#segle X

[negreabsolut]

Mapa dels comtats catalans a finals del segle X. Borrell II posseïa els comtats de Barcelona, Girona i Osona (947-993), i també el d'Urgell (948-993). Oliba I era comte de Berga i de Ripoll (998-1002). Oliba Cabreta era el comte de Cerdanya (965-988), amb els pagus de Berga i de Conflent, i comte de Besalú (984-988), amb el pagus de Vallespir. Després d'ell, Guifre II de Cerdanya i Berga fou comte de Cerdanya i Conflent (988-1035) i de Berga (1003-1035). Després d'Oliba Cabreta, a Besalú fou comte son fill, Bernat Tallaferro (988-1020). Al Rosselló foren comtes Gausfred I (931-991) i Guislabert I (991-1014). El Vallespir era vescomtat, part del comtat de Rosselló. N'era vescomte Guillem I (991-1028). A l'Urgell, després de Borrell II de Barcelona, hi governà son fill Ermengol I (993-1010). Al Pallars hi governaren en condomini els germans Ramon III i Borrell I (948-995). A la mort d'aquest darrer foren succeïts per son fill Ermengol I de Pallars (995-1010), que hi governà en condomini amb Sunyer I de Pallars (948-1011), fill de Llop I de Pallars (920-947). A la Ribagorça hi governaven Unifred (970-979), succeït per son germà Arnau (979-990), succeït per son germà Isern (990-1003).

[castellsipalaus]

Palaço Dogal de Venezia

El Palau Ducal de Venècia (Palaço Dogal, en vèneto, Palazzo Ducale, en italià), icona del gòtic venecià i símbol del poder de l’antiga República de Venècia, va començar com una fortalesa cap als segles X-XI. Aquest nucli defensiu va ser transformat en un palau elegant pel dux Sebastiano Ziani al segle XII. Durant el govern del dux Bartolomeo Gradenigo (1339–1343), el palau va adquirir la seva forma definitiva, amb una gran ampliació ordenada pel dux Francesco Foscari el 1424.

Un dels elements més emblemàtics, la Porta della Carta, va ser finalitzada el 1442 pels arquitectes Giovanni i Bartolomeo Bon, també responsables de la Ca’ d’Oro. El 1483, un incendi va destruir part del palau i va donar pas a una reconstrucció dirigida per Antonio Rizzo, incloent la creació dels apartaments del dux i l’Escala dels Gegants. Un altre incendi al segle XVI va permetre que Tintoretto pintés El Parad��s, una de les seves obres mestres.

Al segle XVII es van construir les Prigioni Nuove (Presons Noves) per obra d’Antonio Contin, connectades al palau pel famós Pont dels Sospirs (Ponte dei Sospiri, en vèneto i italià). Aquest passadís tancat era el camí dels reclusos cap a la presó, i el seu nom deriva, segons la llegenda romàntica, dels sospirs dels condemnats en veure per últim cop la llacuna de Venècia.

Amb la caiguda de la República de Venècia el 1797, el palau va perdre la seva funció governamental i va ser reutilitzat com a oficina administrativa. Les presons -com els Piombi, cel·les sota el sostre de plom- van seguir funcionant, i reclusos de reconeguda fama com Giacomo Casanova hi van ser empresonats. El palau va passar a mans del Regne d’Itàlia i, després de restauracions, va esdevenir museu el 1923.

Els apartaments dels dux, reconstruïts després de l’incendi de 1483, combinaven espais públics i privats. Les presons, amb espais com els Pozzi (cel·les subterrànies) i els Piombi, oferien condicions extremes. Malgrat les reformes, moltes cel·les de les Presons Noves tampoc milloraren gaire la situació dels reclusos.

L’edifici té una estructura de tres ales al voltant d’un pati central i destaca per la seva façana de marbre rosa i blanc, pòrtics amb capitells esculpits i decoracions escultòriques renaixentistes. El Museo dell’Opera, creat al segle XIX, conserva escultures i capitells originals retirats per protegir-los.

No obstant, pel que fa a l’estètica, el palau sorprèn per la seva arquitectura aparentment inversa: una estructura formidable sembla sostenir-se sobre columnes delicades, creant una sensació visual de lleugeresa i estabilitat. Aquesta il·lusió arquitectònica l’ha convertit al llarg dels segles en una obra mestra tant artística com estructural.

[objecteiespai]

espai fisic de l’habitatge personal

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Planta, alçats,

axonometria militar.

Perspectiva

Axonomètrica Obliqües:

 La Perspectiva AXONOMÈTRICA Militar

La perspectiva militar a 45º - 45º tiene un punto de vista más alto que la isometría y los planos horizontales reciben más importancia, compartiendo los planos verticales el mismo grado de importancia. La perspectiva militar a 30º- 60º también tiene un punto de vista más alto, con la diferencia respecto a la anterior de que uno de los planos verticales recibe mayor importancia que el otro. Este tipo de representaciones dan la impresión de estar contemplando una vista aérea del objeto.

és la segona de les axonometríes oblicues. El seu nom ve d´inicis del segle XVI, quan els enginyers militars dissenyaven les seves fortificacions utilitzant aquest sistema de representació .

Perspectiva AXONOMÈTRICA Cavallera 

Els eixos X i Z formen un angle de 90°, i l'eix I sol tenir 45° (o 135°) respecte a ambdós. S'hi adopten, per convenció, angles iguals o múltiples de 30° i 45°, deixant de banda 90°, 180°, 270° i 360° per raons òbvies.

El significat del terme cavallera s'ha de trobar en l'origen històric de l'ús d'aquesta perspectiva. Va ser considerada des del seu començament com una manera convencional de representar els objectes vists des de dalt. L'observador podia ser un cavaller que, des de la seva cavalcadura, distingia els objectes a una alçada més gran que la d'un infant en la seva posició a peu dret.

Axonomètrica Ortogonal

Isomètrica  (tres angles iguals (120º), coef. de reducció iguals)

Dimètrica  (dos angles iguals, dos coeficients diferents)

Trimètrica  (tres angles i coeficients diferents)

Cònica  (diversos tipus de perspectiva amb  punts de fuga ). El resultat s'aproxima a la visió obtinguda si l'ull estigués situat en aquest punt.

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AXONOMETRIA MIITAR

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[tinovalduvieco]

Palau-sator ,municipi de la comarca del Baix Empordà d'origen romà .El poble conserva un ambient medieval ,amb restes de muralles i una torre dita de les hores.El seu castell preromànic construït als segles X i Xii .

Palau-sator.Baic Empordà.Girona.Novembre 2023

©Tino Valduvieco

[jct-art]

Segl Maria i/e, CH, Chaste, 20 cm x 20 cm, acrylic on linen, 2023

[angitri]

Del 8 al 16 de maig de 2022

ITINERARI Dia 1. Vuit de maig. Sortida en vol Barcelona- El Caire. 16.25-20.25// Enllaç amb vol El Caire-Luxor 22.00-23.05. Trasllat a la motonau d’Acamar a Luxor on viurem 5 nits.

Dia 2. Nou de maig. Sortida en autocar a Dendera per visitar el Temple d'Hathor, deessa de l'amor i la fertilitat. A la tarda, visita als grandiosos Temples de Luxor i Karnak.

Dia 3. Deu de maig. De matinada, opció de vol en globus i esmorzar posterior. Anada a la Necròpolis de Tebes, les Valls dels Reis i de les Reines, vista del temple de Hatshepsut. Visita del Temple de Medinat Habu (dedicat a Ramsès III) i d'Amenofis III (aquest precedit pels 'Colossos de Memnon' que trobarem enmig del camí i del no res). Salpem amb la motonau cap a Esna. A la nit, pas per l'esclusa d'Esna i seguirem en direcció a Edfú.

Dia 4. Onze de maig. A Edfú, trajecte en calessa cap al temple d'Horus, el deu falcó. Retorn a la motonau i sortida cap a Kom Ombo. Aquí, excursió a peu cap als temples dedicats als deus Haroeris (deu falcó 'vell') i Sobek (deu cocodril). Breu visita a una exposició de cocodrils momificats. Retorn a la nau, navegant cap a Aswan. Nit a Aswan pensant en Cleòpatra i Marc Antoni.

Dia 5. Dotze de maig. Visita a Abu Simbel (el nom significa 'muntanya pura'). Retorn a la ciutat d'Aswan (que es troba a 234, 47 quilòmetres) . A la tarda, passejada en faluca pel Nil. Veurem l'illa Elefantina i l'illa de Kitchener (vistes sobre el Mausoleu de l'Agha Khan). Nit a Aswan sota les estrelles egípcies. Opcional: visita a un poblat de la Baixa Núbia.

Dia 6. Tretze de maig. Abandonem la motonau on hem viscut quatre jornades. Sortida en autocar cap al port per fer un trajecte en llanxa cap a l'illa de Philae. Visita de la presa d'Aswan. Més tard, trasllat a l'aeroport d'Aswan en direcció al Caire. Ens instal·lem a un hotel cairota on viurem tres nits.

Dia 7. Quatorze de maig. Visita a les Piràmides de Djedefre, Khefren i Micerí (L'home tem el temps, i el temps, tem les piràmides, proverbi egipci) i l'Esfinx de Giza : 5 000 anys, pel cap baix, ens observen. A la tarda, visita al desert de Saqqara on trobarem la piràmide escalonada de Zóser. Som al gran cementiri dels nobles. Nit al Caire, on l'aire és groc, on regna la sorra.

Dia 8. Quinze de maig. Visita d'El Caire: Al-Qahira, 'la Victoriosa' , tot i que els egipcis l'anomenen Masr, com en diuen també d'Egipte. La ciutat més gran d'Àfrica i del Pròxim Orient, 8 milions d'habitants, 16 en tota l'àrea metropolitana. Anirem al Museu d'Antiguitats Egípcies o Museu Egipci, on resta encara el tresor de Tutankamon mentre no el traslladin al Gran Museu Egipci que s'ha d'inaugurar al novembre, en commemoració dels 100 anys del descobriment de la seva tomba. A la tarda, passejada pel barri copte: l'Església Penjant o Església ortodoxa copta de Santa Verge Maria, construida sobre una porta de la fortalesa de Babilònia, el baluard romà; l'Església de Sant Sergi, on la llegenda diu que la Sagrada Família es va exiliar fugint d'Herodes; la Sinagoga de Ben Ezra, del segle VII, la més antiga d'Egipte. Més tard, visita de la Ciutadella de Saladí que conté la Mesquita de Muhammad Alí, del segle XIX. Després, anada a El Caire fatimita, zona fundada al segle X com a recinte reial per als califes fatimites. Finalment, i si encara som vius, compres al tradicional mercat Khan El-Khalili que bull d'activitat des del segle XIV. Retorn a l'hotel.

Dia 9. Setze de maig. Trasllat a l'aeroport per al vol de retorn. El Caire-Barcelona 11.05-15.25. Tornarem, però ja no serem les mateixes persones...

[eivor-palsdottir]

eivormusic: My dear friends, ⁠ ⁠ The moment I had feared has come upon me. ⁠ I am so utterly sad to let you know that unfortunately, my 'SEGL ALBUM TOUR' has to be postponed to next year due to the COVID crisis. My team of bookers and promoters and us have held out as long as possible and had hoped the tour can go ahead as planned but sadly it still is too early for any meaningful touring to go ahead at this stage due to ongoing restrictions. My heart is so heavy to have to tell you this as I have been looking so much forward to sharing these live moments with you again. ⁠ ⁠ But THE GOOD NEWS is that we have already confirmed dates for next year. Everyone who has ordered tickets can either hold on to them for next years' shows or of course claim refunds from your local ticket provider. ⁠ ⁠ I want my tour to be an amazing and all-encompassing experience for all of us but we'll just have to wait a little longer I am afraid. ⁠ ⁠ One thing I promise you is that when we finally do meet again on the other side of all this, it will be even more passionate and heart-full and wild than ever before <3⁠ ⁠ Eivør x⁠

[icon2021-regnumcaelorum]

Fig. 8. Primeres Vanguardes artístiques del segle XX

Angelus Novus, Paul Klee, 1920.

Tinta xinesa, aquarel·la i pintura al oli sobre paper.

31′8 x 24′2 cm.

Museu d’Israel, Jerusalem.

[shemakesmusic-uk]

After releasing her film Black Is King as a Disney+ exclusive a few weeks ago, Beyoncé has shared the visual 'Brown Skin Girl' on YouTube. Featuring SAINt JHN, WizKid, and daughter Blue Ivy, the clip features appearances by former bandmate Kelly Rowland, Noami Campell, Lupita Nyong’o, and more. The video coincided with a special message the star shared with Good Morning America. "It was so important to me in 'Brown Skin Girl' that we represented all different shades of brown," Beyoncé said of the video, crediting director Jenn Nkiru with the concept. "It was important that we are all in this together and we're all celebrating each other." [via The FADER]

Eivør releases a new single and video, ‘Let It Come’, the latest lifted from her forthcoming album Segl. The transportive new clip - filmed in Iceland - is a prequel to the video for previous single release ‘Sleep On It’, which Eivør released last month. Both videos are directed by Einar Egils and feature actor Tómas Lemarquis (Blade Runner 2049, X-Men: Apocalypse). Speaking about ‘Let It Come’, Eivør says; "It’s one of those songs that took many shapes before it reached its final destination and I guess the opening line pretty much explains it all: “Sometimes I overthink the most simple things”. This song is a follow up to my previous single 'Sleep On It' - whilst that was about insomnia and making difficult choices, 'Let It Come' is about coming out at the other end of this struggle, embracing the uncertainties you might find yourself in and finding the courage to believe that something good will come your way." Of the interplay between the two music videos he has created for Eivør, director Einar Eglis adds; "'Let It Come' is a prequel to the end of the world that was portrayed in the ‘Sleep On It’ video. Eivør has been stuck in a loop of uncertainty for years, until she sees a vision that will end everything as we know it, and she is the key towards redemption. She must face these facts and embrace the golden idol she is to become."

The gentle, hypnotic sway of 'god's chariots' is central to MaryLou Mayniel's first full-length project Galore. Her catalogue of experimental electronica is impressive whichever way you look at it. Creating everything from video game soundtracks to an EP sampling the likes of Miley Cyrus and Carly Rae Jepsen to vast instrumental odysseys and empowering pop anthems, Mayniel can turn her hand to almost anything. 'god's chariots' is at the helm of the singer-songwriter's latest drop of new music. “It’s a fantasy, a place you’re in to escape reality, but it’s also about being so lonely that you kind of lose your mind,” explains Manyiel. A fragment of her forthcoming debut full-length project 'god's chariots' is just one piece of the ever-expanding story which Oklou shares on Galore. With additional tracks 'nightmare' and 'rosebud', also out n ow, we get to piece more of Galore's narrative of emotional rebirth together. Already an illuminating experience with its first six songs out in the world, soon you'll be able to witness Manyiel's first masterpiece in all its glory when the rest of the project is released next month. [via Line Of Best Fit]

Madeline Kenney has shared the visual for her Sucker's Lunch album track 'Cut the Real'. 'Cut the Real' is one of the most lyrically confrontational tracks on Kenney's new album Sucker's Lunch. Kenney has unveiled the accompanying self-directed visual filmed in Oakland that sees her dressed in a Rococo style suit and makeup, giving a heartfelt performance of the song's fierce lyrics. Madeline Kenney: "I wrote 'Cut the Real' when I was feeling particularly insane / depressed /"out of my mind" as I was starting a new relationship. I really struggle with self confidence and found myself spiraling out into deep holes of self-loathing -- even though I knew what was going on I couldn't stop that cycle. The concept was inspired by the aesthetic choices in recent Aldous Harding videos as well as old Annie Lennox videos. I wanted to put on a gender-neutral Rococo outfit and just really allow myself to ham it up, and occupy that same spinning-out headspace as I was in while writing the song." [via Line Of Best Fit]

Four years after she released her solo debut Slugger, Speedy Ortiz leader Sadie Dupuis is getting ready to release Haunted Painting, the second album released under her Sad13 alias. The album comes out next month, and  now we get another new song, and it’s got a pretty great music video attached. The new Sad13 track is called 'Hysterical,' and it’s a zippy synthpop track with layered lyrics: “I wanna see you disappear and laugh like I don’t need permission.” In a press release, Dupuis says that the song is about “unfunny comedians [who] love to argue that ‘PC culture’ destroys comedy.” Dupuis plays almost all the instruments herself. The video, directed by Kate Banford and Jamie Loftus, features Dupuis alongside comedy-world mainstays like Loftus, Mitra Jouhari, and Demi Adejuyigbe. Like the new horror movie Host, the whole thing takes place on a computer screen, and it’s all about what happens when a ghost shows up in a Zoom party and kills everyone. [via Stereogum]

When Cross Record’s Emily Cross and Dan Duszynski teamed up with Shearwater’s Jonathan Meiburg to form Loma, it seemed like it might be one-off endeavor. But then last month we got news that they’d be following their 2017 debut with a new album, Don’t Shy Away. Along with the announcement, they shared a stunning new track called 'Ocotillo'. Today, they’re back with another one.  The latest preview of Don’t Shy Away arrives in the form of 'Half Silences,' which the band shared an earlier iteration of last year. 'Half Silences' was the first song we recorded for Don’t Shy Away, and we kept tinkering with it after we soft-released an early version last year,” Meiburg explained in a statement. “When you start making a record, you don’t know which songs will make the cut — but this one always seemed to belong, and we wanted to give the final mix (and its DIY video) a proper debut. People have asked if the fireworks are CGI. They aren’t.” 'Ocotillo' was an almost foreboding song, cresting into horn arrangements that teetered on the brink of chaos. In comparison, 'Half Silences' is a dreamier and hazier composition. But in either form, Loma are making some gorgeous, otherworldly music. [via Stereogum]

Back in June, the Bristol songwriter Fenne Lily announced her sophomore album, BREACH. So far we’ve heard advance singles 'Alapathy' and 'Berlin,' and today she’s back with another one. Lily’s latest is called 'Solipsism.' Here’s what she had to say about it: "A lot of situations make me uncomfortable — some parties, most dates, every time I’m stoned in the supermarket. 'Solipsism' is a song about being comfortable with being uncomfortable and the freedom that comes with that. If you feel weird for long enough it becomes normal, and feeling anything is better than feeling nothing. I wanted this video to be a reflection of the scary thought that I’ll have to live with myself forever. It’s surreal to realize you’ll never live apart from someone you sometimes hate. Dad, if you’re reading this you killed it as shopper number 2." The song comes with a video directed by Tom Clover with the non-profit Film Co. “I asked Fenne what products she wanted to be and then worked backwards from there with the illustrators,” Clover explained. “Most of the references came from Asian Supermarket packaging — they are way more interesting. The most important thing was making sure that it reflected upon Fenne’s personality — there’s a bunch of details you might miss on the first watch!” [via Stereogum]

About two weeks ago Oceanator shared 'Heartbeat,' the third and final single from their upcoming full length debut, Things I Never Said and now it has a video. The highly anticipated album via Plastic Miracles captures Elise Okusami’s songwriting at it’s best, a strong effort that sits between pop, rock, fuzzy punk, and alternative radio gold. The video, directed by David Combs and Ben Epstein, is every bit as delightful as the song itself, opening with the same magnetic energy as we find Okusami seemingly lost and looking for companionship. She finds it eventually in the form of herself, quite literally, as she joins herself at a bus stop, and then again in a field, with ten of more copies, al rocking out, all enjoying each other’s company. There’s a brilliant barbershop quartet moment, cool animation, and enough smiles to keep you going throughout your day. Speaking about the song, Okusami shared: “This song is loosely about having a crush, and both the grounding feeling and the anxiety that feeling brings. We recorded it all together like a live performance, and then I went back and added the lead guitars and the vocals. Guitar and vocals by me, bass Eva Lawitts (they), drums Aaron Silberstein (he)." [via Post Trash]

Ontario-based project Falcon Jane – the moniker for primary songwriter of the group, Sara May – have released their soaring new single, ‘The Other Moon’ via Pittsburgh-based label, Darling Recordings – you can watch the new video that comes co-directed by May and Dominique van Olm above. ‘The Other Moon’, which is lifted from a larger body of material set to come from Sara May further down the line, finds the artist exploring deeply sentimental and personal themes, from death to memory, and the miscommunication that can take place between generations. May has a penchant for unpacking these emotions in succinct and comprehensible forms, making something so personal and idiosyncratic to her feel so familiar to the rest of us. Much of May’s forthcoming work found its source of inspiration in early 2019 when her songwriting synched up with a string of deaths that occurred in her immediate family; ‘The Other Moon’ pays a touching testament to her Nonna with May lacing the track’s stark honesty with swooning guitar and her enchanting vocal palette, a sound that co-director, van Olm visualized as May’s DIY journey through space. Speaking about the new track, May says: “‘The Other Moon’ is a letter and tribute to my late Nonna whose death inspired me to start recording this album. Despite being from two completely different generations, and speaking two different languages, my Nonna and I had a very special connection. We understood each other and cared about each other, even if we couldn’t find the words to express it. My Nonna would always cheekily joke about her own death, and through her broken English, she claimed that when she died she’d be going to “The Other Moon”. This song is not a story about a happy-go-lucky relationship between grandmother and granddaughter,” May continues. “It accurately depicts the contrasting dynamic of a very loving friendship mixed with a lifelong trauma-ridden miscommunication. The big hole in my heart, the black cloud over our love. This song feels like the message I always wanted to send to her; pushing through the darkness to find the deep love we shared and continue to share now.”

Baby Queen has released her third track 'Medicine' with a fab new video. The follow-up to ‘Buzzkill', it arrives ahead of her debut EP later this year. "It's about a tangle of mental health and navigating your way through this world,” Bella says of the song, “whilst being so unhappy and equally disillusioned with the cyber landscape that we are forced to live inside, and the different ways people might numb themselves, or try to find a place where they can exist in amongst all of this fucking chaos." [via Dork]

Oklahoma-born, LA-based electro-pop songstress Mothica has released her debut album Blue Hour, accompanied by the official music video for her single 'VICES.' The album was written over the course of a few months, starting with one of the worst moments of Mothica’s life: a psych ward stay for self-harm and ends with a song about never wanting to feel the “crash” of drugs ever again. “Following that incident, I sought therapy and wrote lyrics detailing my journey into sobriety. I am now 13 months sober at the time of writing this, and have never been in a better place emotionally.” With her new album Blue Hour, she chronicles her deep struggle with addiction + mental health and the process of getting sober. “Someone told me that every artist has their ‘getting sober album’ eventually,” she explains. “I find it ironic that my debut album is my ‘getting sober’ album, because I think that’s indicative of how quickly I was forced to grow up."

FKA twigs has always made incredible music videos, and 'sad day' ranks right up there with her best. For this clip, twigs worked with the director Hiro Murai, one of the best music-video directors to emerge in the last decade. Murai has mostly moved on from music videos in recent years. Instead, he’s directed episodes of Atlanta and Barry, two of the best shows on TV, as well as Donald Glover’s Amazon short film Guava Island and the forthcoming apocalyptic miniseries Station Eleven. The 'sad day' video is Murai’s first clip since he made the instantly iconic 'This Is America' with Donald Glover in 2018. I don’t want to give away much of the 'sad day' video, which starts out in a dingy takeout spot and transforms into a surreal dream-logic head trip. But you should know that twigs only made this video after spending three years studying martial arts at the Shaolin Wushu Center, and you can tell. A dancer named Teake, who twigs discovered via social media, co-stars. [via Stereogum]

The latest of Silly Boy Blue's ongoing build is 'Hi, It's Me Again,' a song she describes as the "too long text I didn't want to send at 3 AM to my ex." Like the rumination behind a loaded, emotional message to a former lover, she adds that it took months to assemble the words in her head but only one night to write out the lyrics. "I needed to write a song about this, because it's a very special place between the hate and the void during a breakup." With an almost lullaby melody, the spacey tune slowly builds into the ultimate warning: "You'll be the one I always haunt," Silly Boy Blue sings, her voice beautifully layered and atmospheric. All her thoughts throughout the song are interlaced with the relatable, somewhat insecure backpedal, "I'm sorry," capturing the headspace "just before resilience," as she describes. It's "when you start to understand the breakup, but you still have so many questions popping in your head." In the 'Hi, It's Me Again' video, Silly Boy Blue says she "needed to show the different parts" of her identity. "Some of them are masculine, some of them are feminine, some of them seem confident, some seem shy, some seem to suffocate, some stand proudly." Much like the nuanced feelings during a breakup, she expresses without binaries — and especially through fashion, as she opens the clip in only an oversized men's button-down. Scenes in the new visual roll by like memories or fleeting emotions, ranging from subdued drama to full on meltdowns. At one point, she's shown with a plastic bag pulled over her head to capture the most extreme feelings of dread, juxtaposed against a more innocent shot of Silly Boy Blue in all white with two lone tear drops fixated on her cheek. The artist also loaded in "important" references to her favorite movies, from the Titanic's necklace to The Rocky Horror Picture Show's big mouth. [via PAPER]

Dream Nails have released a video for their new single, 'This Is The Summer'. It's a song from their new Tarek Musa of Spring King-produced, self-titled record out now via Alcopop!. “[It's] a song about how our climate is breaking down irreversibly,” says singer Janey Starling. “Colonial capitalism, waged by UK governments and corporations for centuries, has ravaged our earth. “We need to be urgently fighting for migrant rights so the UK welcomes climate refugees displaced by countries hit by extreme weather. We must demand transparency from oil companies who relentlessly put profit before people, even as the world burns." Guitarist Anya Pearson adds: “We wrote ‘This Is The Summer’ in the heatwave of 2018, recorded it in another heatwave in 2019 and now we are releasing it in yet another heatwave! Our video for the track shows how the current pandemic, white supremacy and climate change are not separate issues but interlinked. The song is about the brazen complacency of getting drunk and catching a tan in the park while the world burns.” [via Dork]

BBC Sound Of 2020 winner Celeste has shared her new single 'Little Runaway'. Out now, the single is about a crisis of faith, and features a towering vocal from the London artist. A song about succumbing to the depths before emerging renewed, 'Little Runaway' began as a jazz sample, before taking on a life of its own. Celeste says... “‘Little Runaway’ is a song about losing your faith, even if just momentarily, and seeking answers from spirits and ghosts as nothing seems to make sense on this planet. My favourite line in the song is ‘good news I could use some’ – I believe everyone has a guardian angel, a protector, and this is me talking to mine.” “The verses actually started as this saxophone sample we were playing around with and eventually it transformed into the melody. I always play the sax back in my head even though it’s not in the song.” 'Little Runaway' features an innovative music video, steered by Celeste’s frequent collaborator Sophie Jones. [via Clash]

Anna Sofia released a brand new music video for her song 'Don’t Play Pretend'. 'Don’t Play Pretend' is from her latest EP Broken Perfection. Over a million streams into her career, Anna Sofia sings this song about her own life. She might not be perfect. She might make mistakes. All that said, at least she doesn’t pretend to be something she’s not. Sofia said she doesn’t have a message. “It’s just real life,” she said. “One day, I hope to fill stadiums all over the world. I want to have fans everywhere and have some way of helping them or guiding them through my music. My confidence comes from being myself and connecting with people.” [via The 360 Mag]

Last year, the K-pop group BLACKPINK made big moves in America with their Kill This Love EP, becoming the highest-charting women-led Korean act on both the Billboard 200 and the Hot 100 (with its title track). They also played Coachella. Earlier this year, they had a guest feature on Lady Gaga’s Chromatica with ‘Sour Candy,’ a single that matched their previous chart record at #33. They’re releasing a new album in a couple months, which was led off by ‘How You Like That’ in June. Now, they’re putting out another song from it, a collaboration with Selena Gomez called ‘Ice Cream.’ The food angle of the track is appropriate for Gomez, who has most recently been in the headlines for her new HBO Max cooking show. [via Stereogum]

Tel-Aviv based artist Noga Erez shares the next in a series of game-changing singles leading into her mysterious second album (details yet to be announced). 'You So Done' and its striking accompanying video are out now via City Slang. Following the sparkling sass of 'VIEWS' and the irresistibly upbeat lockdown anthem 'NO news on TV', Noga Erez and her collaborative partner Ori Rousso's latest offering 'You So Done' has been highly anticipated online since appearing on NBC's Good Girls earlier this year. It sees Erez shift from outward looking political themes to personal soul-searching, opening up for a stirring track about rejection, toxic and emotionally violent relationships, and ones own inner violence. Along with the track she has shared a moving statement, saying: "At some point, exactly one year ago, I started flashing back to one of the darkest times in my life. I was young, incredibly confused and lonely... There was a moment during this period where I was actually so weak, insecure and in need of love that I was not able to step out of what I know now to be an emotionally abusive relationship." She concludes: "It really, truly means the world to me to give this song to you. I hope this story can help some of you to realise that you are not alone. And I really do hope to make it clear that even the darkest places are not impossible to free yourself from. They are eventually an opportunity to learn, grow and to become a stronger person." Erez has created a reputation for the captivating videos that accompany her songs, and this latest video sees her step it up a level yet again. Her third collaboration with Tel Aviv-based director Indy Hait sees Erez as a puppet in a dystopian future, being violently flung to-and-fro by an unknown captor. "The video for 'You So Done' was a big risk taker for me" she comments. "Usually, I have an idea or I work with a director on an idea together. Since this was my third video with Indy Hait, I decided to let him do his thing. He offered up an idea that included a robot and I immediately hated it. I was just not able to imagine how it wouldn't come off as a science fiction video and felt it wasn't my style. But after talking and tearing the idea apart, I realised that this is a truly meaningful character. The robot in this video is actually not the violent character.  Its job was to portray the act of violence through transferring the moves from an unseen character and helping them come alive visually. The video uses muscle memory as the 'engine' to that violent dance act, and muscle memory is something that fascinates me. Eventually this video is far from being science fiction, it is my most personal video to date."

[negreabsolut]

Borrell II, comte de Barcelona, per Joan Francesc Oliveras Pallerols. Borrell II (927-933) fou comte de Barcelona, Girona, i Osona (947-992 o 993), i també comte d'Urgell (948-992 o 993). Fou el segon Borrell de Barcelona perquè el seu oncle, Guifre II de Barcelona, també tenia per nom Borrell. El seu testament és datat el 24 de setembre de 993. El seu govern és conegut perquè el comte es negà a renovar el pacte de vassallatge amb el rei de França, que aleshores era Hug Capet, el qual havia menystingut el govern dels comtats de la Gòtia. Malgrat que amb aquest acte de Borrell II es considera que comença l'independència de Catalunya, el fet és que els comtats catalans ja es governaven sobiranament un segle abans, quan el poder del Regne dels francs es veié debilitat per problemes interns.

[castellsipalaus]

Château de Bouillon

El castell de Bouillon fou construït a l’Edat Mitjana i és situat a la província belga de Luxemburg, en el que actualment és la regió de Valònia. Juntament amb els de Beersel, Corroy, Horst, Gant, Lavaux y Vêves, és un dels castells medievals més ben conservats del país.

Situat en un esperó rocós que domina el riu Semois i la ciutat moderna, va pertànyer a Jofré de Bouillon -que es va fer famós per liderar la Primera Croada a Terra Santa-, que va heretar el castell i el senyoriu del seu oncle, també anomenat Jofré, amb el nom de Jofré V.

Les primeres fortificacions del castell es van construir al segle VIII, mentre que la torre de l'homenatge va ser bastida entre 1080 i 1090. El seu objectiu era protegir el ducat de Baixa Lorena, creat al segle X i estratègicament situat a l'eix Reims-Lieja-Aquisgrà, que connectaven l'Imperi Franc amb terres germàniques.

Per finançar la seva participació a la Croada, el 1096 Jofré va pactar la venda de la fortalesa amb Otbert, príncep-bisbe de Lieja. A la seva mort a Jerusalem, el 1100, el castell va passar a ser propietat dels prínceps-bisbes de Lieja i després dels ducs de Bouillon, i així va romandre fins a la conquesta francesa el 1794.

El 1134, Raymond de Bar va prendre el castell per sorpresa, però ho va perdre el mateix any després d'un setge dels prínceps-bisbes de Lieja. Durant les guerres promogudes pel rei de França Lluís XIV durant el segle XVII, les fortificacions van ser millorades per l'enginyer militar Sébastien Le Prestre de Vauban (1633-1707).

La fortalesa podia allotjar fins a 200 soldats i tenia fama d’inexpugnable. L'enemic preferia utilitzar tàctiques de setge per matar de gana els defensors, sobretot a l'hivern. No obstant això, tenia accés a una font d'aigua potable i les reserves d'aliments s'hissaven per una galeria de 30 metres de profunditat, mitjançant una corriola accionada per soldats que corrien en una mena de torn de fusta.

El 1815, el ducat i el castell van passar a formar part d'Holanda, període en què la torre de l'homenatge va ser destruïda. Després de la Revolució belga de 1830, els territoris circumdants van entrar a formar part del nou país. Durant la guerra francoprussiana, després de la batalla de Sedan, el 1870, l'exèrcit prussià va utilitzar parts del castell com a hospital. Avui dia, el recinte és obert als visitants i hi ha un museu.

[objecteiespai]

La sintaxi de la imatge Introducció a l'alfabet visual

Un llibre de Donis A. Dondis

Un llibre clàssic del disseny que aplica la psicologia de la Gestalt sobre la percepció visual a l'àmbit del disseny gràfic. Lectura obligada per a qualsevol professional del llenguatge visual

A la segona meitat del segle XX van aparèixer una sèrie de treballs que intentaven establir els principis d'una teoria de la composició gràfica a partir dels estudis científics sobre la percepció visual, i és en aquest context on s'emmarca aquesta obra clàssica de Donis A · Dondis, una de les propostes sobre gramàtica visual pioneres i fonamentals d'aquest corrent.

La sintaxi de la imatge és una aproximació al tema amena i rigorosa que explora aquells principis i regles del llenguatge de les imatges que incideixen directament a la semàntica, la retòrica i la comunicació visuals. La proposta teòrica de Dondis s'acompanya de múltiples exemples i referències que inclouen des de la pintura i l'escultura fins a l'arquitectura, la publicitat, el cinema o la televisió.

Més enllà del gran interès que ha suscitat entre dissenyadors i artistes, aquest llibre –que ha estat totalment revisat, actualitzat i redissenyat per a aquesta nova edició– constitueix un manual bàsic i fonamental que contribueix a la nostra alfabetització visual. Comprendre la cultura actual implica conèixer la gramàtica de les imatges i l'obra de Dondis proporciona les bases necessàries per desenvolupar un pensament crític cap a una realitat cada cop més indissociable del visual.

Descripció tècnica del llibre:

Traducció: 

Justo González Beramendi

16 x 23,5 cm

240 pàgines

Espanyol

ISBN/EAN: 9788425229299

Rústica

2017 (2a edició, 3a tirada)

dd

[tinovalduvieco]

Castell de Claramunt .Anoia.Fundat a la segona meitat del segle X,formava part del comtat de Barcelona.Integrat dins de la xarxa de castells que marcaven la frontera entre els comtats catalans i Al-Andalus, amb la funció de protegir i organitzar el territori.Ha estat destrüit i rescontruït diverses vegades.

La Pobla de Claramunt .Anoia. Catalunya Octubre 2021

@Tino Valduvieco

[jct-art]

Segl Maria i/e, CH, Chaste, 20 cm x 20 cm, acrylic on linen, 2023

[sendersdelllop]

La Cova del Drac

La llegenda del Drac

Sembla que als entorns del segle X, quan sembla que són consagrats els dos edificis religiosos que formaven part del nostre municipi (Sant Esteve de Castellar i Sant Feliu de Valrà), va ser el moment en què cal situar la llegenda del Drac de Sant Llorenç.

La història va anar de la següent manera: Corrien temps de sarraïns a Catalunya i per les terres del Vallès. Des de l'Àfrica, aquests van dur un víbria, un tipus de drac d'allò més ferotge, per venjar-se de les seves derrotes davant els cristians. De petita l'alimentaren, a la cova de Santa Agnès, amb bestiar, fins que va adquirir enormes dimensions. Un cop privada de menjar, la víbria es va posar recercar l'aliment per les terres de l'entorn de Sant Llorenç del Munt: Matadepera, Sant Llorenç Savall o Castellar estaven atemorides per la presència del terrible drac que acabava amb els seus ramats, malmetia les collites i matava persones.

De nit, el monstre s'arrecerava al que avui coneixem com la Cova del Drac. Les queixes es van anar aixecant fins que van arribar a les orelles del bon comte de Barcelona Sunifred, que escoltant-les va decidir que el seu gran cavaller Spes anés cap a Sant Llorenç a liquidar la bèstia que atemoria la zona, acompanyat per un escamot d'altres cavallers. Spes va arribar al lloc on la bèstia es trobava, i va ser tal l'espant que va produir els cavalls que l'acompanyaven, que aquests es van precipitar per un dels cingles de la muntanya, que avui es coneix com el Cingle del Cavalls. Desprès del fracàs del cavaller, el mateix comte Sunifred, valent com era, va ser qui va anar a matar el drac, acompanyat per un seguici.

La lluita va començar quan el comte amb un branca de roure, es va acostar a la Cova i el drac s'hi abraonà. Sunifred va trencar la branca que va quedar als peus de la fera en forma de creu, veient-hi un senyal diví. El comte, amb energies renovades, va ferir-lo de mort al ventre amb la seva llança. El drac se'n va anar volant fins al Puig de la Creu, on va anar a caure al que avui en dia coneixem com el Sot d'en Goleres. Amb petites volades va pujar fins al cim, on els crits que feia atemorien la comarca sencera. En Sunifred i els seus homes hi arribaren i allà van rematar la fera.

[canalsart]

49 ANIVERSARI de Canals Galeria d'Art

10 de setembre 2022, a les 20h.

PORTES OBERTES CANALS GALERIA D'ART

El dia 10 de setembre de 1973 Canals Galeria d'art obria el seu espai al carrer d’Alfons Sala 25 de Sant Cugat, essent la primera galeria d'art de la ciutat i una de les primeres que s’obrien al territori. Actualment, és la galeria més antiga de Catalunya

El proper divendres 10 de setembre celebrarem els seus quaranta-nou anys amb una jornada de portes obertes, a partir de les 20h.

La visita a la galeria serà conduïda per la comentarista d’art Clara Garriga. Farem un recorregut a l'actual mostra de Sergi Barnils, sobre poemes de Gabriel Ferrater, i també per les diferents dependències de la galeria que està situada en una casa de poble de l’any 1940, al primer eixample urbanístic de Sant Cugat, del darrere del reial Monestir.

En els diferents espais de la galeria s’exposen obres d’artistes com Tom Carr, Ràfols-Casamada, Mª Assumpció Raventós, Conxa Ibáñez, Francesc Casademont, Vicenç Viaplana, Romà Vallès, J. P. Viladecans, Pep Agut, Pere Formiguera, Josep Royo, Grau Garriga, Alfred X. Balasch i Josep Guinovart, entre d'altres.

Una visió de destacats creadors del segle XX

Des dels seus inicis, la galeria Canals ha estat una gran defensora de l’art català tant aquí com a l’exterior

Fa 62 anys que vàrem iniciar la nostra activitat a Sant Cugat del Vallès i 49 que obríem la galeria. En aquest temps post-pandèmia volem novament fer una reafirmació de ciutat i de país creatiu i creure fermament en la transformació de la societat post-pandèmia.

L'avantguarda artística encara avui és provocativa i no és massa popular com per entendre la renovació que els creadors aporten a la societat actual. És per això, que aquesta temporada ens centrarem en exposar l’obra d’alguns dels artistes, que viuen i treballen a la ciutat i que han assolit reconeixement internacional.