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Randy where did you learn to write music? Did you take theory classes in high school or are you self taught?

I saw this infographic in 8th grade and ever since then it’s just been googling for more specific details
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films on youtube (with subtitles)
Chinese Roulette (1976), dir. Rainer Werner Fassbinder
The Third Generation (1979), dir. Rainer Werner Fassbinder
The Bitter Tears of Petra von Kant (1972), dir. Rainer Werner Fassbinder
Tenderness of the Wolves (1973), dir. Ulli Lommel
The Devil (1972), Andrzej Zulawski
In the Mood for Love (2000), dir. Wong Kar-wai
Fallen Angels (1995), dir. Wong Kar-wai
The White Balloon (1995), dir. Jafar Panahi
The Hidden Half (2001), dir. Tahmineh Milani
Low Heights (2002), dir. Ebrahim Hatamikia
Invisible Adversaries (1977), dir. Valie Export
Menschenfrauen (1980), dir. Valie Export
The Practice of Love (1985), dir. Valie Export
The Man with the Suitcase (1983), dir. Chantal Akerman
Portrait of a Young Girl in the Late ’60s, in Brussels (1994), dir. Chantal Akerman
U.S. Go Home (1994), dir. Claire Denis
It’s Impossible to Learn to Plow by Reading Books (1988), dir. Richard Linklater
Stranger Than Paradise (1984), dir. Jim Jarmusch
Coffee and Cigarettes (2003), dir. Jim Jarmusch
Wild Strawberries (1957), dir. Ingmar Bergman
Brink of Life (1958), dir. Ingmar Bergman
Winter Light (1963), dir. Ingmar Bergman
Shame (1968), dir. Ingmar Bergman
The Passion of Anna (1969), dir. Ingmar Bergman
The Mirror (1975), dir. Andrei Tarkovsky
Faces (1968), dir. John Cassavetes
Husbands (1970), dir. John Cassavetes
Minnie and Moskowitz (1971), dir. John Cassavetes
Shadows (1959), dir. John Cassavetes
Love Streams (1984), dir. John Cassavetes
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when u and ya mom about to leave to house and she get a phonecall and u just standin there like

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Hey Tumblr people! If you get a sec, could you please fill out this survey? It’s short, fun, and in the name of Art! I would much appreciate!
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BOBBY BAKER. 2014. A performance piece. I archived various sketches I've made into one static image, which I then projected onto the wall. I move about the image, struggling to retrace the images onto my skin, while simultaneously attempting to recall why or when I made the doodle.
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ARIZONA AND OTHER LIES
As a child I was a pathological liar. I did not lie to impress people or hide things I was ashamed of. In fact, I'm still unsure what motivated me to bend the truth. A few examples of my false proclamations: -My middle name (there were a few iterations of this including "Vincent" "Foster" and "Jerome") -Once I bought a tree ornament from a craft fair and when I presented it to my teacher, I claimed my Aunt made it. -I bought home made pasta salad from a deli and told everyone at the picnic that my mom made it -I affirmed that I used to have my ears pierced, but I took out the earrings and they filled back in. -I once wrote an entire short story for class about my experience breaking my leg and went into details about how I "lay on the couch in pain for three days" and passed out on the hospital table, etc. In reality, I fractured my leg when I was a year old. I remember absolutely none of the incident. There were countless others. Not only were my lies intricate and low-profile enough to avoid skepticism, but I kept tally on whom I lied to. I made sure to keep up the lied to those who have heard it and to take it a step further, I took into consideration others who might interact with those to received the lie to ensure there was continuity if the subject ever came up. To this day I still feel the urge to lie, to resculpt myself in a way that instills in me a feeling of power. Not power over others or anything tangible, but over my own reality. My own identity One lie that sticks out vividly in my head was an alternative setting to my childhood. I told teachers and classmates that up until starting my public school career, I was born and raised in the state of Arizona (a place I still have never been to). My current project (working name "Home Sweet Home, Arizona") attempts to recreate that space of a nostalgia that has been tampered with to fit seamlessly to the reality of my childhood. To do this, I will be combining motifs that existed and some that didn't. Only I will know the difference.
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William J. O’Brien @ The MCA
William O’Brien’s show at the MCA is curated in such a way that even the non-Art-world viewer can understand that backbone of his pieces. The journey (of mostly untitled works) begins with a sampling of his drawings, graphite, charcoal, etc on paper. Many of the compositions started as rubbings or large, gestural markings. Seeing this was essential for the rest of the works that were to follow. O’Brien starts even his most complex mixed media wall pieces with the same construction of a rubbing or other system which he then begins to project out into space with string, sequins, lacquer, resins, etc. With that construction in mind, the show became about a composed celebration of media. Sparkles and ephemera incorporate into the canvas brining the pieces into a world of the decorative. More so than taking us to the world of found materials which reference consumable product, O’Brien seems to practice craft in a quasi-ritualistic manner. In a series of drawing/paintings made of felt sewed onto canvas, the material is blatantly exposed, the white stitch marks outlining all of his forms. In this way, we are forced to think about his process, and not only that, but the significance of his process. The aesthetic calls to a nostalgic space, referential to childhood (soft texture, primary colors) and the material reminds us of the history of felt-making, an old practice which becomes an expression of cultural ritual. In another piece, we see O’Brien start with a structure of sheet music and found ephemera related to music. He literally composes the thick body of string, mesh, paint, etc over the construction represented by music. Here, he ties in multiple art expressions and allows them to influence one another. In this way, he manages to balance the worlds of his own influence and the influence of the medium itself. His work is an impressive fusion of concept and presence, and of process and product. His canvas-objects are more than they are while simultaneously remaining exactly what they are. The tension between these spaces is uncomfortable. The actual textures are recognizable, and the glitz of the construction pulls us in in the way that we might be enamored by the toy aisle of a Department Store. The overall effect however of the gooey looking, almost flesh-like forms is disturbing. This combination brings the grotesque into conversation, which carries through into his sculptural work. His ceramics reminded me immediately of a different, more extreme take on the ceramic pots of Ai Wei Wei. Wei Wei paints bright colors over the porcelain ceramic vases of Chinese antiquity. Using a fresh coat of paint referential of a semi-contemporary practice, he covers old art objects embedded with ritual and history. O’Brien achieves something similar in effect, but with far more subtly. Overall I was very pleased with the show.
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COPY FROM MEMORY TO PAGE TO SELF (TO DESKTOP); JACK GRUSZCZYNSKI; 2013
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SAY I AM YOU
I am dust particles in sunlight. I am the round sun.
To the bits of dust I say, Stay. To the sun, Keep moving.
I am morning mist, and the breathing of evening. I am wind in the top of a grove, and surf on the cliff.
Mast, rudder, helmsman, and keel, I am also the coral reef they founder on.
I am a tree with a trained parrot in its branches. Silence, thought, and voice.
The musical air coming through a flute, a spark of stone, a flickering in metal. Both candle and the moth crazy around it. Rose, and the nightingale lost in the fragrance.
I am all orders of being, the circling galaxy, the evolutionary intelligence, the lift, and the falling away.
What is, and what isn’t.
You who know, Jelaluddin, You the one in all, say who I am. Say I am you.
-Rumi جلالالدین محمد بلخى (Sufi poet 13th century CE)
I have been thinking a lot about final words of this great Sufi poem, Say who I am. Say I am you. That phrase has been on my mind for years now, because it characterizes how I feel about the nature of being. Our identities rely on our differences, yet we all crave a world of balance and explanation. Everything is one, including our consciousness.
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IS AND ISN'T: A PROPOSAL
In regards to building a body of work, my thoughts have been orbiting the idea of lacking. On a formal level, this could be as simple as making work about “negative space” as a subject. But on a more involved level, I am interested in how what we lack helps define identity. It is my belief that in this day and age we work tirelessly to define our multiple identities whether by listing our interests on social media sites, creating an image in the way we present ourselves, or introspectively organizing beliefs in such a way that satisfies some sort of concreteness in the universe. Although I am no exception to any of this, I find upon that the majority of is dominating my consciousness during the day is mundane happenings and large voids in the narrative of my life. The majority of what actually occurs during my day (walking from place to place, waiting on the train, dressing, etc) will be forgotten, or at the very least compressed into a vague summary of the elapsed time and stored half-heartedly in my memory as a placeholder. I intend to explore this subject of ideas that exist exterior any paradigm in various media. Initially, I will strip down my exploration to the dialectic of subject and other in its most formal sense. First using traditional media and then moving into the world of sculpture and performance, I will attempt ways of highlighting the negative space in compositions weather by changing its function or by creating compositions in which negative space becomes filled and represented somehow. Based on my discoveries during this process, I will take these aforementioned techniques and apply them to world with more dissectible subject matter, perhaps including figural forms. Although I have no end goal per se, I would like to be able to tackle the narrative structure from the direction of what is lacking and see how I am able to describe it using that perspective. My process of exploration will be in itself a model of the phenomenon, which it is trying to explain. Therefore, I will pay close attention to the process, keeping notes and analyzing how my failures and unrelated activity affects the product.
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SUCCESSFUL PAINTING UNTITLED; JACK GRUSZCZYNSKI; 2013
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MAKE A MAP OF YOUR CEILING; JACK GRUSZCZYNSKI; 2013 Lie down on your back in the room in which you are currently. Take several minutes to observe the geography of the ceiling from the obvious forms to the finest details. Now draw a map of the ceiling and label these various landmarks. Are there scuffs or marks? Cracks? Smoke detectors or lighting fixtures? Name different regions of your ceiling. Are parts in shadow or covered in cobwebs? ETC *DOCUMENTATION: A picture or scan of your map. You may wish to include a key, legend, or short description containing any other information you wish to provide. SUBMIT HERE
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RESPONSE TO LEARNING TO LOVE YOU MORE; ASSIGNMENT #9: Draw a constellation from someone's freckles.
CASSIOPEIA'S HORSE; JACK GRUSZCZYNSKI; 2013
*THANKS LOGAN, FOR VOLUNTEERING YOUR BACK
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