAIA Brazil records
Osom records
Glitchy Tonic records
Organic FamilyThe DIgital ALchemists
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Timetables
Galactic Portal:
Vendredi / Friday
18:00 XONICA ::: OPENING Ceremony
19:00 Krikkitt djset :: Psychedelic
20:30 Pyrotrich djset ::: Forest Psychedelic Trance
22:00 Mohinia djset ::: Psychedelic
23:30 Shango & Nainita ::: Forest Psy
Samedi / Saturday
01:00 CAUSAI (Vancouver) ::: Psytrance
02:30 PREGAKORE (Portugal) ::: Psychedelic
04:00 VENSKER Djset! (USA) ::: Psychedelic
05:30 AXIS MUNDI live! (USA) ::: Psychedelic
07:00 Virtual Light djset ::: Morning Psy
08:30 HIPPIE DISCO live ! (USA) ::: Morning FUnky
10:00 SPACEY KOALA live :::Funky Psytrance
11:00 MISSKEY djset! (UK) ::: Progressive Trance
12:30 ATHERIA live ! (Toronto) ::: Psytrance
01:30 Dr Strangefunk live! ::: Zenonesque
02:30 Zentrix live!::: Zenonesque
03:30 Ygriega ::: Progressive Trance
05:00 KLOUD Nin9 live! ::: darkprog OTEZUKA (France) :::: Progressive
06:00 RICCO MAZZER live! (Brazil) ::: Zenonesque
07:30 FRACTAL PHONO (USA) ::: Zenonesque
09:00 LUNECELL live! (USA) ::: Psychedelic
10:30 Otkun (Montreal) ::: Psychedelic Moon
Dimanche / Sunday
00:00 KASHYYYK live! (MEXICO) ::: Hitech
03:00 INSECTOR live! (HUNGARY) ::: Hitech
06:00 PRIMORDIAL OOZE live!(USA) ::: Psychedelic
08:30 BRANDON ADAMS (USA) :: Full Power
10:00 MANIPULATION live (USA) ::: Morning
11:30 HARDKOR NATE djset (USA) ::: Psytrance
13:00 ASCENTION liveset (USA) ::: Psytrance
14:00 A.C. LYON live! (USA) ::: Psychedelic
15:30 Dugong live! ::: Dark Tribal Minimalism
17:00 Florian live! ::: Dark Minimal
18:00 Der Denker ::: Dark Minimal
20:00 Anima vs Nt Shanti ::: Psygressive
21:30 Akshobhya ::: Psychedelic
23:00 Plan B ::: Psychedelic
Lundi / Monday
00:30 DEFTSPANK live (Venezuela) ::: Psychedelic
01:30 Ogichida vs Banjankari::: Forest Psytrance
03:00 PSYKOVSKY live ! (Russia)::: Psychedelic
07:30 DOG OF TEARS live! (USA) ::: Psychedelic
09:30 NAAZ ::: Psychedelic
11:00 CODE-AMA ::: Psychedelic
12:30 RONJON ::: Psychedelic
14:00 OTEZUKA ::: Psyprog
16:00 The DIGITAL ALCHEMISTS ::: CLOSING
Dream Catcher Portal
Friday / Vendredi:
08:00 Zaga (Toronto) ::: Dark Minimal
10:00 MAJESTER (British COlumbia) ::
Saturday / Samedi:
00:00 Elvira ::: Hitech
01:30 Koaluna ::: forestpsy
03:00 Play Different live! (Toronto) ::: Psytrance
04:30 Synthetik ::: psytrance
06:00 MACHINE ELF (Toronto) ::: Psy trance
08:00 MYTHROPHAN (Toronto) ::: Progressive Trance
10:00 TRANCISCO (Toronto) ::: Progressive Psytrance
12:00 Glitch (Quebec) :: Progressive
01:30 Red ELectric Earth ::: Progresive
03:00 G-Pi ::: Minimal
04:30 Uber live! ::: Progressive
06:00 Nismo & Franky-Owl::: Progressive
07:30 Alakazoo ::: Psyprog
09:00 SARA DOPSTAR (Toronto) ::: Progressive
11:00 1,618 live! :: Psytech
Sunday / Dimanche
00:30 ZENKAI ::: Psytrance
02h30 SPOONANI vs ZENTRIX ::: Progressive
04:00 FLICKER LIGHT (Brazil) ::: Progressive
05:30 Efflux ::: Minimal
07:00 Dirty Harry ::: Zenonesque
08:30 Joel Mac Duff ::: Progressive
10:30 AURA live! (Portugal) ::: Psybient
12:00 KHALIL ::: Gypsy PsyDub
02:00 KATNIP (British Columbia) ::: Psybreaks
03:30 NIKOLI (Ottawa) ::: Temple Step
05:00 SOURSWEET live!::: IDM
07:00 LUNECELL djset! ::: Temple Step
09:00 OBSIDIAN (Ottawa) ::: Temple Step
Monday / Lundi
00:00 SPOONANI (Quebec) ::: DnB
01:30 Pranapapa ::: Progressive Dub
03:00 Psyberth djset :: Progressive Dub
04:30 KISSofVenus (USA) ::: Minimalism
06:00 RED ELECTRICH ::: Zenonesque
07:30 Transurfer ::: Progressive
09:00 Sabi Non STop ::: Psydub
10:30 Bendala ::: Psybass
12:00 MAYA EFF ::: PsyBass
END OF THE VORTEX _/\_ AHO
When you see this or grey alternating lines it's time to fork out $500 (€410) for a logic board replacement.
The MacBook Pro's 15 inch are truely the worst laptops Apple has built. The highest fallout rate of all my Mac's.
Don't get the NVidia GT 330M version. It's a POS.
The AMD GPU's are not much better…
"The issue appears to affect 15 and 17-inch MacBook Pros that have discrete graphics cards. All of the 2011 MacBooks use AMD cards, including the AMD Radeon HD 6490M, the AMD Radeon HD 6750M (both 512MB/1GB variants) and the AMD Radeon HD 6770M. "
Painting by Dan Steven
acrylic on canvas
20x24 inches
www.saatchiart.com/art/Painting-Dream-Logic/86242/1391008...