View allAll Photos Tagged modulation
Nectar-bearing information is carried by members of the earth and water elementals, while vibrational-information is conveyed by the elementals of air. The thought energies transferred by the fire elementals, because of the energy’s upward and lightweight composition, are predominantly relayed by means of photosynthesis. All of these energy centers of communication are maintained by the universal astral light which nourishes the elementals who inhabit various parts of nature. The residue left by the scorched wings of the Angels of Light left a harmonic pitch which carries information between the elementals. This modulation is maintained in crystal transceivers within the earth, and relayed by the vibrations between earth’s magnetic poles. The elementals serve as the nerves of the planet using this crystalline harmonic communication to form a candid, botanical parrhesia in which to disseminate the expressions of Gaia.
www.elephantjournal.com/2020/12/some-notes-on-nature-spir...
Having only seen the sculpture in it's various bronze incarnations this cast was a surprise. The more subtile modulations of the surface are more apparent without the applied highlighting of a patina that shifts greatly from cast to cast.
156 W. 44th Street, New York
Continuous Entertainment
Four Little White Pianos
Lumitone
CAPA-002959
Mailed from New York, New York to George L. Jones at Radio Store in Hazardville, Connecticut on October 22, 1945:
Monday Morning 10-22
Dear George: Last nite from my driveway, I worked Jim King - he said I had a very heavy carrier, but my modulation was so down he could barely read me, in fact, we had to sign. I heard him working KZU later. Do you think it's the mike or what?
Regards, Ernie
untitled (searching)
2016_08_13
charcoal pastel and graphite on manila tagboard
12" x 12" (30.48 x 30.48)cm
Matt Niebuhr
West Branch Studio
Location: Olaiya Street, Riyadh, Saudi Arabia.
About: Geometrical shapes is one of the important features in the Modern Architecture... For More info. if you are interested about Modernism Movement Wikipedia
Software: Lightroom
Explore:#74 on Monday, October 26, 2009
A large metallic facade has been installed stretching over the curved surface of the first floor podium of a new building at 300 George Street in Brisbane. Kinetic artist Alexander Knox worked with Urban Art Projects (UAP) to realise the work, which is called The Sound That Light Makes.
Spanning 2660 square metres and comprised of over 2500 pieces of press-formed and 3D-laser-cut-aluminium, the work is designed to emulate the reflections of light on water.
The facade was designed with algorithmic tools, meaning each hexagonal shape can be slightly different, with irregular apertures and resulting surface modulations. This brings an organic, natural element to the urban environment, referencing the Brisbane River and the land as it was thousands of years ago.
This moving lens test features a long water-trough that sides the start of the main street in the village of Gistain in the Haut-Aragon of Spain. The trough is fed by a natural open tap from a network of deep mountain limestone fissures. I was filming the cold water as it released back into the sun, when the clang of sheep bells turned from a background soundtrack to a chance encounter. The long water-trough took stage for a mixed herd of goats and sheep, stopping in the village for their 'pause for thought', a metaphorical 'cup of coffee' before they continued to the valley... The shepherd asked us to be patient and pointed to alternative paths, but, as with the villagers and some small children, we had stopped and were both watching and listening to the herd's clickle-clackle. As they passed from one mountain meadow to another, they ate anything that was green, so weeds from back corners and geraniums (and some pots) all had to say a goodbye.
Your breath is sweet
Your eyes are like two jewels in the sky
Your back is straight, your hair is smooth
On the pillow where you lie
But I don't sense affection
No gratitude or love
Your loyalty is not to me
But to the stars above
Although the lyrics of this song describe an asymmetry of affection in an affair, they may also align to a relation with an elemental 'mother earth'. The woman of the song perhaps has the qualities of a realistic mother earth. Mother earth guarding the spirit of life (the moving animate) over death (inanimate), with the liaison between mineral and life-force perhaps occurring in apt landscape features, for example natural 'venus hills' in the configuration of a resting lady.
The vast majority of plants and animals from the earth's 'life force' seem to know or subscribe to a narrative of their own... and 'to the stars above'. And as a shepherd looks out over the seasons and the night stars, the blooms of flowers and the insects and birds, he understands that they are alive with him, but not necessarily loyal to him.
As the lyrics unfold, the narrative follows a vignette of a wandering lifestyle, a father and generations of ways of being. Dylan sings with his face dusted white (www.youtube.com/watch?v=ujgqOgMIwfA) - a gesture recognisable in many native cultures. He wears hand-made and elements of nature that go beyond the freak fantasies of earlier hippy subsets and into a perceived 1970's authenticity of the gypsy and the pastoral. With this performance, Dylan's voice has the oscillation of Iberian moor (audable here with the example of Manolo Caracol www.youtube.com/watch?v=lyZMEzU4OxY) and general comparisons can be found with Hendrix's desire for authenticity with his 'Band of Gypsy's' from five years prior and Stevi Nick's work with Fleetwood Mac from around the same period - a 1970s belief in a deep spirituality and authenticity from rural areas and their deep traditions. For another take, Allen Ginsberg's exalted sleeve notes from the original LP talks of ancient blood singing...".
Whilst there are no direct references to pastoralism in the song "One more cup of coffee", Dylan has addressed 'mountain sheep' in the track "Ring them bells". My own feeling is that both the footage and the song from the LP 'Desire' grow wider from being set side-by-side.
The Live 'Rolling Thunder review' years are documented in this box set: ASIN: B01JT73FYM. The LP version of the same song appeared a year later in 1976, and whilst the violin sound is perhaps improved, I favour this earlier live performance due to the astonishing artful modulations in Dylan's vocal delivery. His sense of the visual seems to open up the very words he sings, presenting their component phonemes as elemental 'objects' to watch and follow.
AJM 19.12.19
Press play and then 'L' and even f11. Escape and f11 a second time to return.
I took this picture for #flickrfriday with the theme #repetition
This LP is "BAD" from Michael Jackson released in 1987. I love this album, every single track!
To take the picture I used my 100mm macro lens and a speedlite 430ex ii. The whole vinyl macro session was about four hours.
FROM WIKIPEDIA: The Palatine Chapel (Italian: Cappella Palatina[1]) is the royal chapel of the Norman kings of Sicily situated on the second floor at the center of the Palazzo Reale in Palermo, southern Italy. The chapel was commissioned by Roger II of Sicily in 1132 to be built upon an older chapel (now the crypt) constructed around 1080. It took eight years to build and many more to decorate with mosaics and fine art. The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns. The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome. The shimmering mosaics of the transept, presumably dating from the 1140s and attributed to Byzantine artists, illustrate scenes from the Acts of the Apostles. Every composition is set within an ornamental frame, not dissimilar to that used in contemporaneous mosaic icons. The rest of the mosaics, dated to the 1160s or the 1170s, are executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental. A few mosaics have a secular character and represent oriental flora and fauna. This may be the only substantial passage of secular Byzantine mosaic extant today. The chapel combines harmoniously a variety of styles: the Norman architecture and door decor, the Arabic arches and scripts adorning the roof, the Byzantine dome and mosaics. For instance, clusters of four eight-pointed stars, typical for Muslim design, are arranged on the ceiling so as to form a Christian cross. Other remarkable features of the chapel include the Carolingian throne, a low stage for royal receptions, and a balcony which allowed the king to view religious processions from above. In addition, the muqarnas ceiling is spectacular. The hundreds of facets were painted, notably with many purely ornamental vegetal and zoomorphic designs but also with scenes of daily life and many subjects that have not yet been explained. Stylistically influenced by Iraqi 'Abbasid art, these paintings are innovative in their more spatially aware representation of personages and of animals.
Gaudí conceived the Sagrada Família as if it were the structure of a forest, with a set of tree-like columns divided into various branches to support a structure of intertwined hyperboloid vaults. He inclined the columns so they could better resist the perpendicular pressures on their section. He also gave them a double turn helicoid shape (right turn and left turn), as in the branches and trunks of trees. This created a structure that is now known as fractal. Together with a modulation of the space that divides it into small, independent and self-supporting modules, it creates a structure that perfectly supports the mechanical traction forces without need for buttresses, as required by the neo-Gothic style. Gaudí thus achieved a rational, structured and perfectly logical solution, creating at the same time a new architectural style that was original, simple, practical and aesthetic.
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
“Claremont Road” has five Arduino UNO microcontrollers which control train movements along with PWM (servo adapted) points/turnouts, and signals according to pre-written programs or “sketches”. This is a completely different concept from DCC.
The master co-ordinating UNO gets feedback from the track through 14 enbedded infra-red proximity detectors,
Slaves 1-3 are UNO “train drivers”,
Slave 4 handles the display and lights. The orange display shows the current mode and commands being passed between the UNOs via a short-wire protocol known as I2C.
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Time SignaturesThe method behind the Music and notes fly to an ideal world...Notes Written on the Staff...Ledger Lines...Note Durations...Time Signatures and no-Photoshop in this picture just F22.(Bold denotes a stressed beat):
one two three (as in a waltz
Example of an irrational 4
3 time signature: here there are four (4) third notes (3) per measure. A "third note" would be one third of a whole note, and thus is a half-note triplet. The second measure of 4
2 presents the same notes, so the 4
3 time signature serves to indicate the precise speed relationship between the notes in the two measures.
These are time signatures, used for so-called irrational bar lengths,[16] that have a denominator that is not a power of two (1, 2, 4, 8, 16, 32, etc.) (or, mathematically speaking, is not a dyadic rational). These are based on beats expressed in terms of fractions of full beats in the prevailing tempo—for example 3
10 or 5
24.[16] For example, where 4
4 implies a bar construction of four quarter-parts of a whole note (i.e., four quarter notes), 4
3 implies a bar construction of four third-parts of it. These signatures are only of utility when juxtaposed with other signatures with varying denominators; a piece written entirely in 4
3, say, could be more legibly written out in 4
4.
{
\time 4/2
c''2 d'' e'' f'' |
c''^\markup {
\note #"1." #1
=
\note #"1" #1
} d'' e'' f''
}
The same example written using metric modulation instead of irrational time signatures. Three half notes in the first measure (making up a dotted whole note) are equal in duration to two half notes in the second (making up a whole note).
{
\time 4/2
c''2 d'' e'' f'' |
\time 12/4
c''2. d'' e'' f''
}
The same example written using a change in time signature.
Metric modulation is "a somewhat distant analogy".[16] It is arguable whether the use of these signatures makes metric relationships clearer or more obscure to the musician; it is always possible to write a passage using non-irrational signatures by specifying a relationship between some note length in the previous bar and some other in the succeeding one. Sometimes, successive metric relationships between bars are so convoluted that the pure use of irrational signatures would quickly render the notation extremely hard to penetrate. Good examples, written entirely in conventional signatures with the aid of between-bar specified metric relationships, occur a number of times in John Adams' opera Nixon in China (1987), where the sole use of irrational signatures would quickly produce massive numerators and denominators.[citation needed]
Historically, this device has been prefigured wherever composers wrote tuplets. For example, a 2
4 bar of 3 triplet crotchets could arguably be written as a bar of 3
6. Henry Cowell's piano piece Fabric (1920) employs separate divisions of the bar (anything from 1 to 9) for the three contrapuntal parts, using a scheme of shaped note heads to visually clarify the differences, but the pioneering of these signatures is largely due to Brian Ferneyhough, who says that he "find[s] that such 'irrational' measures serve as a useful buffer between local changes of event density and actual changes of base tempo.[16] Thomas Adès has also used them extensively—for example in Traced Overhead (1996), the second movement of which contains, among more conventional meters, bars in such signatures as 2
6, 9
14 and 5
24.
A gradual process of diffusion into less rarefied musical circles seems underway.[citation needed] For example, John Pickard's Eden, commissioned for the 2005 finals of the National Brass Band Championships of Great Britain contains bars of 3
10 and 7
12.[17]
Notationally, rather than using Cowell's elaborate series of notehead shapes, the same convention has been invoked as when normal tuplets are written; for example, one beat in 4
5 is written as a normal quarter note, four quarter notes complete the bar, but the whole bar lasts only 4⁄5 of a reference whole note, and a beat 1⁄5 of one (or 4⁄5 of a normal quarter note). This is notated in exactly the same way that one would write if one were writing the first four quarter notes of five quintuplet quarter notes.
This article uses irrational in the music theory sense, not the mathematical sense, where an irrational number is one that cannot be written as a ratio of whole numbers. However, at least one composition—Conlon Nancarrow's Studies for Player Piano—uses a time signature that is irrational in the mathematical sense. The piece contains a canon with a part augmented in the ratio √42:1 (approximately 6.48:1).
Now that you have an idea of basic rhythmic values and notation used in music, you need to learn a little about time signatures.A time signature tells you how the music is to be counted. The time signature is written at the beginning of the staff after the clef and key signature. Time signatures consist of two numbers written like a fraction.The top number of the time signature tells you how many beats to count. This could be any number. Most often the number of beats will fall between 2 and 12.The bottom number tells you what kind of note to count. That is, whether to count the beats as quarter notes, eighth notes, or sixteenth notes. So the only numbers you will see as the bottom number (the denominator) will correspond to note values:
1 = whole note (you’ll never see this)
2 = half note
4 = quarter note
8 = eighth note
16 = sixteenth note
You could continue on with 32, 64, but you will hopefully never encounter them! After a while it gets a bit unwieldy. The most common bottom numbers are 4, 8 and 16.Let me give you some examples so you better understand the concept...
4/4 Time Signature Example:
A time signature of 4/4 means count 4 (top number) quarter notes (bottom number) to each bar. So the pulse, or beat, is counted 1, 2, 3, 4, 1, 2, 3, 4, and so on.That means all the notes in each bar must add up to 4 quarter notes. Any combination of rhythms can be used as long as they add up to 4 quarter notes. For instance, a bar could contain 1 half note, 1 quarter note rest and 2 eighth notes. (See diagram.) Summed together they add to 4 quarter notes total. You can never have more than or less than the sum total of the number of beats in the time signature.
3/4 Time Signature Example:
A time signature of 3/4 means count 3 quarter notes to each bar. This is an often-used time signature giving you a waltz feel. 1, 2, 3, 1, 2, 3, 1, 2, 3…
Again, the rhythms in each bar can be anything as long as they add to 3 quarter notes. This is where time signatures start to seem illogical and students often get confused. How can 3 quarter notes add up to a whole measure? You have to remember that all of our rhythmic terminology is based on 4/4 time since it is the most common. You’ll just have to accept the fact that music has some weird conventions just as any language. Think of all the illogical ways similarly spelled English words are pronounced.
6/8 Time Signature Example:
A time signature of 6/8 means count 6 eighth notes to each bar. This is also a very often-used time signature. You would count the beat: 1, 2, 3, 4, 5, 6, 1, 2, 3, 4, 5, 6, and so on…
Now you will wonder why can’t you just reduce 6/8 to 3/4? After all, they add up to the same amount. One reason you might pick one time signature versus the other is how the music is organized. 6/8 is grouped into 2 groups of 3 eighth notes. 3/4 time would be grouped into 3 groups of 2 eighth notes. Depending on the structure of the bassline or song, it may make sense to group it one way instead of the other. So 6/8 feels more like two, while 3/4 feels more like three.
Time Signature Abbreviations
A few other time signatures you may see use special abbreviations instead of numbers. 4/4 is called common time since it is so common. 4/4 time is often marked with a C instead of 4/4. It means the same thing.
[Completely unimportant historical note: the C is not actually short for the word common. It is actually an incomplete circle from an older form of notation called mensural notation.]
Another common abbreviation is for cut time meaning 2/2 time. Cut time is usually written as a C with a slash through it.
Time Signature Summary
This was just a brief guide to what time signatures mean and their notation in written music. In later lessons I will explain meter and time signatures in much more detail.
The main thing to remember is a time signature tells you: How many of what kind.
That’s it. A time signature is the number of beats and the type of note the beat is.
www.studybass.com/lessons/reading-music/time-signatures/
The time signature (also known as meter signature,[1] metre signature,[2] or measure signature[3]) is a notational convention used in Western musical notation to specify how many beats (pulses) are to be contained in each bar and which note value is to be given one beat. In a musical score, the time signature appears at the beginning of the piece, as a time symbol or stacked numerals, such as Commontime inline.png or 3
4 (read common time and three-four time, respectively), immediately following the key signature or immediately following the clef symbol if the key signature is empty. A mid-score time signature, usually immediately following a barline, indicates a change of meter.
There are various types of time signatures, depending on whether the music follows simple rhythms or involves unusual shifting tempos, including: simple (such as 3
4 or 4
4), compound (e.g., 9
8 or 12
8), complex (e.g., 5
4 or 7
8), mixed (e.g., 5
8 & 3
8 or 6
8 & 3
4), additive (e.g., 3+2+3
8), fractional (e.g., 2½
4), and irrational meters (e.g., 3
10 or 5
24).
Simple time signatures[edit]
Basic time signatures: 4
4, also known as common time (Commontime inline.png); 2
2, alla breve, also known as cut time or cut-common time (cut time); plus 2
4; 3
4; and 6
8
Simple time signatures consist of two numerals, one stacked above the other:
The lower numeral indicates the note value that represents one beat (the beat unit).
The upper numeral indicates how many such beats there are grouped together in a bar.
For instance, 2
4 means two quarter-note (crotchet) beats per bar—3
8 means three eighth-note (quaver) beats per bar.
The most common simple time signatures are 2
4, 3
4, and 4
4.
Notational variations in simple time[edit]
The symbol Commontime inline.png is sometimes used for 4
4 time, also called common time or imperfect time. The symbol is derived from a broken circle used in music notation from the 14th through 16th centuries, where a full circle represented what today would be written in 3
2 or 3
4 time, and was called tempus perfectum (perfect time).[4] The symbol cut time is also a carry-over from the notational practice of late-Medieval and Renaissance music, where it signified tempus imperfectum diminutum (diminished imperfect time)—more precisely, a doubling of the speed, or proportio dupla, in duple meter.[5] In modern notation, it is used in place of 2
2 and is called alla breve or, colloquially, cut time or cut common time.
Compound time signatures[edit]
Main article: Compound meter (music)
In compound meter, subdivisions (which are what the upper number represents in these meters) of the main beat are in three equal parts, so that a dotted note (half again longer than a regular note) becomes the beat unit. Compound time signatures are named as if they were simple time signatures, in which the one-third part of the beat unit is the beat, so the top number is commonly 6, 9 or 12 (multiples of 3). The lower number is most commonly an 8 (an eighth-note): as in 9
8 or 12
8.
An example
3
4 is a simple signature that represents three quarter notes. It has a basic feel of (Bold denotes a stressed beat):
one two three (as in a waltz)
Each quarter note might comprise two eighth-notes (quavers) giving a total of six such notes, but it still retains that three-in-a-bar feel:
one and two and three and
6
8: Theoretically, this can be thought of as the same as the six-quaver form of 3
4 above with the only difference being that the eighth note is selected as the one-beat unit. But whereas the six quavers in 3
4 had been in three groups of two, 6
8 is practically understood to mean that they are in two groups of three, with a two-in-a-bar feel (Bold denotes a stressed beat):
one and a, two and a
or
one two three, four five six
Beat and time[edit]
Time signatures indicating two beats per bar (whether it is simple or compound) are called duple time; those with three beats to the bar are triple time. To the ear, a bar may seem like one singular beat. For example, a fast waltz, notated in 3
4 time, may be described as being one in a bar. Terms such as quadruple (4), quintuple (5), and so on are also occasionally used.
Actual beat divisions[edit]
As mentioned above, though the score indicates a 3
4 time, the actual beat division can be the whole bar, particularly at faster tempos. Correspondingly, at slow tempos the beat indicated by the time signature could in actual performance be divided into smaller units.
Interchangeability, rewriting meters[edit]
3
4 equals 3
8 time at a different tempo About this sound Play (help·info)
On a formal mathematical level the time signatures of, e.g., 3
4 and 3
8 are interchangeable. In a sense, all simple triple time signatures, such as 3
8, 3
4, 3
2, etc.—and all compound duple times, such as 6
8, 6
16 and so on, are equivalent. A piece in 3
4 can be easily rewritten in 3
8, simply by halving the length of the notes. Other time signature rewritings are possible: most commonly a simple time signature with triplets translates into a compound meter.
12
8 equals 4
4 time at a different tempo and requires the use of tuplets About this sound Play (help·info)
Though formally interchangeable, for a composer or performing musician, different time signatures often have different connotations. First, a smaller note value in the beat unit implies a more complex notation, which can affect ease of performance. Second, beaming affects the choice of actual beat divisions. It is, for example, more natural to use the quarter note/crotchet as a beat unit in 6
4 or 2
2 than the eight/quaver in 6
8 or 2
4.[citation needed] Third, time signatures are traditionally associated with different music styles—it might seem strange to notate a rock tune in 4
8 or 4
2.
Stress and meter[edit]
For all meters, the first beat (the downbeat, ignoring any anacrusis) is usually stressed (though not always, for example in reggae where the offbeats are stressed); in time signatures with four groups in the bar (such as 4
4 and 12
8), the third beat is often also stressed, though to a lesser degree. This gives a regular pattern of stressed and unstressed beats, though notes on stressed beats are not necessarily louder or more important.
Complex time signatures[edit]
19
16 Time Drum Beat
MENU0:00
Problems playing this file? See media help.
See also: List of musical works in unusual time signatures, Quintuple meter, and Septuple meter
Signatures that do not fit the usual duple or triple categories are called complex, asymmetric, irregular, unusual, or odd—though these are broad terms, and usually a more specific description is appropriate.[citation needed] The term odd meter, however, sometimes describes time signatures in which the upper number is simply odd rather than even, including 3
4 and 9
8.[8] The irregular meters (not fitting duple or triple categories) are common in some non-Western music, but rarely appeared in formal written Western music until the 19th century. The first deliberate quintuple meter pieces were apparently published in Spain between 1516 and 1520,[8] though other authorities reckon that the Delphic Hymns to Apollo (one by Athenaeus is entirely in quintuple meter, the other by Limenius predominantly so), carved on the exterior walls of the Athenian Treasury at Delphi in 128 BC, are probably earlier.[9] The third movement (Larghetto) of Chopin's Piano Sonata No. 1 (1828) is an early, but by no means the earliest, example of 5
4 time in solo piano music. Reicha's Fugue 20 from his Thirty-six Fugues, published in 1803, is also for piano and is in 5
8. The waltz-like second movement of Tchaikovsky's Pathétique Symphony, often described as a limping waltz,[10] is a notable example of 5
4 time in orchestral music. Examples from the 20th century include Holst's Mars, the Bringer of War and Neptune, the Mystic (both in 5
4) from the orchestral suite The Planets, Paul Hindemith's Fugue Secunda in G,(5
8) from Ludus Tonalis, the ending of Stravinsky's Firebird (7
4), the fugue from Heitor Villa-Lobos's Bachianas Brasileiras No. 9 (11
8) and the themes for the Mission Impossible television series by Lalo Schifrin (in 5
4) and Jerry Goldsmith's theme for Room 222 (in 7
4).
In the Western popular music tradition, unusual time signatures occur as well, with progressive rock in particular making frequent use of them. The use of shifting meters in The Beatles' "Strawberry Fields Forever" (1967) and the use of quintuple meter in their "Within You, Without You" (1967) are well-known examples,[11] as is Radiohead's "Paranoid Android" (includes 7
8).[12]
Paul Desmond's jazz composition Take Five, in 5
4 time, was one of a number of irregular-meter compositions that The Dave Brubeck Quartet played. They played other compositions in 11
4 (Eleven Four), 7
4 (Unsquare Dance)—and 9
8 (Blue Rondo à la Turk), expressed as 2+2+2+3
8. This last is an example of a work in a signature that, despite appearing merely compound triple, is actually more complex.
However, such time signatures are only unusual in most Western music. Traditional music of the Balkans uses such meters extensively. Bulgarian dances, for example, include forms with 5, 7, 9, 11, 13, 15, 22, 25 and other numbers of beats per measure. These rhythms are notated as additive rhythms based on simple units, usually 2, 3 and 4 beats, though the notation fails to describe the metric "time bending" taking place, or compound meters. For example, the Bulgarian Sedi Donka consists of 25 beats divided 7+7+11, where 7 is subdivided 3+2+2 and 11 is subdivided 2+2+3+2+2 or 4+3+4.[citation needed] See Variants below..
While time signatures usually express a regular pattern of beat stresses continuing through a piece (or at least a section), sometimes composers place a different time signature at the beginning of each bar, resulting in music with an extremely irregular rhythmic feel. In this case the time signatures are an aid to the performers, and not necessarily an indication of meter. The Promenade from Mussorgsky's Pictures at an Exhibition (1874) is a good example:
In such cases, a convention that some composers follow (e.g., Olivier Messiaen, in his La Nativité du Seigneur and Quatuor pour la fin du temps) is to simply omit the time signature. Charles Ives's Concord Sonata has measure bars for select passages, but the majority of the work is unbarred.
Some pieces have no time signature, as there is no discernible meter. This is commonly known as free time. Sometimes one is provided (usually 4
4) so that the performer finds the piece easier to read, and simply has 'free time' written as a direction. Sometimes the word FREE is written downwards on the staff to indicate the piece is in free time. Erik Satie wrote many compositions that are ostensibly in free time, but actually follow an unstated and unchanging simple time signature. Later composers used this device more effectively, writing music almost devoid of a discernibly regular pulse.
Early music usage[edit]
Mensural time signatures[edit]
In the 14th, 15th and 16th centuries, a period in which mensural notation was used, four basic mensuration signs determined the proportion between the two main units of rhythm. There were no measure or bar lines in music of this period; these signs, the ancestors of modern time signatures, indicate the ratio of duration between different note values. The relation between the breve and the semibreve was called tempus, and the relation between the semibreve and the minim was called prolatio. The breve and the semibreve use roughly the same symbols as our modern double whole note (breve) and whole note (semibreve), but they were not limited to the same proportional values as are in use today. There are complicated rules concerning how a breve is sometimes three and sometimes two semibreves. Unlike modern notation, the duration ratios between these different values was not always 2:1; it could be either 2:1 or 3:1, and that is what, amongst other things, these mensuration signs indicated. A ratio of 3:1 was called complete, perhaps a reference to the Trinity, and a ratio of 2:1 was called incomplete.
A circle used as a mensuration sign indicated tempus perfectum (a circle being a symbol of completeness), while an incomplete circle, resembling a letter C, indicated tempus imperfectum. Assuming the breve is a beat, this corresponds to the modern concepts of triple meter and duple meter, respectively. In either case, a dot in the center indicated prolatio perfecta (compound meter) while the absence of such a dot indicated prolatio imperfecta (simple meter).
A rough equivalence of these signs to modern meters would be:
Mensural time signature 1 (alternative).svg corresponds to 9
8 meter;
Mensural time signature 2 (alternative).svg corresponds to 3
4 meter;
Mensural time signature 3 (alternative).svg corresponds to 6
8 meter;
Mensural time signature 4 (alternative).svg corresponds to 2
4 meter.
N.B.: in modern compound meters the beat is a dotted note value, such as a dotted quarter, because the ratios of the modern note value hierarchy are always 2:1. Dotted notes were never used in this way in the mensural period; the main beat unit was always a simple (undotted) note value.
Proportions[edit]
Another set of signs in mensural notation specified the metric proportions of one section to another, similar to a metric modulation. A few common signs are shown:[18]
Allabreve.svg tempus imperfectum diminutum, 1:2 proportion (twice as fast);
Mensural proportion 2.svg tempus perfectum diminutum, 1:2 proportion (twice as fast);
Mensural proportion 5.svg or just Mensural proportion 4.svg proportio tripla, 1:3 proportion (three times as fast, similar to triplets).
Often the ratio was expressed as two numbers, one above the other,[19] looking similar to a modern time signature, though it could have values such as 4
3, which a conventional time signature could not.
Some proportional signs were not used consistently from one place or century to another. In addition, certain composers delighted in creating "puzzle" compositions that were intentionally difficult to decipher.
In particular, when the sign Allabreve.svg was encountered, the tactus (beat) changed from the usual semibreve to the breve, a circumstance called alla breve. This term has been sustained to the present day, and though now it means the beat is a minim (half note), in contradiction to the literal meaning of the phrase, it still indicates that the beat has changed to a longer note value.
The science of photonics includes the generation, emission, transmission, modulation, signal processing, switching, amplification, and detection/sensing of light. The term photonics thereby emphasizes that photons are neither particles nor waves — they are different in that they have both particle and wave nature. It covers all technical applications of light over the whole spectrum from ultraviolet over the visible to the near-, mid- and far-infrared. Most applications, however, are in the range of the visible and near infrared light. The term photonics developed as an outgrowth of the first practical semiconductor light emitters invented in the early 1960s and optical fibers developed in the 1970s.
~~~~~
JIM DRAIN AND ARA PETERSON
B: 1975, 1973
LW: Miami, FL; Providence, RI
Jim and Ara met at the Rhode Island School of Design (RISD) at the end of the 20th century and did their first collaboration as part of Forcefield with Mat Brinkman and Leif Goldberg.
Years later, the two joined forces again to create a universe of conceptual abstraction titled Hypnogoogia. Twelve-foot geodesic sphere paintings rotated on the floor and from the ceiling; a huge handmade kaleidoscope created the illusion of an additional sphere, this one exploding with reflected video modulations; a twelve-foot rotating divan paved the way to their basement full of quietly spinning pinwheels, featured here.
These pinwheels capture one very important component of Jim and Ara’s work: that they are of very simple construction—foam core, paint, and electric fan—but as artworks achieve maximum visceral effect. KG
Jim e Ara si sono conosciuti alla Rhode Island School of Design (RISD) alla fine del XX secolo e hanno collaborato per la prima volta nel collettivo Forcefield insieme a Mat Brinkman e Leif Goldberg. Anni dopo, i due hanno nuovamente unito le loro forze per creare un universo di astrazione concettuale chiamato Hypnogoogia. Sono qui presentati dipinti sferici geodetici di tre metri e mezzo, ruotati sul pavimento e appesi al soffitto; un enorme caleidoscopio fatto a mano che crea l’illusione di un’ulteriore sfera che esplode in modulazioni video riflesse; un divano rotante di tre metri e mezzo che spiana la strada alla base, piena di girandole roteanti.
Queste girandole descrivono una componente molto importante del lavoro di Jim e Ara: cioè il fatto che si tratta di semplicissime costruzioni – polistirolo, pittura e ventilatori – le quali però, come opere d’arte, raggiungono il massimo effetto viscerale. KG
British Real Photograph postcard, no. 145. Photo: MGM (Metro-Goldwyn-Mayer).
German-American-British film actress Luise Rainer (1910-2014) was the first to win multiple Academy Awards and the first to win back-to-back for The Great Ziegfeld (1936) and The Good Earth (1937). At the time of her death, thirteen days shy of her 105th birthday, she was the longest-lived Oscar recipient, a superlative that had not been exceeded as of 2020.
Luise Rainer was born in 1910 in Düsseldorf, in then the German Empire (now Germany). Her parents were Heinrich and Emilie (née Königsberger) Rainer. Her father was a businessman who settled in Europe after spending most of his childhood in Texas. Rainer's rebellious nature made her appear to be a "tomboy" and happy to be alone. She started her acting career in Berlin at age 16, under the pretext of visiting her mother, she traveled to Düsseldorf for a prearranged audition at the Dumont Theater. In the 1920s the theatre director Louise Dumont separated from her husband. Dumont was attached to a number of young actresses including Fita Benkhoff, Hanni Hoessrich, and Rainer. It has been presumed that Dumont was bisexual. Rainer later began studying acting with the leading stage director at the time, Max Reinhardt. By the time she was 18, several critics felt that she had an unusual talent for a young actress. She became a distinguished Berlin stage actress with Reinhardt's theatre ensemble. She also appeared in several German-language films. After years of acting on stage and in films in Austria and Germany, she was discovered by MGM talent scout Phil Berg, who signed her to a three-year contract in Hollywood in 1935. He thought she would appeal to the same audience as Swedish MGM star Greta Garbo. Mayer assigned actress Constance Collier to train her in speech and dramatic modulation, and Rainer's English improved rapidly.
Luise Rainer's first American film role was in the romantic comedy Escapade (Robert Z. Leonard, 1935) with William Powell. It is a remake of the popular Austrian Operetta film Maskerade/Masquerade (Willy Forst, 1934). The film generated immense publicity for Rainer, who was hailed as "Hollywood's next sensation." The following year she was given a supporting part as the real-life character Anna Held in the musical biography The Great Ziegfeld (Robert Z. Leonard, 1936), featuring William Powell. Despite her limited role, her emotion-filled performance so impressed audiences that she was awarded the Oscar for Best Actress. She was later dubbed the "Viennese Teardrop" for her dramatic telephone scene, attempting to congratulate Ziegfeld on his new marriage, in the film. On the evening of the Academy Award ceremonies, Rainer remained at home, not expecting to win. When Mayer learned she had won, he sent MGM publicity head Howard Strickling racing to her home to get her. She was also awarded the New York Film Critics' Award for the performance. For her next role, producer Irving Thalberg was convinced, despite the studio's disagreement, that she would also be able to play the part of a poor, plain Chinese farm wife opposite Paul Muni in The Good Earth (Sidney Franklin, 1937), based on Nobel Prize-winning author Pearl Buck's novel about hardship in China. The humble, subservient, and mostly silent character role was such a dramatic contrast to her previous vivacious character that she again won the Oscar for Best Actress. Rainer and Jodie Foster are the only actresses ever to win two Oscars by the age of thirty.
However, Luise Rainer later stated nothing worse could have happened to her than winning two consecutive Oscars, as audience expectations from then on would be too high to fulfill. A few months before the film was completed, Irving Thalberg died suddenly at the age of 37. Rainer commented years later: "His death was a terrible shock to us. He was young and ever so able. Had it not been that he died, I think I may have stayed much longer in films." After four more, insignificant roles, MGM and Rainer became disappointed, and she was dubbed "Box Office Poison" by the Independent Theatre Owners of America. Adding to her rapid decline, some feel, was the poor career advice she received from her then-husband, playwright Clifford Odets. She ended her brief three-year Hollywood career and returned to Europe where she helped get aid to children who were victims of the Spanish Civil War. Nevertheless, she was not released from her MGM contract and, by 1940, she was still bound to make one more film for the studio. Some film historians consider her the "most extreme case of an Oscar victim in Hollywood mythology". Rainer studied medicine and returned to the stage. In 1939, she made her first appearance at the Palace Theatre, Manchester in Jacques Deval's play 'Behold the Bride', and later played the same part in her London debut at the Shaftesbury Theatre. Returning to America, she played the leading part in George Bernard Shaw's 'Saint Joan' in 1940 at the Belasco Theatre in Washington, D.C. under the direction of German emigrant director Erwin Piscator. In 1943, she made an appearance in the film Hostages (Frank Tuttle, 1943). Rainer abandoned film making in 1944 after marrying publisher Robert Knittel. She made sporadic television and stage appearances, appearing in an episode of the World War II television series Combat! in 1965. She took a dual role in a 1984 episode of The Love Boat. She appeared in the film The Gambler (Károly Makk, 1997), starring Michael Gambon. It marked her film comeback at the age of 86. Luise Rainer passed away in 2014, in Belgravia, London, England. She was 104. Rainer married Clifford Odets in 1937 and they divorced in 1940. Her second husband was publisher Robert Knittel. They were married from 1945 till his death in 1989 and lived in the UK and Switzerland for most of their marriage. The couple had one daughter, Francesca Knittel.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Well, without the advent of these devices, there could have been no radio, no tv, no computer, no cassette tapes, no electronic microphones, no speakers, no remote controls, no high tech toys, no CD players, no CD, no telephones, no LCD screens, no automation, no mainframes, no electonic sensors, no motion controlled alarms, no electronic fire alarms, no ATMs, no radar, no cruise missles, no lunar modules, no ECG, no optical fibers, no heart monitors, no digital watches, no mp3 players, no computers, no internet, no oscilloscopes, no electronic counter measures, no HUDs(heads up display), no DVD, no F-117, no smart bombs, no live television broadcast, no SMS messages, no GPRS, no frequency modulation, no amplitude modulation, no pulse width modulation, no short wave radio, no citizen bands radio, no phase locked loop circuits, no active filters, no bandpass filters, no html, no xhtml, no visual basic, no perl, no java, no c, no c++, no pascal, no basic, no css, no CALL CENTERS, no javascript, no USB, no mouse, no DSLR, no spectrum analyzers, no curve tracers, no cctv, no hdtv, no broadband... blah blah blah... did it get complicated??
If you can't understand, how about NO FLICKR? hahahaha.
This is a snapshot of an electronic circuit mounted on a PCB (printed circuit board). All electronic devices analog or digital has these kind of components, maybe smaller on some, and microscopic on some. Took this shot on one of my old remote controlled car controls. That small rounded brown thing in front is called a capacitor. The one with some stripes of different colors are called resistors. The black one on the center with multiple silver looking metals attached to it is called an IC (integrated circuit) -- it is usally composed of different transistors, capacitors, resistors and other electonic components. In the distance are groups of different capacitors too(the cylindrical looking components). A typical electronic circuit these days which are in your computers, cellphones and music players, contains millions of this components -- which are shrunk by recent technology to add more functionality and features to your device.
An 8-bit sythesizer made with arduino, with MIDI-in, audio output, can do sine, triangle and saw waves and bitwise modulation between them. Sounds nasty. See this blog post for more information.
Best Viewed Large
Well do we have news for you… (:-D
Resulting from my latest visit to Singapore this week and the photo shoot we set up with my bro Philippe C.during my stay, we decided jointly to look into PP.. issues and take matters seriously... (:D into our own hands “so to speak” and create our very own processing approach that we have named : “Hallucinogenerix”.
Our theory goes like this... hang on...
Based on the saturation of lens “Aperture Mode Locking” AML and the self-amplitude “Time modulation coefficient” or TMC, Our work deals with the saturation of the lens Aperture mode locking mechanism. A quantitative description of TMC and the self-amplitude modulation effect in a laser cavity can be derived. Considering both the nonlinear and geometrical (curvature vector or CV) differences between lenses and camera sensors (full frame or not) we concluded that the “CV” differential relationship between cameras and lenses results in nonlinear light modulation.
The loss of the “Light Pulse Conformation Strength” or (LPCS) in a cavity due to “bleaching or excess or lack of light” creates a “Fast Saturation Absorbency” or FSA behavior of any type of camera and lens combination all together.
The “Intracavity Aperture Factor” or IAF specific to a given lens type produces the appearance of “FLICKERING” or image instabilities. Our goal was then to elaborate a formidable yet simple approach that allows the prediction of “FLICKERING” or image instabilities, and develop a post processing technique or method that can be as useful for short pulse laser cavity design in general than it is compared to a mouse pad - mouse relationship.
The obtained “Self-Amplitude Coefficient” or SAC is included within the TMC to which LPCS and FSA are added to give a ray-pulse matrix formalism, and a simple model for the temporal pulse parameters regarding only the self amplitude “Time Modulation Coefficient” or TMC can then be solve via a simple quadratic differential integration (Patent pending).
Our new “Hallucinogenerix” model sets a limit for the maximum pulse light energy of a stable solution for a given nonlinear modulation and “Camera Lens Combination” or CLC.
Our “Hallucinogenerix” post processing technique we are certain will soon become the newest and most revolutionary PP faved method yet we are certain. We simply baptized “ this new processing technique Lens Setting Dynamics” or “L.S.D.” (:D allows us not only to take night shots in broad daylight, but also gives us a stunning doubled and colored vision extremely useful for reflective photography. Combined with “ Hallucinogenerix” TM you are bound to see all sorts of colors in all sorts of way.
The above is the first of a series relating to this amazing Field and post-processing breakthrough.
To know more, thank you for sending your questions and donations to:
Maxsie & I at Wetakecash@ourbankaccount.com or wtc@ourbankaccount.com
D. Maxsie – D. Phil
P.S.: "Caution applies as D. may stand for delusional." A. Einstein
Best seen in Large. Thanks.
A Realistic Patrolman PRO 3 Monitor from the early 1970s.
Radio Shack promoted this would be "the only monitor receiver you'll ever need" - little did they know the changes that would come. In the mid 1970s the UHF band was expanded to 512 MHz. In the 1980s came the opening of the 800MHz band and trunked radio systems, and today the 700MHz band is also used for public safety - not to mention today's digital trunking and modulation.
(noun) The inability to verbalize emotions or lack of emotional response. Difficulty in experiencing, expressing, and describing emotion. A failure to express feelings either verbally or non-verbally, especially when talking about issues that would normally require an emotional response. Poor modulation of feelings, significantly reduced intensity in emotional expression.
These retro graphics adorn an electronics-themed magazine from 1964. Cool find from Wuhan's flea market.
Cycles is a unique step sequencer for crafting complex and experimental percussion patterns on the iPad. This is a proof of concept in the early stages of development.
Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:
cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Belgian postcard by Kwatta / Nels Bromurite, no. 1182. Photo: Metro Goldwyn Mayer.
German-American-British film actress Luise Rainer (1910-2014) was the first to win multiple Academy Awards and the first to win back-to-back for The Great Ziegfeld (1936) and The Good Earth (1937). At the time of her death, thirteen days shy of her 105th birthday, she was the longest-lived Oscar recipient, a superlative that had not been exceeded as of 2020.
Luise Rainer was born in 1910 in Düsseldorf, in then the German Empire (now Germany). Her parents were Heinrich and Emilie (née Königsberger) Rainer. Her father was a businessman who settled in Europe after spending most of his childhood in Texas. Rainer's rebellious nature made her appear to be a "tomboy" and happy to be alone. She started her acting career in Berlin at age 16, under the pretext of visiting her mother, she traveled to Düsseldorf for a prearranged audition at the Dumont Theater. In the 1920s the theatre director Louise Dumont separated from her husband. Dumont was attached to a number of young actresses including Fita Benkhoff, Hanni Hoessrich, and Rainer. It has been presumed that Dumont was bisexual. Rainer later began studying acting with the leading stage director at the time, Max Reinhardt. By the time she was 18, several critics felt that she had an unusual talent for a young actress. She became a distinguished Berlin stage actress with Reinhardt's theatre ensemble. She also appeared in several German-language films. After years of acting on stage and in films in Austria and Germany, she was discovered by MGM talent scout Phil Berg, who signed her to a three-year contract in Hollywood in 1935. He thought she would appeal to the same audience as Swedish MGM star Greta Garbo. Mayer assigned actress Constance Collier to train her in speech and dramatic modulation, and Rainer's English improved rapidly.
Luise Rainer's first American film role was in the romantic comedy Escapade (Robert Z. Leonard, 1935) with William Powell. It is a remake of the popular Austrian Operetta film Maskerade/Masquerade (Willy Forst, 1934). The film generated immense publicity for Rainer, who was hailed as "Hollywood's next sensation." The following year she was given a supporting part as the real-life character Anna Held in the musical biography The Great Ziegfeld (Robert Z. Leonard, 1936), featuring William Powell. Despite her limited role, her emotion-filled performance so impressed audiences that she was awarded the Oscar for Best Actress. She was later dubbed the "Viennese Teardrop" for her dramatic telephone scene, attempting to congratulate Ziegfeld on his new marriage, in the film. On the evening of the Academy Award ceremonies, Rainer remained at home, not expecting to win. When Mayer learned she had won, he sent MGM publicity head Howard Strickling racing to her home to get her. She was also awarded the New York Film Critics' Award for the performance. For her next role, producer Irving Thalberg was convinced, despite the studio's disagreement, that she would also be able to play the part of a poor, plain Chinese farm wife opposite Paul Muni in The Good Earth (Sidney Franklin, 1937), based on Nobel Prize-winning author Pearl Buck's novel about hardship in China. The humble, subservient, and mostly silent character role was such a dramatic contrast to her previous vivacious character that she again won the Oscar for Best Actress. Rainer and Jodie Foster are the only actresses ever to win two Oscars by the age of thirty.
However, Luise Rainer later stated nothing worse could have happened to her than winning two consecutive Oscars, as audience expectations from then on would be too high to fulfill. A few months before the film was completed, Irving Thalberg died suddenly at the age of 37. Rainer commented years later: "His death was a terrible shock to us. He was young and ever so able. Had it not been that he died, I think I may have stayed much longer in films." After four more, insignificant roles, MGM and Rainer became disappointed, and she was dubbed "Box Office Poison" by the Independent Theatre Owners of America. Adding to her rapid decline, some feel, was the poor career advice she received from her then-husband, playwright Clifford Odets. She ended her brief three-year Hollywood career and returned to Europe where she helped get aid to children who were victims of the Spanish Civil War. Nevertheless, she was not released from her MGM contract and, by 1940, she was still bound to make one more film for the studio. Some film historians consider her the "most extreme case of an Oscar victim in Hollywood mythology". Rainer studied medicine and returned to the stage. In 1939, she made her first appearance at the Palace Theatre, Manchester in Jacques Deval's play 'Behold the Bride', and later played the same part in her London debut at the Shaftesbury Theatre. Returning to America, she played the leading part in George Bernard Shaw's 'Saint Joan' in 1940 at the Belasco Theatre in Washington, D.C. under the direction of German emigrant director Erwin Piscator. In 1943, she made an appearance in the film Hostages (Frank Tuttle, 1943). Rainer abandoned film making in 1944 after marrying publisher Robert Knittel. She made sporadic television and stage appearances, appearing in an episode of the World War II television series Combat! in 1965. She took a dual role in a 1984 episode of The Love Boat. She appeared in the film The Gambler (Károly Makk, 1997), starring Michael Gambon. It marked her film comeback at the age of 86. Luise Rainer passed away in 2014, in Belgravia, London, England. She was 104. Rainer married Clifford Odets in 1937 and they divorced in 1940. Her second husband was publisher Robert Knittel. They were married from 1945 till his death in 1989 and lived in the UK and Switzerland for most of their marriage. The couple had one daughter, Francesca Knittel.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Today's Tune: "Aaj Latha Neo - Javed Bashir (Coke Studio)"
The Overview: Hellllllllllooooooooooo how are you guys !! Here's a little bit of more red for you all ;) and its from the "_________ITY" series. Well I was too busy with my exams for about a week and tomorrow's my last paper =D and I was dying to upload something so here is something unusual for you all. I am taking interest in some floral photography because am not finding any old doors and locks these days lolzz but still I am exploring them :). The tune is amazing again its from Coke Studio, this guy (Javed Bashir), his voice and modulation is too good! Do listen to it and have a great week. C ya all on your streams.
Pasting from Copley Motorcars:
1966, Ford Mustang GT 350
Exterior color
Acapulco Blue
Interior color
white
Mileage
8,100
Price
$54,800.00
Shelby GT350 re-creation superbly restored and created in 2004, new Ford 302ci V8 with 347ci stroker kit from HP/Probe Industries with Coach Hi-Po Street Fighter forged pistons, Edelbrock aluminum heads, competition cam shaft and lifter kit, Edelbrock dual aluminum quad intake with 2 Holley 600 carburetors, Mallory Unilite ignition, modern Ford heavy duty T5 transmission with Ford Motorsports HP clutch and pressure plate, 4 wheel disc brakes, rebuilt suspension, Vintage Air heating and air conditioning, power convertible top with plexi-glass rear window, fresh major servicing by Tony Calise’s Thunder Road Performance.
• • • • •
Pasting from Wikipedia: Ford Mustang (first generation):
The first-generation Ford Mustang was the original pony car, manufactured by Ford Motor Company from 1964 until 1973.
Contents
Conception and Styling
As Lee Iacocca's assistant general manager and chief engineer, Donald N. Frey, was the head engineer for the Mustang project — supervising the development of the Mustang in a record 18 months[3][4] — while Iacocca himself championed the project as Ford Division general manager. The Mustang prototype was a two-seat, mid-mounted engine roadster, styled in part by Phil Clark. Stylist John Najjar, in a 1984 interview with David R. Crippen, archivist of the Henry Ford Museum spoke about the genesis of the two-seat prototype:
We had a studio under Bob Maguire,and in it were Jim Darden, Ray Smith, plus an artist, Phil Clark, several modelers, and me. We drew up a 2-seater sports car in competition with the other studios, and when they saw ours - saw the blackboard with a full-sized layout and sketches- they said, 'That's it! Let's build it.' So we made a clay model, designed the details, and then built a fiberglass prototype." This car was simply a concept study rather than the final configuration, but it included a lot of the sporty, rakish flair the later showcar embodied.[5]
The Mustang I was later remodeled as a four-seat car styled under the direction of Project Design Chief Joe Oros and his team of L. David Ash, Gale Halderman, and John Foster[6][7] — in Ford's Lincoln–Mercury Division design studios, which produced the winning design in an intramural design contest instigated by Iacocca.
The design team had been given five goals[8] for the design of the Mustang: it would seat four, have bucket seats and a floor mounted shifter, weigh no more than 2500 pounds and be no more than 180 inches in length, sell for less than $2500, and have multiple power, comfort and luxury options.
Having set the design standards for the Mustang[9], Oros said:
I told the team that I wanted the car to appeal to women, but I wanted men to desire it, too. I wanted a Ferrari-like front end, the motif centered on the front – something heavy-looking like a Maseratti, but, please, not a trident – and I wanted air intakes on the side to cool the rear brakes. I said it should be as sporty as possible and look like it was related to European design.[9]
Oros added:
I then called a meeting with all the Ford studio designers. We talked about the sporty car for most of that afternoon, setting parameters for what it should look like -- and what it should not look like -- by making lists on a large pad, a technique I adapted from the management seminar. We taped the lists up all around the studio to keep ourselves on track. We also had photographs of all the previous sporty cars that had been done in the Corporate Advanced studio as a guide to themes or ideas that were tired or not acceptable to management.
Within a week we had hammered out a new design. We cut templates and fitted them to the clay model that had been started. We cut right into it, adding or deleting clay to accommodate our new theme, so it wasn't like starting all over. But we knew Lincoln-Mercury would have two models. And Advanced would have five, some they had previously shown and modified, plus a couple extras. But we would only have one model because Ford studio had a production schedule for a good many facelifts and other projects. We couldn't afford the manpower, but we made up for lost time by working around the clock so our model would be ready for the management review.[6]
L. David Ash is often credited with the actual styling of the Mustang. Ash, in a 1985 interview speaking of the origin of the Mustang design, when asked the degree of his contribution, said:
I would say substantial. However, anyone that says they designed the car by themselves, is wrong. Iacocca didn't design it. He conceived it. He's called the father of it, and, in that respect, he was. I did not design it in total, nor did Oros. It was designed by a design group. You look at the photograph taken at the award banquet for the Industrial Designers’ Society where the Mustang received the medal; it’s got Damon Woods in it (the group that did the interior), and Charlie Phaneuf (who was with Damon), and it’s got myself and John Foster (who was with me), it’s got (John) Najjar in it.[10]
So nobody actually did the car, as such. Iacocca in his book flat out comes and says I did the car. It's right there in print, "It's Dave Ash's Mustang." Bordinat will tell you I did the car. This book tells you I did the car, but, in actual fact, I had a lot of help, and I don't think anyone ever does a car by himself, not in these times anyway.[10]
To decrease development costs, the Mustang used chassis, suspension, and drivetrain components derived from the Ford Falcon and Fairlane. It used a unitized platform-type frame from the 1964 Falcon, and welded box-section side rails, including welded crossmembers. Although hardtop Mustangs accounted for the highest sales, durability problems with the new frame led to the engineering of a convertible first, which ensured adequate stiffness. Overall length of the Mustang and Falcon was identical, although the Mustang's wheelbase was slightly shorter. With an overall width of 68.2 inches (1,732 mm), it was 2.4 inches (61 mm) narrower, yet the wheel track was nearly identical. Shipping weight, approximately 2,570 pounds (1,170 kg) with the straight six-cylinder engine, was also similar to the Falcon. A fully-equipped V8 model weighed approximately 3,000 pounds (1,400 kg). Although most of the mechanical parts were from the Falcon, the Mustang's body was completely different; sporting a shorter wheelbase, wider track, lower seating position and lower overall height. An industry first, the "torque box" was an innovative structural system that greatly stiffened the Mustang's construction and helped contribute to better handling.
1964–1966
Since it was introduced five months before the normal start of the production year and manufactured among 1964 Ford Falcons and 1964 Mercury Comets, the earliest Mustangs are widely referred to as the 1964½ model.[11] A more accurate description is the "early 1965" model because it underwent significant changes at the beginning of the regular model year. All the early cars, however, were marketed by Ford as 1965 models. The low-end model hardtop used a "V-code" 170 cu in (2.8 L) straight-6 engine and three-speed manual transmission and retailed for US$2,368.
Several changes to the Mustang occurred at the start of the normal 1965 model year production, five months after its introduction. These cars are known as "late 65's," and were built after factory retooling in August 1964. The engine lineup was changed, with a 200 cu in (3.3 L) "T-code" engine that produced 120 hp (89 kW). Production of the "L-code" 260 cu in (4.3 L) engine ceased when the 1964 model year ended. It was replaced with a new 200 hp (150 kW) "C-code" 289 cu in (4.7 L) engine with a two-barrel carburetor as the base V8. An "A-code" 225 hp (168 kW) four-barrel carbureted version was next in line, followed by the unchanged "Hi-Po" "K-code" 271 hp (202 kW) 289. The DC electrical generator was replaced by a new AC alternator on all Fords (the quickest way to distinguish a 1964 from a 1965 is to see if the alternator light on the dash says "GEN" or "ALT"). The now-famous Mustang GT (Gran - Touring) was introduced as the "GT Equipment Package" and included a V8 engine (most often the 225 hp (168 kW) 289), grille-mounted fog lamps, rocker panel stripes, and disc brakes. A four-barrel carbureted engine was now available with any body style. Additionally, reverse lights were an option added to the car in 1965. The Mustang was originally available as either a hardtop or convertible, but during the car's early design phases a fastback model was strongly considered. The Mustang 2+2 fastback made its inaugural debut with its swept-back rear glass and distinctive ventilation louvers.
The standard interior features of the 1965 Mustang included adjustable driver and passenger bucket seats, an AM radio, and a floor mounted shifter in a variety of color options. Ford added additional interior options during the 1965 model year. The Interior Decor Group was popularly known as "Pony Interior" due to the addition of embossed running ponies on the seat fronts, and also included integral armrests, woodgrain appliqué accents, and a round gauge cluster that would replace the standard Falcon instrumentation. Also available were sun visors, a (mechanical) remote-operated mirror, a floor console, and a bench seat. Ford later offered an under-dash air-conditioning unit, and discontinued the vinyl with cloth insert seat option, offered only in early 1965 models.
One option designed strictly for fun was the Rally-Pac. Introduced in 1963 after Ford's success at that year's Monte Carlo Rally and available on other Ford and Mercury compacts and intermediates, the Rally-Pac was a combination clock and tachometer mounted to the steering column. It was available as a factory ordered item for US$69.30. Installed by a dealer, the Rally-Pac cost US$75.95. Reproductions are presently available from any number of Mustang restoration parts sources.
The 1966 Mustang debuted with moderate trim changes including a new grille, side ornamentation, wheel covers and gas cap. An automatic transmission for the "Hi-Po," a large number of new paint and interior color options, an AM/eight-track sound system, and one of the first AM/FM mono automobile radios were also offered. It also removed the Falcon instrument cluster; the previously optional features, including the round gauges and padded sun visors, became standard equipment. The Mustang convertible would be the best-selling in 1966, with 72,119 sold, beating the number two Impala by almost 2:1.[12]
The 1965 and 1966 Mustangs are differentiated by variations in the exterior, despite similar design. These variations include the emblem on the quarter-panels behind the doors. In 1965 the emblem was a single vertical piece of chrome, while in 1966 the emblem was smaller in height and had three horizontal bars extending from the design, resembling an "E". The front intake grilles and ornaments were also different. The 1965 front grille used a "honeycomb" pattern, while the 1966 version was a "slotted" style. While both model years used the "Horse and Corral" emblem on the grille, the 1965 had four bars extending from each side of the corral, while on the 1966, these bars were removed.
When Ford began selling the Mustang in Germany, they discovered a company had already registered the name. The German company offered to sell the rights for US$10,000. Ford refused and removed the Mustang badge, instead naming it T-5 for the German market.
A Place to Bury Strangers graces us with their presence once again. I'm still surprised this avant garde experimental band comes to St. Louis. The crowd, though not large, understands and appreciates this unique band. You have to see them to understand their artistry and power.
The subtitle of this series is the "madness of photographing in stobe lights". I asked Oliver Ackermann before they played if they were going to have strobes likes the first time I saw them. I just wanted to be ready for them. He laughed and, "Maybe." Oh yes there were strobes and they were even more intense than last time. It was a smaller more independent venue this time and maybe that made it easier to put on the show they REALLY wanted to. Though 60% of my shots were black, I managed to get a few.
#amy buxton
#Fall
#St. Louis
#A Place to Bury Strangers
#band
#music
#noise manipulation
#Off Broadway
#wave modulation
#Death By Audio
#Dion Lunadon
#Oliver Ackermann
#experimental rock
#space rock
#strobe light
#strobe
#concert
I plugged a little light sensor into an amplifier to hear invisible light modulation. One of my LED candles had a surprise.
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Started Sept. 15, completed Dec. 7, this 8000-piece art puzzle by Francisco de Goya ranks within the top few puzzles I've done in terms of difficulty. The very limited color palette, the dominance of muted and dark hues, and the fact that the image on the accompanying box didn't match the colors of the puzzle, made this one especially challenging. On the other hand, the painting's composition, punctuated by the square light-box and white shirt, and then emanating outwards into darker peripheries, made this one a real pleasure 'to watch grow.'
*****
I thought this might be a good time to provide some context about the painting itself - The Shootings of May 3rd, 1808 - which is very significant both in terms of Spanish art and art history in general. The text below is an excerpt from smarthistory.khanacademy.org/romanticism-in-spain.html:
Goya's dark vision
This painting offers an excellent example of the radical stylistic shift that rejects Neo-Classicism. Goya presents us with a dark vision of innocent Spaniards executed by a Napoleonic firing squad. In order to offer an explanation of what this event meant to Goya, we first need to introduce a little history.
The Napoleonic Empire
Napoleon Bonaparte, who, in a coup d'etat in 1799 seized control of post-revolutionary France from the weak governing body, the Directory. Napoleon eventually consolidated his power, and with a nod to Charlmagne and the Caesars declared himself Emperor. At the height of his power, Napoleon's empire included France, the low countries (Belgium, Luxembourg, and The Netherlands), Germany, Italy, Spain, and much of north Africa and the Near East. It is, of course, Spain that we need to focus on here.
By the end of the 18th century, Goya's talents had been rewarded and he had attained the post of First Painter to the Spanish monarch, King Charles IV. This enviable position was to be short lived, due to the poor judgment of the King. Early in the new century, Charles became convinced that Great Britain, which had previously wrest control of the world's seas from Spain, intended to invade its historical enemy.
The Crown's defensive response was catastrophic. Charles invited Napoleon Bonaparte to bring troops onto Spanish soil in order to defend against Great Britain, their great mutual enemy. The French recognized King Charles's fateful request as an admission of weakness and seized Spain. Eventually, Napoleon's brother, not the English, would replace Charles on the Spanish throne.
Initially, Goya, like many Spanish intellectuals, welcomed the French. Spain had been declining in wealth and power since the 16th century and had managed to avoid the beneficial revolutions in science, philosophy and industry that were then transforming Northwestern Europe. Intellectuals hoped that France would impose its modern Enlightenment culture on an increasingly reactionary Spain.
The Third of May, 1808
Goya's 1814 painting, The Third of May, 1808, The Shootings at Mount Principio Outside Madrid, expresses Goya's bitter disappointment. On May 2, 1808, a French soldier was shot dead in Madrid. A Spanish sniper was blamed for the murder, ostensibly an act in defense of Spanish autonomy. The French response was swift, brutal and wildly disproportionate.
On May Third, the following day, Napoleonic troops rounded up a large number of innocent civilians, marched them beyond the city's walls, and shot each of them. Goya depicts this grim scene by brilliantly twining form and content. In other words he finds ways to support the narrative through his choices in the actual construction of the canvas. For example:
Scale
This is a large canvas of a contemporary tragedy (the painting could be safely made only after Napoleon was deposed in 1814). It consciously refers to the historical use of large-scale history and religious painting (ex. David's Oath of the Horatii, 1784-85), asserting the Romantic claim that the present should reclaim its primacy over an idealized past. Large scale both implies significance and makes the scene both proximate and immediate for the viewer. Goya's scale places us not so much outside the canvas, looking in, but rather so that it seems that we are enveloped into the space, we are not so much observer as direct witnesses.
Composition
Rather than the more obvious solution where both the French and the Spanish face off in perfect and equal profile, Goya has shifted our vantage so that we more directly face the victims while the faces of the Napoleonic guard are obscured. This successful strategy increases our sympathy on the one hand while reducing the soldiers individuality and perhaps even equating them with the guns that become their faces on the other.
Similarly expressive is Goya's decision to trap the persecuted against the rising mountain and the heavy and forbidding blackness of the night sky. Finally, Goya multiplies the terror of the immediate ordeal by trailing the line of unfortunate captives into the distance, suggesting the that this action will by repeated throughout the night.
Line, Brushwork and Color
In sharp contrast to the smooth surfaces and modulation of tone seen in Neo-Classicism, French and Spanish Romanticism tended to strive instead for a more impulsive, more physical mark.
In Goya's painting the figures are rendered in comparatively broad and rough strokes of the brush. Like the mature work of the Great Spanish Baroque painter Diego Velasquez whom Goya so much admired, there is in the Third of May... an effort to invigorate and humanize the frozen compositions of the previously dominant styles (the High Renaissance and Neo-Classicism respectively). This newly recovered aggressiveness is also expressed through light and color. Goya intensifies the painting's emotional pitch by the interaction of sharp contrasts; light collides with expansive darks; white and yellow are sharp and vivid against the deep blacks, browns and reds.
Symbolism
Light is central to Goya's image. Like the Baroque masters, Gentileschi and de la Tour, the picture's sole source of light, the papered oil lantern controlled by the French, is contained within the frame of the canvas. Some art historians that specialize in Goya have suggested that this lantern functions as the bitter core of the painting. It symbolizes the Enlightenment that Goya had once hoped the French would bring to Spain but is here used to further their campaign of terror, the enlightenment turned to evil purpose. Certainly, the lantern focuses our attention on the spectrum of emotions on the face of those being shot.
Our eyes are drawn to the young man in white and yellow. In contrast to the pleading and terrified faces that surround him, he stands with arms up facing his enemy. It is in the mighty yet fragile bravery expressed in this man's face that Goya's deep humanity becomes apparent. But Goya invests this figure with even greater importance. While at first the figure's raised arms might be read as a sort of active surrender, Goya is in fact mimicking Christ upon the cross. Note the stigmata that appears in the figure's right hand. Goya has cast this massacre as a martyrdom borrowing more than scale from the history of art.
Tiziano Vecelli or Tiziano Vecellio (c. 1473/1490 – 27 August 1576 better known as Titian was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno (in Veneto), in the Republic of Venice. During his lifetime he was often called da Cadore, taken from the place of his birth.
Recognized by his contemporaries as "The Sun Amidst Small Stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art.
During the course of his long life Titian's artistic manner changed drastically but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of polychromatic modulations are without precedent in the history of Western art.
Cycles is a unique step sequencer for crafting complex and experimental percussion patterns on the iPad. This is a proof of concept in the early stages of development.
untitled (modulations)
2016_08_13
charcoal pastel and graphite on manila tagboard
12" x 12" (30.48 x 30.48)cm
Matt Niebuhr
West Branch Studio
Context Provocation Mythogram (Part 1 on Lost by David Shrigley) (part 2 on The Messenger - by Bill Viola)
I had seen the grey and white pigeon with black bits, on a number of occasions. It seemed to have a habit of standing in the gutter at Gorbals Cross, even in the pouring rain. Why it seemed indifferent to the wet, when everyone else in Glasgow was running for shelter, I could only wonder at. Then I saw this notice Sellotaped to a tree in a park. It had an intriguing strangeness about it, so I called the telephone number, but it was unobtainable. There was a cold wind blowing when I returned to the park, but it brought with it a faint aroma of baking bread. I moved in close to the advertisement, to try and understand its logic, but suddenly a colder gust tore the scrap of paper from the tree, and as I watched, it soared away and fluttered in a huge grey Glasgow sky.
What was the significance of the advertisement? Glasgow must have a million pigeons, all of them grey and white with black bits, so why would anyone need to advertise for one that's 'lost', and then by the same token imply that they didn't want to find it anyway? I began to suspect that there never had been a pigeon, and that something quite different was lost. But how do you find what's lost, when you don't know what you're looking for?
There does seem to be a pigeon living, so to speak, in the visual language of the notice. It's an ideal, not a physical pigeon. A kind of word pigeon, which seems to be hinted at by the addition of the letter 'd' to the word pigeon, suggesting a creature hybridised from two words:
pigeon: a bird with a heavy body and short legs, sometimes trained to carry messages.
pidgin: language, not a mother tongue, made up of elements of two or more other languages.
Is what is sought a normal sized, mangy, grey white and black, nameless bird, with short legs and a heavy body? Is it sometimes trained to carry messages in a language made up of elements of two or more of the languages? This is not so confusing, because any text carries at least two themes. Some are read in the words, and the others can be read between the lines. By doing this, and accepting that there is only language, we can try to understand the difference between this ideal pigeon and a pigeon-shaped physical thing.
Supposing, for the sake of argument, that there are such things as pigeons, (and we can't tell from the advert that there are), we could make an inventory of things we think we know about pigeons. We could then say, that this is an inventory of assumptions that are implied by, and therefore used by the advert to kindle the ideal pigeon. They lie as it were, between the lines of the advert, but they affect the language it uses, and the way it looks.
Of all we think we know about physical pigeons, one important difference is that they live and die in a city of cliffs and ledges. They don't experience the city they shit on, and fly in, as the buildings of an urban social system. We experience their behaviour as a sequence of differences, and when we think we understand these differences, we make words for their different ways of behaving. Through language, pigeons are absorbed into the structure of the city; but they aren't aware of being absorbed into a world of words. They experience the city as pure spatial difference, and they don't need their language to indicate objects.
This is where the two languages of the advert seemed to conflict. Language for us is the means by which we try to organise the world, but between the lines, we see that language for a pigeon is not that at all. We could call this conflict 'poetry', and leave it at that; but that might divert us into art, and away from the city. If we are to find and read its lost message, we should really face head on, the dangers that the advert imposes on logic.
A pigeon's life is the defence of its pigeon-hood. Everything a pigeon does, is aimed towards its survival until that situation is impossible. Even its call. We hear a pigeon making a cooing sound that differentiates it from the other things in our frame of reference, and we say that one of the reasons that this thing is a pigeon is because it is cooing. But cooing is not metaphorical language, made up from various subtly different sounds that represent things like the eggs and nest. Although there are certain modulations of cooing, these are not differentiated from each other by their need to function in a language as a sign for something. Cooing is part of the sexual posturing of a pigeon, and because of this, cooing is the profound defence of its own pigeon-hood. As far as we can determine, a pigeon is absolutely its own most cooing thing - for itself and only for itself.
A pigeon is essentially an 'am cooing' thing, not a self-conscious 'I am cooing'. Cooing is pigeon; but that 'is', as an implication of presence, is only as far as we can say it with words, because pigeons aren't inside something called presence. And because pigeons have no need to represent themselves to themselves, they have not evolved a language that can elevate the self, that a pigeon could be conscious of, to the status of the genetically infinite.
Our consciousness of time as a linear unfolding of 'nows', centred on the present, supports a common language structure that is also linear. We talk in time, and we hear ourselves speaking at this present moment. Our language is made of words that are repeatable ideal values, derived from ideas and from things like pigeons. We hold these things ready for use, and at any time, we can represent them, so to speak, almost as if they are physically here. But to be able to communicate in this way, we need to suppress in a quite unethical way, that physicality of things, the unity of which is the very idea of pure spatiality, that profound exterior difference between any one present moment and the next, that would compromise and confuse the linear logic of language. We must suppress the physicality of things, or we wouldn't be able to speak, for living in the pure breadth of unlimited relativity. But the physical nature of pigeon shit is never experienced through discourse. The sanctity of our consciousness of pigeons is seldom contaminated by the abject orifice.
This necessary degree of colloquial insulation from the physical is reflected in our practical behaviour. We have a manual dexterity that enables us to arrange materials, and experience them as such. This is because our internal time consciousness predisposes these skills and materials to being for the sake of some future arrangement, and for some progress towards a better situation. We call this technical expertise, technē, which was for the Greeks, crucially, a practical experience gained from encountering the differences of the physical world, which they were part of.
This view from within the physical world was manifest in their art and architecture, and the Greek body and mind was no doubt fused to the planet. But this plural and diverse way of thinking was already being suppressed through the linearity of a language that had to be made to account for the capitalism and control of material wealth. Derrida's reference to Leroi-Gourhan's text, describes this:
"The development of the first cities corresponds not only to the appearance of the technician of fire, but... writing is born at the same time as metallurgy. Here again, this is not a coincidence... it is at the moment when agrarian capitalism began to establish itself, that the means of stabilising it in written balance accounts appears, and it is also at the moment when social hierarchization is affirmed that writing constructs its first genealogists... the appearance of writing is not fortuitous; after millennia of maturation in the systems of mythographic representation, there emerges, along with metal and slavery, the linear notation of thought. Its content is not fortuitous."
Through the centuries, this linear notation assumed an ascendancy that changed the way European people thought, and the type of questions they asked. Technical specialism and linear notation gradually came to repress what Leroi-Gourhan calls the "Mythogram" - a writing that spells its symbols pluri-dimensionally. Gradually, people asked less the question, why is this the way it is, and more they began to ask, what is it in its own structure? This change of purpose may be evidence that a 'culture' had begun to see itself as self-sufficient; but it was also the opening of technology, that paved the way for an unlimited globalized commodification.
Today, the technical operations of our production lines dovetail smoothly and imperceptibly with linear language. These two modes of structural or systemic defence become synonymous in the word technology, which is the practical management of something called nature, within the voice of consciousness. This ideal world enables us to avoid grappling with pure awkward difference.
Pigeons are not technological. A nest isn't built from twiggy and feathery materials. As a pigeon grapples with the pure awkwardness of physical things, it's not aware of them as materials for progress. What we call materials for nestbuilding, are for a pigeon that exterior part of its own physicality, that must be arranged as a defence of its pigeon-hood. A pigeon is that properly constructed nest, the truth of which is only verifiable in terms of eggs and chicks. Pigeons are their own profound physical relationship with the planet, they are that very spatial exteriority of difference between them and the things they deal with, that one day just stops.
By calling on lost feral pigeon, the notice implies something of this. What is so disconcerting, or indeed dangerous about it, is that it plugs straight into that unnameable spacing, that was already there between one present moment and the next, before the very idea of representation. In other words the advertisement cannot be a representation derived from anything; the advertisement is a purely physical, and visual thing. You might say that its words were never voiced, or that its speech, which would always have been the easiest and most powerful way to represent and dominate things in the breath of its spirit, is immediately silenced by a pigeon that could never be present. Or even lost.
By implying that neither nests nor twigs exist as such - by making us think the one as a trace of the other - the advert is quietly and persistently subverting all urban technologies. By drawing on that very unremarkable ubiquitous thing, which is the absolute opposite to what is required for any marketable item, the notice introduces a lethal virus into the world of advertising. By calling with words, to a pigeon that could never be lost, the notice does violence to the logical structure of language. In fact, by the invocation of something that could never be present, the advert erases its own words as representations. Pigeons do not exist. This advertisement is essentially and profoundly untrue. The answer to the question 'what is lost?' is indeed 'what is lost?', or at least that voracious mode of questioning, and with it goes the assumption that texts relate to objects. Because it has used the ideal pigeon, as pidgeon, to silence its own voice, it hangs there abjectly, but quietly optimistic.
To write these things is to think towards deconstruction, and to be suspicious of the power assumptions inherent in a language of representation. The central currency of this language is the image. Which is why so much of traditional art practice has, in recent years, been called into question, by artists whose thoughts tend towards deconstruction. This may have something to do with what Joseph Kosuth was thinking about when he said in 1969:
"Being an artist now means to question the nature of art. If one is questioning the nature of painting, one cannot be questioning the nature of art. If an artist accepts painting (or sculpture) he is accepting the tradition that goes with it. That's because the word art is general and the word painting is specific. Painting as a kind of art. If you make paintings, you are already accepting (not questioning) the nature of art. One is then accepting the nature of art to be the European tradition of a painting - sculpture dichotomy".
Well maybe. It all depends on the context and the intention of the image. David Shrigley's advertisement for a lost pidgeon, as an advertisement in a world of advertising, is a static image that successfully interrogates itself to death, and by doing this, performs deconstructive surgery on its greater technological structure.
Context Provocation Mythogram Part 2 - on The Messenger by Bill Viola
A critical essay by Stan Bonnar
link to still from the video: www.flickr.com/photos/stan_bonnars_artworks/9640685983
In 1996, the church of England's chaplaincy to the arts and recreation in north-east England, commissioned the American artist Bill Viola to make a work in response to Durham Cathedral. The building of this great cathedral was begun in 1093, and it is considered to be one of the finest examples of a Romanesque-Norman architecture in Europe. Viola's artwork is a video entitled 'The Messenger', and this is how he describes the piece:
"A large image is projected onto a screen mounted to the great West door in Durham Cathedral. The image sequence begins with a small, central, luminous, abstract form, shimmering and undulating against a deep blue-black void. Gradually the luminous shape begins to get larger and less distorted, and it soon becomes apparent that we are seeing a human form, illuminated, rising towards us from under the surface of a body of water. The water becomes more still and transparent and the figure more clear on its journey upwards towards us. We identify the figure as a man, pale blue, on his back rising up slowly. After some time, the figure breaks the surface, an act at once startling, relieving and desperate. His pale form emerges into the warm hues of a bright light, the water glistening on his body. His eyes immediately open and he releases a long held breath from the depths, shattering the silence of the image as this forceful primal sound of life that resonates momentarily in the space. After a few moments, he inhales deeply, and, with his eyes shut and his mouth closed, he sinks into the depths of the blue-black void, to become a shimmering moving point of light once more. The image then returns to its original state and the cycle begins anew."
The scandal which ensued the installation was eagerly grasped by the national press. This response from John MacEwan in the Sunday Telegraph:
"On press day, journalists arrived to find to the Dean and Chapter in a flap. They had been legally advised to protect themselves against indecency charges by getting police clearance. Screens were being hastily arranged to hide the film from the general view, because the police had warned that the sight of 'appendages' might upset the public. As the Dean explained: A child who had been sexually abused might come into the cathedral and be disturbed by a large image of a nude male.
"The Dean praised the film: I only saw it this morning, but I think it is a great work of art. Canon Bill Hall, who commissioned the work, added to general approval that it was regrettable it could not be seen as conceived, in full view at the west end of the nave.
"Such verbal support cannot conceal the fact that by admitting the film can cause offence, the Dean and Chapter immediately put themselves in the wrong. To add humiliation to lack of judgement, they have also bowed to the secular authority of the police on a matter they claim to be spiritual. The ensuing mess is no more than they deserve. By turning a blue movie into a Blue Movie, there does indeed seem very good reason for an outraged member of the public to take them to court. The heavy breathing of the soundtrack is now far more scandalous than the screened-off nudity."
Viola's intention had been to make The Messenger: "...have this resonance with, hopefully have a dance with - on the positive side, - on the negative side maybe a conflict with this incredibly powerful place." But although he hopes that the work will have a perceptible interaction with the place, somewhere between dance and conflict, the result was off the scale. In Durham the messenger will inevitably be remembered as screened and censored, so it is worth trying to understand what happened.
It should be noted at this point that The Messenger was also seen in art spaces around the country. I saw the work in the South London Gallery, and although the space was quite dark, being illuminated only by the video projection, there was little resonance with the building itself. I approached the work from this location. Under normal circumstances, the time that the cycle takes, would have involved the terminal expulsion of breath while underwater. This technological stretching of time could be viewed as a subversive commentary on the breath, the voice, and the spiritual dominion of man - a deconstruction of representational purity, glimpsed through an image of the very invincibility of man in fortress 'metaphor'. The authenticity of this view would be signalled by abject desperation, the symbol of a search for the means of linguistic suicide. But although the man is said to be desperate, there is nothing in his body language to suggest despair. That Viola's man is not distressed by any technological dislocation from the meaning of his image, might suggest a utilisation, rather than a critique of metaphorical language.
If this is true, it suggests that the messenger does not address the problem of time and language to the extent that's possible in video artworks. It may be that the water is a metaphor for the subconscious in unity with its physical surroundings, and that this is evidence of pluralistic thinking; but the apparent ease with which he uses metaphor, means that the image as an ideal narrative object, cannot be wrested away from a dominating subject. Because metaphor is essentially derivative and linguistic, its viability as a tool for use towards a greater understanding is in doubt, immediately understanding attempts to dig its way out of representational language. Viola stops The Messenger from drowning through the use of metaphor.
Although Viola reintroduces the human body into the Christian spiritual equation after its exile for centuries, he fails to convince the Sunday telegraph art critic, that The Messenger is nothing more than "... yet another example of body art, its concentration on the physical the reverse of spirituality." Yet surely, as one so involved in the mystical aspects of religious thought, it could be expected that an exploration of mind as body would be central to his project, and that the messenger's body would not be isolated from its own abject but nevertheless potentially ethical reality, by an envelope of spiritual consciousness. Nevertheless although bathing in a linear model of time, The Messenger is the catalyst that causes the very foundations of Durham Cathedral to shake.
It could be argued that what was being censored was not the nudity of the messenger, but the idea of ecstatic love as a way to God. Bill Viola writes that his work is based in unknowing, in doubt, in being lost, in questions and not answers, and he relates to the role of the mystic because of this. He is fascinated by the ancient Christian teaching called the via negativa, the basic tenet of which is an unknowability of God, who can only be approached in love - through the body as much as through the mind of the individual. By love, the soul enters into union with God, a union not infrequently described through the metaphor of ecstatic sex. The via negativa was eventually dominated by the more familiar via positiva of today, a method of affirmation that describes positive, human attributes such as Good and All-Knowing to the image of a transcendent God. But there is also an other aspect to ecstasy.
In his book Being and Time, Martin Heidegger disclosed ecstatic temporalising as primordial to the commonsense sequence of 'nows' we recognize as everyday time: "Temporality is the primordial 'out-side-of-itself' in and for itself. We therefore call the phenomena of the future, the character of having been, and the Present, the 'ecstases' of temporality."
He also disclosed temporality as the ontological meaning of care, and care as Being-towards-death, from which one might assume that ecstasy, both ontological and colloquial, encounters death in a way that would be threatening to the infinite linearity of English ecclesiastical time. In other words it could be argued that it would be necessary for the clergy to censor this aspect of ecstasy, even more so than the sexual aspect of the image.
Nevertheless, the attempt to censor many intimate moments of divergent thought, backfired, causing what might have been a gradual evolution of understanding, to become one of a least intended, catastrophic change, that plunged the people, the clergy and the shaman into an abyss of controversy.
To remember an important dream, is to begin to make sense of its symbols. Although these are events in time, what is important in a dream, is the way in which its images are patterned by the brain. This gives a symbolic picture of the subconscious state, and introduces a potential energy for change. To tell about the dream, is to make word signs that represent its symbols. In Durham, The Messenger may have inadvertently threatened the temporal power base of the Church, and provoked an abject dislocation in its language structure; nevertheless, because this is a shared experience, the first thing to change in light of this dream, might be the very language used to tell it.
The Messenger works because Bill Viola is immersed in the same linguistic structure as the church. He is able to open up this meaningful dialogue in a common language, that results in the spontaneous transformation of the situation. This is the only criterion for success. Most important though, is the need to recognize that it's not an artwork entitled The Messenger that people are standing around questioning, but it's their own ideas of what happened, that they are standing among as part of.
When Canon Bill Hall says that The Messenger is great art, he is defining great art within its context. This is close to what Donald Judd meant when he said, "if someone calls it art, it's art." Within that frame of reference, art becomes a word to use, to contextualise an act, to locate it in a social structure of the same name. Here there is a problematic difference of perspectives on art, from two structures that lay claim to ownership of the messenger. When the Dean refers to this as great art, he sees the entire situation at the cathedral as something that's going to profoundly affect his life. He no doubt is very sensitized to the abjectness of the whole situation. On the other hand, when The Messenger is viewed in the isolation of art, a sense of the abject that might signal an intention to bring death into the linguistic equation is missing.
Viola is happy for the work to be shown in art galleries around the country, because he also belongs to an art world structure. But here the problem centres on the definition of something as art. As long as this uni-dimensional conceptual pattern of a specialized social system called art, persists, it will place a barrier between an intention to deconstruct, and any functioning social system which that deconstruction intends to be part of. In this case it forestalls the necessity for art critique to delve into the contextual background of the work, which would reveal the situation as being truly subversive for its context, the Church. This seems to raise the question as to whether it would in fact be counterproductive to place artists-in-residence in such institutions.
To paraphrase Joseph Kosuth's earlier statement, an artist, being a thinker now, means to question the nature of functioning social structures. If one is questioning the nature of art, one cannot be questioning the nature of other functioning social structures. If a thinker accepts art, they are accepting the tradition that goes with it. That's because the word society is general and the word art is specific. The art world is a kind of functioning social structure. If you make art, you are already accepting (not questioning) the nature of society. One is then accepting that the human image can only really be reflected by art, and disseminated as such to society.
Nevertheless, art exists, and a defining factor of deconstruction is that it operates on the periphery of its own linguistic structure. It could be argued that if something is art, then by definition it can only deconstruct the languages of art. To be sure it filters through eventually to a broader church, as minimalist style, but to whose benefit? Although much of contemporary deconstructive art is difficult to commodify, it still submits to an art objectification, which capitalism would no doubt see as its last line of defence. If it is this linear, linguistic, capitalization of physical things that threatens to be erased by deconstruction, then capitalist thinking would need to maintain the Object, in order for its languages to be able to predict an infinity of its own presence. This objectification is a technological distance that corporate interest must proliferate to survive; but it means that people forget what proximity is for.
These political processes through which art appropriates, commodifies, and neutralizes the ethical impulse of deconstruction, thwart even the most determined attempts at linguistic suicide. To be art, it must have at some stage controlled unpredictability for its own pre-diction as art; it must at some stage in its own future, be able and willing to look back on proximity, as something that happened before it became art. And yet it is that very unpredictability of proximity that allows fluid discourse to find its own democratic level. Deconstruction seeks democracy in the silence of the artists voice, but this is inevitably only a demonstration of how to deconstruct. If art is to transcend its own objectification, a new art tendency must be conceptualised from which the whole of art can be deconstructed. If the whole of art could be viewed by the whole of the population, from the multitude of tiny intimate moments in time that would motivate such a tendency, then the silence would be intense.
To begin to recognize what factors might characterise this tendency toward democracy in art, we might refer to Simon Critchley's book, The Ethics of Deconstruction, Derrida & Levinas. In this work, Critchley draws on Emmanuel Levinas' thinking on ethics.
"...Levinas is preoccupied with the possibility of an ethical form of language, the Saying, which would be irreducible to the ontological language of the Said, in which all entities are disclosed and comprehended in the light of Being... the Saying is my exposure - corporeal, sensible - to the Other, my inability to refuse the Other's approach. It is the performative stating, proposing, or expressive position of myself facing the Other. It is a verbal or non-verbal ethical performance, whose essence cannot be caught in constative propositions. It is a performative doing that cannot be reduced to a constative description."
A tendency towards democracy in art might germinate in this spatial relation to the other. Language opens up the issue of HOW being in relation to the human other is articulated, ethical or not, but prior to language is the Saying, as the "...sheer radicality of human speaking... as the very enactment of the ethical movement from the Same to the Other", as the very unnameability of the trace. Art might raise the issue of its own transcendence in this space, as a performance in the unpredictable proximity before the Other.
At issue here is a tendency within the ontological language of art, to say 'Yes' to the unpredictable Otherness of the Other. If as Levinas states, the Saying is my corporeal and sensible inability to refuse the Other's approach, then it makes sense to perform art in a space of maximum unpredictability. This does seem to suggest that the whole of art might best be deconstructed in public spaces that are unrestricted, and in which the Other is not a predictable object in the artistic field of vision.
Unrestricted public space is full of people, who come close in an unpredictable way, but who are nevertheless capable of forming the 'we' who can in this present moment, demanded justice, or take a political decision for the justification of any issue. Art is such an issue, but deconstructive art, as a signification that raises the question of signification, could be a means to rediscover the sheer proximity necessary to democracy.
I want to refer back to the mythogram, but now as a clearing for the writing of stories whose symbols spell themselves pluri-dimensionally, and as a deconstructive continuum for ethico-political decisions. A tendency to open democratic space.
website - stanbonnar.net/
it's quite funny how nowadays photography and the optical impression of social crossroads (television, printmedia) seemed to have turned to utter clean almost aseptic pictures - i'm deliberately excluding its verbal codes - avoiding any possible disturbance regarding noise or distortions, qualitywise and contentwise - sure, there always have been anachronistic turns with real and improvised analogue influences (holga) but over all we approached a race of clinical sterility in my eyes.
but doesn't the exact opposite stand for life, for slow decay: the rather change, inheriting modulation; the state of vagueness, of non-fixation, of influenceability, of persuasibility and therefore its consequences and their impacts?
have a nice day
Rolex Learning Center - EPFL Lausanne
Designed by Roger Pfund
(MODULATION ENTRE HARMONIE ET MATHÉMATIQUE - 2010 Roger Pfund)
The loss of communications during a nuclear war was a very real threat and United States’ National Command Authority needed to be able to maintain communications with the triad of strategic nuclear weapon delivery systems during such an event. Their solution was a series of survivable airborne communication links whose primary mission was to relay signals from a command plane to the strategic forces. The system, named TACAMO (“Take Charge and Move Out”), uses verification, modulations, and encryption techniques across virtually every radio frequency from very-low frequency (VLF) up through super-high frequency (SHF)
In this image, an EC-130G (a modified C-130E) of the Fleet Air Reconnaissance Squadron 4 (VQ-4 “Shadows”) at Naval Air Station (NAS) Patuxent River, Maryland, performs tests over along the Barrier Islands on east coast of the United States. It is designed as an Airborne Battlefield Command and Control Center (ABCCC) for the United States Air Force and Navy. The Navy’s TACAMO variant was fitted with VLF transmitters to provide communications with ballistic missile submarines.