#africa avant progressive

[strangemusictriumph]

Smart Glove Market - Forecast (2021 - 2026)

The Smart Glove Market size is analyzed to grow at a CAGR of 9.6% during the forecast 2021-2026 to reach $4.67 billion by 2026. Smart Glove is considered as a wide range of Sensor technology gloves for advanced and customized solutions, such as hand protection, high-tech rehab device and other assistive device services. The Smart Gloves are designed electronic devices with microcontrollers to offer avant-garde opportunities for various kinds of application suitable to the business requirements, including industrial grade gloves and medical grade gloves, and thus, contribute to the Smart Glove market growth. The rapid prominence of the Internet of Things (IoT), artificial intelligence and connected devices, along with the increasing innovations in wearable health devices, smart personal protective equipment, integrated with GPS, wireless communication features and in-built voice assistance have supported the Smart Glove Industry development successfully. In fact, the growth of the market is also observed due to the growing advancement of the Bluetooth chip, flex sensors, microcontroller, and accelerometer. Furthermore, the progression of microencapsulation and nanotechnology pave the way for sensor technology which offers lucrative growth possibilities. The influx of brands like Samsung, Apple, and Fossil are broadening the functionalities, which further promotes Smart Glove Market. 

Smart Glove Market Report Coverage

The report: “Smart Glove Industry Outlook – Forecast (2021-2026)”, by IndustryARC covers an in-depth analysis of the following segments of the Smart Glove Industry.

By Offerings: Software and Service By Application: Fitness & Wellness, Specific Health Monitor, Infotainment, Ergonomic wearable and others By Industry Verticals: Pharmaceuticals & Healthcare, Food & Beverages, Enterprise and Industrial, Consumer Electronics and others By Geography: North America (U.S, Canada, Mexico), Europe (Germany, UK, France, Italy, Spain, Russia and Others), APAC(China, Japan, India, South Korea, Australia and Others), South America(Brazil, Argentina and others)and RoW (Middle east and Africa). 

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Key Takeaways

The growing demand of wearable medical devices owing to the increasing awareness on fitness and a healthy lifestyle along with prominence of connected devices in Healthcare, contribute to the growth.

Asia Pacific is estimated to hold the highest share of 40% in 2020, followed by North America, owing to the significant adoption of IoT, large scale implementation of a wide range of ubiquitous systems, such as wearable computing and sensor technology across the several business verticals.

The advancements in consumer electronics with a wide range of technical advantages, including touch sensitive features and miniature designs, resulted into the market growth.

Smart Glove Market Segment Analysis – By Industry Verticals

By Industry Verticals, the Smart Glove Market is segmented into Pharmaceuticals & Healthcare, Food & Beverages, Enterprise and Industrial, Consumer Electronics and others. The Enterprise and Industrial segment held the major share of 37% in 2020, owing to the propensity for cutting-edge products and significant investment to pursue radical evolutions in commercial applications. In order to address the growing requirement of several end users across automotive, oil & gas, manufacturing and logistics, customizable smart gloves with built-in scanners are introduced for more effective operations. In April 2019, the manufacturer of a smart, wearable technology, ProGlove, unveiled its MARK 2 to a U.S. audience ProMat in Chicago. The new MARK 2 enables the user to scan up to 5 feet away from a device and can connect to a corporate network via Bluetooth Low Energy (BLE), with up to 15-hour charge battery. ProGlove provides hands-free scanning solutions across a number of industries, and thus, in September 2020, Panasonic announced a partnership with ProGlove, to combine the mobile computing solutions of the two companies in order to offer rugged, innovative and user-friendly wireless barcode scanners. The strategic collaboration is also formulated to deliver seamless as-a-stand-alone scanning solution with an embedded Panasonic’s voice picking solutions for the warehouse operations, supply chain, and inventory checking. Therefore, the growing demand of integrated gesture sensor solutions for dynamic workstations, and a more efficient working environment accelerated the demand of Smart Glove Market. 

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Smart Glove Market Segment Analysis – By Geography

Asia Pacific is estimated to hold the highest share of 40% in 2020, followed by North America in Smart Glove Market. The early adoption of IoT, large scale implementation of a wide range of ubiquitous systems, such as wearable computing and sensor technology across the several business verticals, along with the growing interest of consumers towards ‘sensorized’ fitness wearable devices are estimated to drive the market in these regions. Furthermore, numerous research investments propel the innovations of soft and stretchable electronics design that propel a competitive edge to smart wearable solutions. In January 2021, HaptX Inc. announced the release of HaptX Gloves DK2. The HaptX Gloves DK2 is an upgraded design and the world's most advanced haptic feedback gloves, which deliver unprecedented realism, with more than 130 points of tactile feedback per hand. These gloves have astoundingly real-life superpowers with VR, XR, and robotics technologies to meet the demand of various enterprises for quality requirements. Hence, the promising demand of industrial wearable and other smart personal protective equipment in these regions are estimated to drive the Smart Glove Market. 

Smart Glove Market Drivers

Growing prominence of healthcare wearable

The growing demand of wearable medical devices owing to the increasing awareness on fitness and a healthy lifestyle along with prominence of connected devices in Healthcare, contribute to the growth of Smart Glove Market. Moreover, the rise of high-tech devices to usher clinical-grade wearable with 3G and 4G connection led to various viable solutions. In July 2020, UCLA bioengineers designed a glove-like device that can translate American Sign Language (ASL) into English speech in real time through a smartphone app. The entire system is integrated upon a pair of gloves with thin, stretchable sensors to translate hand gestures into spoken words. Hence, the sizable demand of personalized care, specific health issue monitoring devices and user-friendly, compact medical wearable propelled the growth of the Smart Glove Market. 

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Advancements in consumer electronics

The advancements in consumer electronics with a wide range of technical advantages, including touch sensitive features and miniature designs, resulted into the growth of Smart Glove Market. The advent of digitalization and latest development in sensor technology to enhance user performances is further driving the market. In April 2019, British music tech company Mi.Mu, founded by Grammy award-winning artist Imogen Heap announced the release of newly designed Mi.Mu gloves, allowing artists to map hand gestures to music software. The new gloves of Mi.Mu are durable with a removable battery system that offers artists complete control over their musical performances. Moreover, the breakthrough innovation in microfibre sensor technology offers strain sensing capabilities that provides gesture-based control. In August 2020, A team of researchers from the National University of Singapore (NUS), led by Professor Lim Chwee Teck, developed a smart glove, known as 'InfinityGloveTM', which enables users to mimic numerable in-game controls using simple hand gestures. Therefore, the launch of sophisticated wearable electronics products, extensive glove's capabilities and rising usage of convenient-to-use devices are some of the factors that are estimated to drive the Smart Glove Market. 

Smart Glove Market Challenge

High price of Smart Glove solution

The market of Smart Glove is expanding due to the significant technologies development, using the amalgamation of sensing and feedback operation to denote smarter systems. Thus, the commercially available devices, pertaining to smart glove features are prominently expensive, which is a major constraint that demotivated the rapid adoption. Thus, factors such as less sensible investment and unobtainability of some of the latest smart gloves technology around some regions  due to high cost are likely to restrict the Smart Glove Market. 

Market Landscape

Partnerships and acquisitions along with product launches are the key strategies adopted by the players in the Smart Glove Market. The Smart Glove Market top 10 companies include Apple Inc, Flint Rehab, Haptx, Lab Brother Llc, Maze Exclusive, Neofect, Samsung Electronics Co Ltd, Seekas Technology Co., Ltd, Vandrico Solution Inc, ProGlove, Workaround Gmbh and among others 

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Acquisitions/Technology Launches/Partnerships

In December 2019, HaptX, the leading provider of realistic haptic technology announced the partnership with Advanced Input Systems along with a Series A financing round of $12 million. This acquisition provides a great opportunity for HaptX as they can finance the production of the next generation of HaptX Gloves, which represents the world’s most realistic gloves for virtual reality and robotics, coupled with product development, manufacturing, and go-to-market collaboration.

In November 2019, Ansell Limited, a leading provider of safety solutions, announced a partnership with ProGlove, a renowned industrial wearable manufacturer.  The acquisition is formed to deliver advanced hand protection solutions to ensure the personal protective equipment (PPE) compliance in the workplace.

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[fashionpolicenigeria]

Exploring the Vibrant Tapestry of Nigerian Fashion Designers A Cultural Marvel

Nigeria, with its rich heritage and diverse culture, has emerged as a thriving hub for fashion innovation, with designers setting trends that reverberate far beyond its borders. The world has begun to take notice of the ingenious craftsmanship, bold patterns, and vibrant colors that define Nigerian fashion. This burgeoning industry is a testament to the creativity and ingenuity of the country's designers.

One of the most striking aspects of Nigerian fashion is its ability to seamlessly blend traditional elements with contemporary styles. Designers skillfully incorporate indigenous fabrics like Aso Oke, Adire, and Ankara into modern silhouettes, creating pieces that celebrate the nation's cultural roots while resonating with global audiences. This fusion of tradition and modernity is a hallmark of Nigerian fashion, captivating fashion enthusiasts worldwide.

The rise of Nigerian designers on the international stage can be attributed to their distinctive aesthetic sensibilities. From the avant-garde creations of designers like Lisa Folawiyo to the elegant and sophisticated designs of Deola Sagoe, each designer brings a unique perspective to the table, contributing to the kaleidoscope of Nigerian fashion.

Furthermore, Nigerian fashion designers have not only made a mark in clothing but have also expanded their influence to accessories, footwear, and even home decor. Brands like Zashadu and Orange Culture have gained acclaim for their accessories and gender-fluid designs, showcasing the versatility and progressive nature of Nigerian fashion.

Beyond their creative prowess, Nigerian designers are also champions of sustainability and ethical practices. Many designers prioritize fair trade, local craftsmanship, and eco-friendly materials, fostering a more responsible and inclusive industry.

Moreover, the global reach of Nigerian fashion designers has been amplified by platforms like Lagos Fashion Week, Africa Fashion Week, and social media. These avenues have provided a spotlight for emerging talents, enabling them to showcase their creations to a broader audience and connect with fashion enthusiasts globally.

Nigerian fashion designers are not just trendsetters; they are cultural ambassadors, weaving stories of heritage, identity, and innovation into every stitch. Their designs serve as a canvas, illustrating the richness of Nigeria's diverse traditions and its forward-looking creativity.

In essence, Nigerian fashion designers have carved a niche in the global fashion landscape, redefining trends, challenging norms, and celebrating the beauty of diversity. As the world continues to embrace their artistry, the influence of these designers promises to endure, leaving an indelible mark on the tapestry of global fashion.

For more info :-

Nigerian Fashion Brands

Lagos Fashion Week

[jayanthitbrc]

Insights into the 2023 Global Sewing Machine Market: Size, Leading Segments, and Notable Trends || Bernina International AG, Brother Industries Ltd

The Sewing Machine Global Market Report 2023, provides comprehensive information on the sewing machine market across 60+ geographies in the seven regions - Asia-Pacific, Western Europe, Eastern Europe, North America, South America, Middle East, Africa for the 27 major global industries. The report covers a ten year historic period – 2010-2021, and a ten year forecast period – 2023-2032.

Learn More On The Sewing Machine Market’s Growth:

According to the comprehensive findings in The Business Research Company's Sewing Machine Global Market Report for the year 2023, a significant and noteworthy trend emerges. The market size, which stood at $4.68 billion in 2022, is projected to witness a substantial growth, surging to $4.97 billion in 2023. This impressive trajectory is underpinned by a compound annual growth rate (CAGR) of 6.2%. The Russia-Ukraine war disrupted the chances of global economic recovery from the COVID-19 pandemic, at least in the short term. The war between these two countries has led to economic sanctions on multiple countries, a surge in commodity prices, and supply chain disruptions, causing inflation across goods and services, causing inflation across goods and services and affecting many markets across the globe.

As we look further into the future, the prospects remain promising for the global sewing machine market. Forecasts indicate that by 2027, the market size is anticipated to ascend to a remarkable $6.27 billion, maintaining a consistent CAGR of 6.0%. This steady growth is a testament to the enduring relevance and increasing demand for sewing machines in a dynamic global landscape.

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Technological innovation stands as a pivotal and increasingly prominent trend within the sewing machine market. Companies have embraced this wave of progress, introducing cutting-edge products that aim to bolster their revenues and captivate a broader customer base. An exemplary illustration of this innovation transpired in July 2020 when Usha International astutely incorporated four novel sewing machines into its repertoire. This quartet, comprised of the Skyline S-9, Memory Craft 9850, 6700 P, and Memory Craft 550E, aligns harmoniously with consumer insights and preferences. These avant-garde sewing machines are meticulously designed to cater to the burgeoning community of hobbyists and smaller commercial establishments. They offer a comprehensive array of technologically advanced features, facilitating precision control to meet the exacting demands of discerning consumers. This technological marvel signifies an industry pivot towards a brighter, more sophisticated sewing future.

The sewing machine market is segmented:

1) By Type: Mechanical, Electronic, Automated, Embroidery, Overlock, Others

2) By Distribution Channel: Online, Offline

3) By Application: Apparel, Shoes, Bags

4) By End-Users: Household, Commercial, Industrial

Asia-Pacific was the largest region in the sewing machine market in 2022.

The table of contents in TBRC’s sewing machine market report includes:

1. Executive Summary

2. Sewing Machine Market Characteristics

3. Sewing Machine Market Trends And Strategies

4. Impact Of COVID-19

5. Sewing Machine Market Size And Growth

6. Segmentation

7. Regional And Country Analysis

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.

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27. Competitive Landscape And Company Profiles

28. Key Mergers And Acquisitions

29. Future Outlook and Potential Analysis

Learn About Us:  The Business Research Company is a market intelligence firm that pioneers in market, company, and consumer research. TBRC’s specialist consultants are located globally and are experts in a wide range of industries that include healthcare, manufacturing, financial services, chemicals, and technology. The firm has offices located in the UK, the US, and India, along with a network of proficient researchers in 28 countries. Through the report businesses can gain a thorough understanding of the market’s size, growth rate, major drivers and leading players.

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[f0xd13-blog]

You wanna know how insane is this? Ok it's the same as someone spanish saying she is doing avant garde soul and say that it's part of her identity and not from africa and that she is progressing a style one that exist in pop since ever... it's that crazy...

[abhigmi]

Luxury Furniture Market Predicted to Witness Steady Growth by 2032

Luxury furniture market is expected to witness steady growth during 2023-2032, owing to the increasing replacement of aging infrastructure. Old infrastructure, such as buildings, require renovations, and there is an increasing tendency to replace old furniture during the renovation process, which will drive market growth.

In addition, the key players operating in the Luxury furniture market are constantly incorporating strategic initiatives such as partnerships, mergers, and acquisitions, and new product launches to strengthen their foothold in the market. For instance, in July 2021, Herman Miller completed its previously announced acquisition of Knoll, Inc. With this acquisition, the combined companies now boast of operating in more than 100 countries across the world.

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To cite another instance, in December 2022, Zebrano, the Turkey-based furniture brand opened a new branch in North Olmsted, Ohio. Sprawled across 9,000 sq. ft., the new branch will offer classical, elegant, and even avant-garde furniture.

Overall, the luxury furniture market is bifurcated in terms of type, distribution channel, and region.

On the basis of type, the chairs segment held over USD 5 billion market share in 2022 and is expected to demonstrate massive growth by 2032. The increasing number of households and office spaces, along with the "working from home" scenario, is slated to augment the demand for the luxury chair segment. The WFH culture has highlighted the earlier neglected ergonomic furniture section. Ergonomic furniture such as chairs can be easily installed in homes and not only are they fully adjustable, but also help with back pain, reduce neck pain, improve blood circulation, and boost productivity. Such attributes are slated to drive the market progression between 2023 and 2032.

Based on the distribution channel, the offline segment will grow at more than 3.5% CAGR by 2032. The growth can be attributed to the increased customization and physical experience opportunities. In addition, several benefits offered by offline furniture purchases, such as no waiting for shipping, the ability to inspect the product before purchasing, and simple returns, are expected to augment market growth in the coming years.

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In the regional context, the Asia Pacific luxury furniture market is projected to register notable gains through 2032. Rising living standards coupled with an increasing number of luxury hotels, educational institutions, and hospitals are expected to boost the luxury furniture industry's penetration in the APAC region.

Table of Contents (ToC) of the report:

Chapter 1   Methodology & Scope

1.1��   Market definitions

1.2    Base estimates & working

1.2.1    North America

1.2.2    Europe

1.2.3    Asia Pacific

1.2.4    Latin America (LATAM)

1.2.5    Middle East & Africa (MEA)

1.3    Forecast calculations

1.3.1    COVID-19 impact calculations on industry forecast

1.4    Data sources

1.4.1    Primary

1.4.2    Secondary

Chapter 2   Executive Summary

2.1    Luxury furniture market 3600 synopsis, 2018 - 2032

2.1.1    Business trends

2.1.2    Type trends

2.1.3    Distribution Channel trends

2.1.4    Regional trends

Browse complete Table of Contents (ToC) of this research report @ https://www.gminsights.com/toc/detail/luxury-furniture-market

HVAC & Construction Research Reports

Floor Saw Market

Cranes Rental Market

Curtains and Window Blinds Market

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Global Market Insights, Inc., headquartered in Delaware, U.S., is a global market research and consulting service provider; offering syndicated and custom research reports along with growth consulting services. Our business intelligence and industry research reports offer clients with penetrative insights and actionable market data specially designed and presented to aid strategic decision making. These exhaustive reports are designed via a proprietary research methodology and are available for key industries such as chemicals, advanced materials, technology, renewable energy and biotechnology.

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[productresearchreport24]

Fiber Optical Spectrometer Market Size Research Reports & Industry Analysis

The report titled Fiber Optical Spectrometer Market offers detailed insights on the Fiber Optical Spectrometer industry entailing key information on its different market segments. The report gives an industry overview from around the world and covers the latest trends, market restraints, and investment opportunities, and conducts exclusive interviews of the Fiber Optical Spectrometer industry leaders to contribute to the report’s findings. The report discusses the buyers’ requirements and suggests strategic actions & business changes accordingly to the market players. Moreover, the natural, internal, and external barriers to progress are given in the report. The wider business environment of the Fiber Optical Spectrometer market and the industry challenges are included in the report.

Read Full Report at: 

Growth prospects, leading trends, progress projections, key industries, and business innovations are the primary focus of the Fiber Optical Spectrometer study. A comprehensive Fiber Optical Spectrometer study is available for a number of key areas involved in the report. Furthermore, the Fiber Optical Spectrometer study examines present and potential consumer positions in terms of sales based on market goods around the globe.

Key Players in the Fiber Optical Spectrometer Market:

Ocean Optics, Avantes, B&W Tek, StellarNet, Hamamatsu, Shanghai Ideaoptics, ALS, Flight Technology, BaySpec, Gztek, Enhanced Spectrometry, Changchun Yunteng Tech, Hangzhou Seemantech, Wyoptics

Fiber Optical Spectrometer Market Types:

Ultraviolet Band

Infrared Band

Near Infrared Band

Others

Fiber Optical Spectrometer Market Applications:

Color Measurement

Spectral Measurement

Film Thickness Measurement

Others

Highlights of the Report:

The report gives information on all the active tenders in the Fiber Optical Spectrometer industry across the globe based on different categories. The important government notifications and change in regulations according to the latest updates is provided in the report.

The market size and forecast estimates of the Fiber Optical Spectrometer market is given in the report considering the economic, financial, and general business conditions prevailing in the Fiber Optical Spectrometer market from 2022 to 2027.

The report demonstrates the contribution of each segment and sector in the improvement of Fiber Optical Spectrometer market share, market size, and CAGR.

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Regional Fiber Optical Spectrometer Market (Regional Output, Demand & Forecast by Countries):

North America (United States, Canada, Mexico) South America (Brazil, Argentina, Ecuador, Chile) Asia Pacific (China, Japan, India, Korea) Europe (Germany, UK, France, Italy) Middle East Africa (Egypt, Turkey, Saudi Arabia, Iran) And more.

Why Purchase This Market Research Report?

Critical issues and challenges the Fiber Optical Spectrometer market will be facing in the forecasted years are identified in the report to help market players align their business decisions and strategies accordingly.

The report identifies key trends facing the Fiber Optical Spectrometer market.

Trends responsible for global and regional economic growth of the Fiber Optical Spectrometer market are highlighted in the report to help market players in a critical understanding of the future of the Fiber Optical Spectrometer market.

The report conducts an assessment of the production and operational practices taking place in the marketplace.

The report presents the challenges faced by the leading geographies and nations from the pandemic and their reorientation of policies to survive the market.

The Report Attempts to Answer the Following Questions:

What will be the financial performance of North America, APAC, Europe, and Africa in the Fiber Optical Spectrometer market in 2022 and beyond?

Which companies are likely to succeed in the Fiber Optical Spectrometer market with the help of foreign companies, mergers and acquisitions and new product launches?

What are the strategy recommendation and business models for emerging market players?

Which are the Fiber Optical Spectrometer market’s largest manufacturing firms and most competitive firms?

Thanks for showing interest in the Fiber Optical Spectrometer Market research publication; you can also get individual chapter-wise sections or region / Country report versions like Germany, France, China, LATAM, GCC, North America, Europe, or Asia.

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[nofoodjustwax]

dumama + kechou- Buffering Juju

dumama + kechou- Buffering Juju

Released in 2020 on Mushroom Hour Half Hour Artist: Dumama + Kechou Format: LP Style: Nomadic Future Folk, Organic Beat Music, South African Folk, Progressive Folk Vibe: Heartfelt, Imaginative, Futuristic, Ritualistic, Spiritual, Earthy, Psychedelic  Musical Attributes: Electro-acoustic, Percussive, Polyrhythmic, Studio-as-an-Instrument, Progressive Listen/Purchase:

[passionate-reply]

This week on Great Albums: one of my favourite “hidden gems” of the mid-1980s, Blancmange’s *Mange Tout* is about as extra and in-your-face as it gets, full of dense arrangements, gender-bending bombast, and musical instruments from Southern Asia.

Welcome to Passionate Reply, and welcome to Great Albums! This time around, I’ll be taking a look at one of my favourite hidden gems from the mid-1980s, the sophomore LP of Blancmange, entitled Mange Tout.

Despite their relative obscurity today, particularly in comparison to many of their contemporaries, Blancmange weren’t total strangers to the pop charts. Their first full-length LP, 1982’s Happy Families, would yield the biggest hit of their career: “Living on the Ceiling,” which peaked at #7.

Music: “Living on the Ceiling”

While it never got to be a chart-topper, “Living on the Ceiling” is still an unforgettable track in its own ways. Perhaps its most distinctive feature is its use of the traditional Indian instruments, the sitar and tabla. While 80s synth-pop is certainly full of Orientalism, most of the references you’ll find are pointing to the Far East, and the perceived aesthetic sophistication and techno-utopian futurism of China and Japan. Aside from certain works of Bill Nelson, Blancmange were pretty much the only ones engaging with South Asian musical themes. Blancmange’s instrumentalist, Stephen Luscombe, grew up in London’s Southall neighbourhood, which had a high population of immigrants from Southern Asia, which led him to a lifelong interest in Indian music. Combined with electronics, it makes for a totally unique sound, which ends up sounding better in practice than it might in theory.

While any time White European musicians turn to alternative cultures as artistic tools, there’s a valid cause for some degree of criticism and concern, there’s also an artsy, left-field un-hipness about Blancmange, who seemingly drew from Indian music not only alone, but purely for sonic enjoyment. Unlike the exotic fantasies spun by groups like Japan, none of Blancmange’s songs seem propelled by any specific idea or ideology about India, but rather seem to tackle common pop themes of love and heartbreak against a seemingly *non sequitur* musical backdrop. While we, as listeners, might have strong associations with particular sounds, this is ultimately more cultural than innate, and there’s really no reason why a composition with Indian instruments must revolve around some theme of “Indian-ness”; it isn’t like people in India don’t also fall in love. However you feel about these influences, the role of Indian instruments is only increased on Mange Tout, where they appear on multiple tracks, including the album’s most successful single, “Don’t Tel Me.”

Music: “Don’t Tell Me”

On Mange Tout tracks like “Don’t Tell Me,” not only do the instruments return, but so do the session musicians who had performed on “Living on the Ceiling”: Deepak Khazanchi, on sitar, and Pandit Dinesh, on the percussion instruments tabla and madal. “Don’t Tell Me” is a track with a lot of pop appeal, lightweight and singable, which makes it a bit surprising that it was actually the final single released from the album. It certainly impresses me that Blancmange managed to create such bubbly and finely tuned pop, given that neither of their core members came from any formal or technical background: Luscombe had had a history in avant-garde music ensembles, and vocalist Neil Arthur became interested in music via the DIY culture of punk. Their first-ever release, the 1980 EP Irene & Mavis, sounds more like Throbbing Gristle than Culture Club, but they somehow managed to arrive at something quite sweet and palatable in the end. That said, it’s also possible for sweet to eventually become too sweet--and this line is provoked on the album’s divisive second single, “That’s Love, That It Is.”

Music: “That’s Love, That It Is”

In contrast to the lighter “Don’t Tell Me,” “That’s Love, That It Is” is utterly bombastic, with a vicious intensity. The instrumentation and production style is dense to the point of being borderline overwhelming. By this point in his life, Stephen Luscombe had recently discovered that he was gay, and his time spent in nightclubs that catered to the gay community provided another pillar of Blancmange’s signature sound: the influence of the queer disco tradition, which is almost certainly the source of this tightly-packed instrumental arrangement style. Blancmange never seem to be mentioned in the same breath as other stars of queer synth-pop like Bronski Beat, Soft Cell, and the Pet Shop Boys, presumably due to the combination of their overall obscurity and the fact that Luscombe was never the face of their band, but I see no reason not to include them in the same pantheon of camp. Speaking of queerness, it’s also worth noting how Blancmange played with gender, particularly on their cover of “The Day Before You Came.”

Music: “The Day Before You Came”

A solid eight years before Erasure’s iconic Abba-Esque, Blancmange offered their own interpretation of an ABBA classic with “The Day Before You Came.” In their hands, it’s a languid dirge, and a meditation on quotidian miseries for which the titular event seems to offer little respite. The unchanged lyrics, portraying the narrator working in an office and watching soap operas at night, are subtly feminine-coded, but the deep and unmistakably masculine voice of vocalist Neil Arthur seems to muddle those connotations. While it is a cover, I’m tempted to sort it into the same tradition as Soft Cell’s “Bedsitter” and the Pet Shop Boys’ “Left To My Own Devices,” as a work which musically elevates the everyday life of a campily self-obsessed character to the sort of melodrama the narrator perceives it to have.

I’ve spent a lot of time praising the instrumental side of their music so far, but it’s also true that Blancmange wouldn’t be Blancmange without Arthur’s contributions. The presence of his rough and untrained voice, with the added gruffness of a Northern accent, draws a line between these tracks and a typical pop production, and he sells us quite successfully on the gloomy, ominous feeling of tracks like “The Day Before You Came” and the album’s lead single, “Blind Vision.”

Music: “Blind Vision”

On the cover of Mange Tout, we find an assortment of seemingly unrelated items, which form a sort of graphic wunderkammer against a pale beige backdrop. Perhaps the best theme that could be assigned to them is that of travel--we see several means of transportation, such as a boat, a motorbike, and an airplane flying above a map, as well as items that can be taken as symbols of exotic locales, such as a North American cactus, and an elephant and Zulu nguni shield from Africa. Only the harp is clearly evocative of music itself--and this instrument won’t even be found on the album! The album’s title, “Mange Tout,” suggests that we are getting “full” Blancmange, or “all of” Blancmange. Taken together, the cover and title seem to imply that this album is stuffed to the brim, and contains a whole world of musical ideas. I would definitely agree that that’s a major motif of the album: it’s audacious, explosive, and free-wheeling. It very much feels like an album that was put together on the back of a first initial success, with a pumped-up budget and bold creative vision, and hence pulls no punches. Perhaps the most compelling feature of Mange Tout, and the primary reason I recommend this album so highly, is its unbridled enthusiasm for what it’s doing. Even in its ostensibly experimental moments, Mange Tout feels not like an album that is “trying” something, but rather one that boldly and assuredly proclaims the things it does, and embraces a kind of “more is more” maximalism.

In hindsight, it’s easy to see Mange Tout as the creative as well as commercial peak of Blancmange’s career. Their follow-up release, 1985’s Believe You Me, is far from the worst album I’ve ever heard, but it definitely doesn’t feel quite the same as the “classic” Blancmange works, adopting a more middle-of-the-road, radio-friendly synth-pop direction, with less of the South Asian influences and experimentation that really set them apart in the saturated synth-pop landscape. While not a work devoid of merit, Believe You Me was a relative commercial dud, and the duo would split soon after, chiefly citing personal and creative differences--though they did have a brief reunion in the early 2010s.

Music: “Lose Your Love”

My favourite track on Mange Tout is “All Things Are Nice,” which, alongside the neo-doo-wop “See the Train,” would be classed as one of the more experimental tracks on the album. Full of tension, “All Things Are Nice” alternates between eerily whispering vocals from Arthur, and a variety of samples from other media--which was still a relatively cutting-edge technique for the time. “All Things Are Nice” is almost certainly the most conceptual track on the album: as samples discuss world war, and Arthur whispers that “we can’t keep up with it,” the song is probably to be interpreted as a commentary on the runaway nature of technology and so-called “progress” in the modern age. The titular assertion that “all things are nice” seems to be ironic--or perhaps it embodies a sheer love of chaos and unpredictability, for their own sake, which would certainly fit the album’s mood. It also feels like it might be a sort of defense of the album itself: like I said, *Mange Tout* is serving us “all of Blancmange,” and isn’t it fun to get to have all of something? That’s everything for today--as always, thanks for listening!

Music: “All Things Are Nice”

[lounesdarbois]

Morand, Dantec.

Morand est l’auteur de la constriction, de la concentration de cent pages en vingt, il est l’homme d’une littérature du substrat et du résidus à sec après évaporation. Il applique la méthode de l'évangile. Son laconisme narratif excitera à dessein des commentaires prolixes, l'aphorisme appellera l’exégèse, l’ellipse suscitera la glose. L'aperçu d'un terrain suggère le panorama global.  La synthèse contient en germe tous les développements laborieux, laissés à d'autres (lecteurs, critiques, universitaires etc). Morand pratique la frugalité des classiques. Quelques grands concepts président à tous les développements ; il suffit d'énoncer clairement ces concepts. Méthode proche du "pull" en marketing: pour élever le néophyte on nivelle par le haut.

Il fait court car sait avec Hegel que plus on gagne en extension moins on gagne en compréhension. 

Dantec vient du Poulpe, de Giger, de la ligne brouillée. Dantec privé des classiques à l'école gauchiste glose car il a tout à prouver (milieu pauvre, sans réseau). Il progresse péniblement pour s'élever. Morand né dans un monde merveilleux passe facilement sur les lieux et les choses. 

L’ellipse est le luxe des initiés sûrs d'eux mêmes qui trouvent toujours la table mise : ils sont rassasiés à peine ont-ils faim. Soulagés des fardeaux matériels ils peuvent jouir à fond de leur esprit. Ils ont le temps devant eux, et tirent de leur contemplation des maximes mieux aiguisées.

Cruelle séparation des élus et des damnés, qui donne aux premiers le succès parce qu'ils s'en sentent dignes et en privent les seconds parce qu'ils s'en sentent indignes.

La crise de 1917 puis celle de 1929 convainquent Morand d'une période de kairos, de temps accéléré qui rend caduque la mode des pavés de mille pages. Les gros cubes des Zola, Proust, Martin-Dugard de la génération précédente cèdent place à la brochure, à la nouvelle enlevée dont les feuilles servent aussi d'éventail. Quand l'œuvre est brève la lecture est rapide, et l'impression produite est longue.

L'ellipse est chez Morand le moyen de garder inviolé le point de catalyse de sa création littéraire. Céline son cadet s'inscrira dans la même tradition européenne du nord, de la réticence et de la pudeur, en proclamant "on circonscrit, on ne nomme pas", sorte de paraphrase du précepte d'Epicure "Cache le dieu que tu adores". C'est à la substantifique moelle que Morand fait référence quand il dit que la nouvelle est un os. Véritable scrabble en pages, chaque phrase y compte triple, et leur ordonnancement tout autant. Concentration des sucs dont la mémoire garde le goût longtemps, un goût si prononcé et si curieux que l'esprit veut en deviner l'origine comme l’œnologue capable de discerner dans la note de fruit de l'attaque non seulement le sol calcaire mais encore l'ensoleillement sud-est, le vent sec, la pente étagée, l'année etc. Morand toujours correct, lisse comme un fémur, laisse au lecteur le soin de mâcher des déductions parfois très subversives.

Ses remarques sur le vaudou comme le père de toutes les horreurs à venir démasquent une Afrique moins proche de la prétendue terre mère nourricière enseignée aux petits européens dès la maternelle, que de la sorcière, et dont la synagogue est la pointe avancée et la tête de pont jetée comme un corbeau d'abordage sur l'Occident sédentaire et naïf, mais aussi le début de l'Asie. Cette sorcière pratique une magie dangereuse, la « noire », qui s’oppose au monde européen des fées, des livres d’heures et des mines claires, toutes choses tenues en haine absolue par notre époque qui gît au pouvoir du malin, sujet traité à fond par Céline.

Morand cet occidental tout en dedans, mystique, laconique et profond répond aux critiques agacés du ton catégoriques de ces comptes-rendus toutefois exactes que "l'on peut voir rapidement et comprendre bien".

Au tribunal les charges d'accusation pèsent lourd sur Maurice Dantec : petite taille, français, pauvre, élevé en banlieue, né en 1958 donc trop tard pour jouir des trente glorieuses une fois adulte, élevé à Grenoble puis Ivry, trop loin des lycées du quartier latin et des restes de l'école classique mais à temps pour prendre de plein fouet l'aberrant freudo-marxisme des années 60-70. 

Il commit tous les délits : la conversion au Christ, l'expatriation au Canada, jusqu'au crime ultime de réussir à s'extirper de sa condition d'origine qui condamnait des milliers de ses congénères à l’alcoolisme, au désespoir et au suicide sans postérité (plus aucun français n'habite les barres HLM d'Ivry-Choisy-Orly-Vitry, tous morts sans enfants, égorgés ou noyés dans l'alcool comme l'avait prédit Céline). En 1998, à 40 ans, le prolétaire Dantec avait vaincu la fatalité.

L'habitat

Dantec passé par Grenoble et le 94 fut témoin du saccage de son espace par le bâti en parpaing/métal et de sa société par la racaille d'en bas. Le moulin d'Ivry, la banlieue de Céline tournée gauche MJC puis racaille Mafia k1 Fry (Africa is the Future, pochette de Le combat continue).

En creux de cette sortie de la zone de confort : ronron parfait, malgré cent voyages au bout du monde Morand reviendra toujours poser ses bagages à Paris dans le quartier de la Tour Eiffel, pendant 80 ans. Parfaite continuité enfance-âge adulte, fidélité à la même école philosophique "ligne claire" : Schopenhauer élégant et ferme 

Air, espace, lumière. Morand connut dans le quartier de la tour Eiffel ce que la France pouvait bâtir de mieux, mourut à temps pour ignorer son saccage par la racaille d'en haut. Espace ouvert, beaucoup de style qui est la race des immeubles, à l'époque où l'on bâtissait encore des immeubles de 1ère classe à Paris, bien avant le temps du bourrage des parcelles et de la découverte d'une "habitabilité" des caves, de la noblesse dégénérée et de la bourgeoisie oppressée reléguée toujours plus loin, plus sale. "Sympa les quais du canal!" etc ... Chacun se préserve de l'agression comme il le peut. Le pauvre fuit, le riche paie. 

Méthode de travail

Dantec: un grand sensible aux intuitions toujours justes, mais mal aiguillé (mauvaises écoles, etc).

Morand avait lui les bonnes bases : un foyer uni, le jardin du dépôt des marbres, cette certitude des enfants de riche d'être appelé à des privilèges, le sentiment d'un destin. Pensez que le préfacier de son premier livre fut Marcel Proust quand le seul coup de pouce que Dantec reçut jamais vint d'un obscur surveillant de lycée d'Ivry et auteur de polars nommé Jean-Bernard Pouy. Le déterminisme de classe le veut : on ne choisit pas son groupe mais le groupe vous choisit. "Tu traînes avec qui est sympa avec toi" est la seule loi des cours de lycée, lieu où la terreur ultime est d'être rejeté du groupe. 

La sensation : drogue contre sport

Dantec sombra dans la drogue pour continuer d'écrire et mourut abandonné à 58 ans. Morand apôtre du sport tint jusqu'à 88 ans, comblé des trois médailles mondaines : l'argent, les femmes, les honneurs.

Le shit, l'ecsta et le LSD fauchent dès 16 ans les jeunes français soudain sevrés d'une féérie de l'enfance que menace toujours plus tôt les écrans et l'étalement urbain.

Forcé dans l'âge adulte, sevré de l'émotion gratuite qui coule toute proche de la source lorsqu’on est enfant, l’homme adulte est soudain seul avec le néant pour vis-à-vis. La drogue le comble par accès direct à la sensation, sorte d'émotion sans objet. (puis toute la mouvance GoPro, "sensations fortes" etc), mais bientôt le détruit.

Drogues, sucres et mauvaises lectures : la fin terrible de Dantec abandonné, empoisonné. Sport, maîtresses, vitesse : la fin lumineuse de Morand foudroyé en pleine séance de gym au Crillon, à 88 ans. 

Dantec a fait tout ce qu'il ne fallait pas faire: écrire sous psychotropes, appeler à la révolte contre la racaille depuis l'étranger, trop s'expliquer, donner trop d'interviews, et enfin croire aux compliments. L'intuition est sûre mais l'émotion intraduisible, la vertu déficiente comblée par la drogue tourne le génie en excité voire en énergumène. Et pourtant dans son Théâtre des Opérations, quelles intuitions cet homme avait!

 Houellebecq l'avait prévenu dès 2005: “ "Nous vivons l'un et l'autre sur notre énergie nerveuse; cette énergie est grande, mais elle n'est pas illimitée, nous finirons par craquer et renoncer à traiter toute question politique."

 LD

[burlveneer-music]

VA - Peace Chant - Raw, Deep and Spiritual Jazz Vol​.​3  - new entry in Tramp Records’ excellent compilation series

Tramp Records continues their pilgrimage to the soulful fringes of spiritual jazz and progressive rock and funk with their 3rd and 4th volumes of their "Peace Chant, Raw, Deep and Spiritual Jazz" series, and the world could not be more ready. As we turn together on this tiny blue ball hanging lonely in space, and as we together face existential threats ranging from climate catastrophe, the rise of brutal authoritarian regimes, the breaking of the industrial storm and the imminent collapse of empire, not to mention the raging covid-19 crisis and the continuing racial and social struggles across the globe, we are thrust into a society-wide grand awakening that has been in the making for a very long time. Of course, our musical teachers have trod this path before us, and have worked out solutions to these problems, the songs of the Peace Chant series ring out loud and clear as our ancestors' proof of concept. They say history repeats herself, maybe it's because we weren't listening the first time. Thanks to Tramp Records, we have been granted another opportunity. Today, the musical and spiritual truths enshrined within the spiritual jazz diaspora seem to be more and more sought-after, and crucial at a time when we as a society seek higher and farther for those bold truths. With each generation, that truth doesn't change, and the artists featured in the series speak those truths along a continuum that ranges from the late-60s up to the present day. Volume 3, the first LP, features artists who use their medium to welcome the return of the sacred feminine as in Lenny Marcus Trio's Mother's Day, and speak on afrocentric themes like Roland Hayes with his heartfelt Africa The Beautiful. Mineral King renders epic orchestral rock while Natural Life takes us even further on a ten-minute epic quest from a progressive fusion head, to searing tabla, into virtuosic guitar jamming and finally dropping into heady fuzz-soaked riffs and free-jazz fusion with their theme song. Rama Dyushambee sings a devotional song about divine source and healing, while Jule Farmer's Muhammad Ali stands strong at the crossroads between black spirituality and black power. Black Is provides a vibey lo-fi flute jazz meditation in their Themes and Variation while The Supa Lowery Brothers provide the requisite hard modal freedom funk. Peace Chant is the center of the mandala, representing the nucleus of the post-bop, modal jazz, avant-garde, transcendental, spiritual, ethnic, and freedom music universe without necessarily suggesting anything immediately identifiable as any of the above. This is the soundtrack to the raising of human consciousness and the salvation of society's very soul. We give thanks to Tramp Records for leading our thirsty hearts to this rich fountain. ~Joel Ricci

[antonomase]

30 questions to get to know someone better

Merci @plaidetchocolatchaud, désolée de répondre toujours super tard !

1. Name: Une version plus longue de "Flo"

2. Gender: Femme

3. Star sign: Sagittaire (lune en Bélier)

4. Height: 1m71 d'après mon passeport

5. Time: 8h26

6. Birthday: 12/12/1994

7. Favourite band: I don't do favourite, mais Queen, OneRepublic, Bastille, Years & Years, c'est petits cœurs sur eux.

8. Favourite solo artist: Aucun en particulier, ma playlist de voiture est un patchwork éclectique, de la comédie musicale au reggaeton, en passant par la pop/folk indé et la bachata.

9. Song stuck in head: "Africa" de Toto, parce que je l'ai passée à des élèves qui ne la connaissaient pas.

10. Last movie: Alceste à bicyclette ! 💞 (J'aime beaucoup ce film. Oui, je suis une vieille femme.)

11. Last show: Je regarde religieusement Brooklyn 99, en ce moment (je vous laisse deviner quel personnage est le plus #relatable pour moi.)

12. When did I create this blog: Créé en 2015, après avoir traîné dessus depuis 2012, mais je ne poste que depuis 2019.

13. What do I post: Tout et n'importe quoi. Je me plains beaucoup. J'aime bien noter les trucs qui me passent par la tête quand je lis. Et de temps en temps, je fais des moodboards.

14. Last thing googled: "ent hdf" parce que j'ai des tendances workaholics.

15. Other blogs: Aucun, j'assume le bazar qu'est ma tête.

16. Do I get asks: C'est assez rare.

17. Why I chose this url: J'aime cette figure de style.

18. Following: 114

19. Followers: 242

20. Average hours of sleep: 7/8, je suis un grand bébé.

21. Lucky number: 12

22. Instruments: Flûte traversière et je chantais un peu en chorale, dans le monde d'avant

23. What I’m wearing: une grosse robe-pull, avec un sous-pull, des collants, une paire de chaussettes hautes par-dessus, une grosse veste en laine et mes cuissardes, parce que winter is here, Jon et il caille de ouf.

24. Dream job: Pour être honnête, je suis là où je veux. Après, si c'était dans une autre région, si j'avais des classes de grec en plus, si j'avais plus de temps pour monter des mini-projets qui accrocheraient les élèves, ce serait l'idéal. (Et des programmes moins débiles.) Mais mon boulot est work in progress, on s'améliore tout au long de la carrière, donc pour les projets et les cours qui touchent les élèves, ça viendra avec l'expérience.

25. Dream trip: Retourner en Grèce, sinon, j'étais censée aller en Croatie l'été dernier, mais avec le viru, ce sera pas pour cette année encore. Et j'aimerais voir des aurores boréales de mes propres yeux avant de mourir.

26. Favourite food: Les épinards.

27. Nationality: Française.

28. Favourite song: Honnêtement, ça dépend énormément du mood du moment.

29. Last book I read: The Evening and the Morning de Ken Follett, je l'ai fini dimanche, et je pense que je finirai The Poppy War de R. F. Kuang dans la journée.

30. Top 3 fictional universes : Uniquement 3 ? On va dire, les 2 derniers que j'ai découvert et aimé : The Locked Tomb de Tamsyn Muir (because sass and biceps) ; Le Nom du Vent de Rothfuss ; et Kaamelott, parce que.

[louisa-magcd]

Reflection

From last week tutorial, I gathered that I was being too scattered and kept on changing directions too many times. This very relevant observation was difficult to realise. I wasn’t happy with the <<progress>> of the work I had made, and lost track of where I was going and what I was doing.

This week I deeply reflected on what truly interested me and what I really wanted.

My work directed towards “form over content” wasn’t made intentionally; I took that direction because of my incapacity to find a “content” that I would feel truly invested or interested in. I felt insecure towards a more personal approach to my work as opposed to something more academic.

“What is the use of creating emotion-based work?”, was a recurrent question that came to my mind.

The constant switch between visual styles was also a struggle of mine as I was paradoxically trying to “please others”, in the sense that I wanted to create something that would be liked by a bigger audience.

I felt confused by the terms “position”, “practice” and “critical position”. Do I really need to define them this soon, is there even a need to define them? Is it wrong to be or feel lost?

Maybe the sense of loss or the loss of self could be a position?

I have always been quite precious with my work and value quality over quantity, and this entire project has been difficult for me so far as the whole point of it is to produce at a high volume (which I haven’t been successful with, at all).

The reason why last tutorial didn’t go well in my opinion (in terms of what I had done), is that I tried to change direction again, out of indecisiveness and my fear of making “meaningless work”. I tried to switch the direction towards something I thought would be more lighthearted but also something that would be more accepted.

I realised this week that I had to find a way to ground myself, and after writing my essay and doing research, I realised that I was clearly more interested in personal and intimate work.

I remember being particularly confused after reading “the death of the author” and it really made me question my own position: am I an author? Is authorship really dead? Is it really impossible to be an author at all?

These questions aside, I was also wondering if it was “wrong” to create around oneself, and if it was really an egotistical and selfish act.

So instead of thinking about how people would perceive me based on the work I produce (something that holds me back a lot), I started thinking about the artists I like and the art they make or made.  

I have also been significantly drawn to my Moroccan and French heritage and how I could potentially implement elements of my heritage into my work in subtle ways, and maybe merge them together.

I have been researching around Moroccan female artists specifically.

One of them is Chaibia Talal, one of the most influential Moroccan artists of the 20th century. Her story is especially extraordinary and touching. She was born in 1929 in a small village and married at age 13; her husband died when she was 15 years old. As a young widow and mother, she had no choice but to work as a cleaner in order to sustain herself and her son. She was illiterate.

She began painting in 1963 after having a “prophetic” dream that encouraged her to start painting. Her son had a painting studio, and that is where the art curator Pierre Gaudibert discovered her art work for the first time.

Chaibia Talal was a self-taught artist and she was exhibited all around the world. Although her work wasn’t well received in her time, she is now considered as a pioneer figure of Modern Moroccan Art.

The reason why it is important for me to talk about this artist comes from a need to discover more other Moroccan female artists that I can look up to.

Her work is extremely colourful; she was influenced by the “COBRA” avant-garde European art movement, but also pulled a lot of her themes from moroccan culture, depicting moroccan women in traditional costumes. There is an evident play with figuration and abstraction, and the very consistent use of patterns is also an echo to moroccan culture and craft.

Pattern making and symbols are an inherent part of Moroccan culture, even before it was a country. The west part of North Africa was actually constituted of nomadic Berbers.

These nomadic group of people would worship different divinities and symbols would be used both as protection, directly on the skin in the form of tattoos, or on the fabric they made and wore. Clothing was especially important as it was an indication not only of social status, class and wealth but also an indication of the nomadic group they belonged to.

Symbols had associated meaning with different purposes.

Pattern making became even richer after Islamic influences arrived in North Africa. Indeed, it is prohibited in the religion to depict God or any divine figure to Man’s image. Subsequently, symbols and patterns were used to palliate to this. Calligraphy was, and still is, a highly valued form of art; Koranic texts would be embellished and treated as images as opposed to just writing.

Geometry and symmetry was seen as a high form of art as well; there is an element of repetition, interlacing shapes, texts, and symbols that is prevalent throughout Moroccan Art, and craft History.

Symbols have always interested me whether it be part of my heritage, or other new found interests, such as the occult. I have always been fascinated by how different meanings and interpretations can be pulled out of one image or symbol. How visuals can be transformed and used as a new form of language.

There is also a very superficial reason to this as well. There is something about looking at an accumulation of symbols on one images that is, to me, pleasing to the eye. Even if I can’t necessarily fully comprehend the artist’s intention behind every details of their work, I naturally associate a meaning to it based on my own experience and subjectivity.

A good example of this would be Hieronymus Bosch’s “The Garden of Earthly Delights”.  

I am aware of its religious ties, and there are extended interpretations made of this triptych oil painting. Yet, I much prefer look at it and create my own narratives out of the images and symbols I can observe from it. I enjoy the fact that there are a multitude of narratives enfolding on one big image.

In tarot as well, each card is illustrated with specific visuals that aid in the interpretation of its messages. The cards, put side by side, form a narrative that is enriched by a diversity of symbols.

Folklore too, have consistently used symbols and metaphorical analogies to express a deeper meaning.

The French fabulist Jean de la Fontaine is well known for using animals, insects and plants to convey more sensitive messages, at a time where criticising the King and his court was a real offence and a punishable crime.

After listing down all of the things that I loved, I realised that they weren’t so impossible to connect. At a first glance, they seemed impossible to link, but they all share a similarity: they all use symbols and images to attach personal meanings to them or convey certain messages or narratives.

In conclusion, I would like to develop my own “Visual Dictionary/Library”, or at least start this process.

Through this project, my aim refocused on its intended purpose, which was the expression of self through a diverse set of symbols and images.

By doing so, I go back to my very early iterations from Elaborate, where my work was more emotion-based; I intend on keeping the idea of self-reflection through making and researching, in order to develop my own visual language.

[gimmesomeclout-blog]

The Final Blog Post

For my final blog post of my first year, I wanted to highlight the two topics that intrigued me the most, orientalism and the avant garde. Orientalism is a concept that blew my mind; it made me question the things around me, whether it was a social issue or a product, it stimulated me to ask whether or not it was a produce of orientalism. Orientalism revolves around history; I kept asking myself the question, 'What if history was different?' and would begin to imagine the various timelines that the world could have fallen into. The avant garde fascinated me ; it was interesting for me to research different pieces of art and artists and finding out what was considered groundbreaking for it's time, when you compare these innovative new methods to the pieces that are created today, you can really see how the influence of such an artist or piece has slowly and gradually developed into another style or merged with other ones to create a completely new style or genre.  The various lectures throughout the year have encouraged me to ask more questions than ever about everything around me, the tantalising subjects of each lecture were what made me look at things differently and sparked my curiosity into the world around me and it's origin.

Edward W. Said said in his groundbreaking book, Orientalism, said that Orientalism is the basic distinction between East and West as the starting point for elaborate theories, epics, novels, social descriptions, and political accounts concerning the Orient, its people, customs, ‘mind,’ destiny and so on.”

In essence, Orientalism is a thought process that imagines, emphasizes, and distorts differences of Arab peoples and cultures as compared to that of Europe and the U.S. It often involves seeing Arab culture as exotic, backward, uncivilised, and at times dangerous, whilst simultaneously viewing European culture as civilised, innovative and prestigious.

Because of Orientalism, the Western Civilisation saw themselves as more superior and civilised; since the Western civilisation is the dominant one in history, they painted an untrue picture of those in the Eastern culture. Art, history and all other historical accounts of the Eastern civilisation paint a darker picture for them; showing them to be misogynistic and savage.

An example of this would be the French colonisation of Algeria from 1830 to 1962. French entrepreneurs produced postcards of Algerian women that were circulated in France. Rather than actually capturing the Algerian women in their day-to-day lives, French photographers actually set them up in a studio which made them look strange in the French colonial perspective. The postcards depicted them in a way to make Algerian customs to look exotic, backwards and strange. This is an example of how Arab women were exoticized and eroticised for the pleasure of male European voyeurs who had fantasises of penetrating the harem.

Although Orientalism only refers to the places within the orient, Africa is still effected by the views of the occident. The Western people looked down on Africa when they first arrived there, they saw them as exotic, uncivilised and savage people and then decided that their culture was superior and started the slave trade. To this day, black people are still prejudiced by Western culture; after Hurricane Katrina, people would go to stores and take whatever they could, but when the media showed this: black and other ethnic people were ‘looting’ rather than ‘gathering supplies’ when white people were shown doing the exact same thing.

The historical impact of Orientalism can be seen in both a negative and positive way. The positive way of looking at Orientalism is that it has benefited our technology, standard of life and social life. Because of the history we currently have, everything that has happened thus far has brought us to this age of technology; where we’re able to connect with those on the other side of the world, get information and broadcast our opinions instantaneously. The negative way of looking at the historical impact of Orientalism is much more complex. In this way, orientalism paved the way for white supremacy: we can only make assumptions as to what would’ve happened differently if the moments in history where the occident didn’t see the orient as inferior; would we still have the technology that we do today? Would it be more or less advanced than the present? Would racism between Western cultures and everywhere else still be present? What would beauty standards be like? Unfortunately, there's no way of knowing and all we can do is speculate about what could have been.

The Avant Garde is defined as the new and experimental ideas and methods in art, music or literature; avant garde is the word ‘vanguard’ in French, the vanguard are soldiers who fight at the front line and push forward against entrenched opposition, and the artists, composers and writers who were pushing and innovating past the norms of their time were very much comparable to the vanguard. 

Real progress can only be made through failure and whoever wishes to advance must be prepared to fail. The avant garde is all about constant innovation, taking risks and thinking forward, so that the boundaries are always being pushed. Without the avant garde, the creative arts would be stagnant and would be full of artists, composers/musicians and writers etc. that all do things the same way; there would be no originality and we wouldn’t be able to innovate and improve anything around us.

The avant garde started in the nineteenth century, with artists such as Kirchner, Gaugin and Courbet who were challenging long-established concepts and ideas about art and fighting an entrenched establishment. Kirchner was an expressionist painter from the nineteenth century; he was part of a group called Die Brücke (The Bridge). They were called the bridge because they were trying to abstain from the traditional academic styles and find a new way of artistic expression, therefore forming a bridge between the past style and the present. Kirchner was able to express freedom, energy and feeling through his use of brush strokes and evocative colours. This approach and style is why Kirchner is considered to be an avant grade artist. Unfortunately, Kirchner was labelled a ‘degenerate artist’ by the Nazis, leading his works to be censored and denied the work public exposure. Because of artists like Kirchner, artists were inspired to express themselves in their own ways, this birthed many art movements of the twentieth century such as expressionism featuring artists like Van Gogh and Munch, cubism, futurism and many more.

In the contemporary creative arts, the avant grade are still pushing boundaries of their respective arts and are probably more frequent than ever. Because of the sheer number of people who are now involved in the arts, there are more and more people everyday trying to innovate and expand beyond the norms and beyond what should be possible.

I believe that the avant grade and creativity go hand-in-hand, one cannot exist without the other. One of the most avant garde creatives of our generation, Steve Jobs, said this, “Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something. It seemed obvious to them after a while. That’s because they were able to connect experiences they’ve had and synthesise new things.” Jobs put it perfectly; because of all of these creatives who are able to synthesise new things, the bridge between the past and the present is getting bigger. Creatives are becoming more and more frequent, and there will be a lot of things that will be seen as weird or crazy, maybe it's simply pushing the boundaries of it's respective art, or maybe it's just avant garde.

I’ve learnt a lot from my first year on this course; I’m leaving my first year at Kingston knowing that I picked the right course for me, I have a very good set of lecturers and course leaders and that I’ve gained more than just institutional intelligence from them. I found the subject matter of each lecture very engaging, but it was the lecturers that drove the topics into me and made me question everything around me and within me. As a British-Filipino growing up in a lower-class area, there were social, ethical and racial issues that I witnessed and experienced first hand; it was only because of the lectures that I attended, I was able to understand why such things were and still are happening. The course content is so much more stimulating than I had anticipated; the creative and cultural industries looks at many more problems, issues and stigmas within society and the industry, I didn’t know more than half of the things we were taught before coming onto the course. Hopefully this final blog post has done justice to my lecturers and course leaders, that I am more than capable of being able to talk about concepts and social issues and their effects on society and the industry; that I am more than the fashionable (?), loud-mouthed, quick-to-comment young Asian adult that I appear to be on the surface, and that maybe, just maybe, some of the intelligence, social awareness and understanding of my inspirational lecturers and course leaders may have been passed onto me.

References:

Name unavailable, What is Orientalism? | Reclaiming Identity: Dismantling Arab Stereotypes, Arabstereotypes.org, Website, http://arabstereotypes.org/why-stereotypes/what-orientalism

Name unavailable, Ernst Ludwig Kirchner, En.wikipedia.org, Website, https://en.wikipedia.org/wiki/Ernst_Ludwig_Kirchner

Name unavailable, What is the Avant-Garde? Art Movements & Styles, YouTube, Website/Video, https://www.youtube.com/watch?v=u0hQydmGdYA

Barbara I Gongini, Avant-Garde Fashion: A Modern Definition - Barbara I Gongini, Barbaraigongini.com, Website, https://barbaraigongini.com/universe/blog/avant-garde-fashion-a-modern-definition/

[marketingnewsreport]

Smart Glove Market

Smart Glove Market Overview The Smart Glove Market size is analyzed to grow at a CAGR of 9.6% during the forecast 2021-2026 to reach $4.67 billion by 2026. Smart Glove is considered as a wide range of Sensor technology gloves for advanced and customized solutions, such as hand protection, high-tech rehab device and other assistive device services. The Smart Gloves are designed electronic devices with microcontrollers to offer avant-garde opportunities for various kinds of application suitable to the business requirements, including industrial grade gloves and medical grade gloves, and thus, contribute to the Smart Glove market growth. The rapid prominence of the Internet of Things (IoT), artificial intelligence and connected devices, along with the increasing innovations in wearable health devices, smart personal protective equipment, integrated with GPS, wireless communication features and in-built voice assistance have supported the Smart Glove Industry development successfully. In fact, the growth of the market is also observed due to the growing advancement of the Bluetooth chip, flex sensors, microcontroller, and accelerometer. Furthermore, the progression of microencapsulation and nanotechnology pave the way for sensor technology which offers lucrative growth possibilities. The influx of brands like Samsung, Apple, and Fossil are broadening the functionalities, which further promotes Smart Glove Market.

Smart Glove Market Report Coverage The report: “Smart Glove Industry Outlook – Forecast (2021-2026)”, by IndustryARC covers an in-depth analysis of the following segments of the Smart Glove Industry.

By Offerings: Software and Service By Application: Fitness & Wellness, Specific Health Monitor, Infotainment, Ergonomic wearable and others By Industry Verticals: Pharmaceuticals & Healthcare, Food & Beverages, Enterprise and Industrial, Consumer Electronics and others By Geography: North America (U.S, Canada, Mexico), Europe (Germany, UK, France, Italy, Spain, Russia and Others), APAC(China, Japan, India, South Korea, Australia and Others), South America(Brazil, Argentina and others)and RoW (Middle east and Africa).

Key Takeaways The growing demand of wearable medical devices owing to the increasing awareness on fitness and a healthy lifestyle along with prominence of connected devices in Healthcare, contribute to the growth. Asia Pacific is estimated to hold the highest share of 40% in 2020, followed by North America, owing to the significant adoption of IoT, large scale implementation of a wide range of ubiquitous systems, such as wearable computing and sensor technology across the several business verticals. The advancements in consumer electronics with a wide range of technical advantages, including touch sensitive features and miniature designs, resulted into the market growth. Smart Glove Market, By Region 2020

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Smart Glove Market Segment Analysis – By Industry Verticals By Industry Verticals, the Smart Glove Market is segmented into Pharmaceuticals & Healthcare, Food & Beverages, Enterprise and Industrial, Consumer Electronics and others. The Enterprise and Industrial segment held the major share of 37% in 2020, owing to the propensity for cutting-edge products and significant investment to pursue radical evolutions in commercial applications. In order to address the growing requirement of several end users across automotive, oil & gas, manufacturing and logistics, customizable smart gloves with built-in scanners are introduced for more effective operations. In April 2019, the manufacturer of a smart, wearable technology, ProGlove, unveiled its MARK 2 to a U.S. audience ProMat in Chicago. The new MARK 2 enables the user to scan up to 5 feet away from a device and can connect to a corporate network via Bluetooth Low Energy (BLE), with up to 15-hour charge battery. ProGlove provides hands-free scanning solutions across a number of industries, and thus, in September 2020, Panasonic announced a partnership with ProGlove, to combine the mobile computing solutions of the two companies in order to offer rugged, innovative and user-friendly wireless barcode scanners. The strategic collaboration is also formulated to deliver seamless as-a-stand-alone scanning solution with an embedded Panasonic’s voice picking solutions for the warehouse operations, supply chain, and inventory checking. Therefore, the growing demand of integrated gesture sensor solutions for dynamic workstations, and a more efficient working environment accelerated the demand of Smart Glove Market.

Smart Glove Market Segment Analysis – By Geography Asia Pacific is estimated to hold the highest share of 40% in 2020, followed by North America in Smart Glove Market. The early adoption of IoT, large scale implementation of a wide range of ubiquitous systems, such as wearable computing and sensor technology across the several business verticals, along with the growing interest of consumers towards ‘sensorized’ fitness wearable devices are estimated to drive the market in these regions. Furthermore, numerous research investments propel the innovations of soft and stretchable electronics design that propel a competitive edge to smart wearable solutions. In January 2021, HaptX Inc. announced the release of HaptX Gloves DK2. The HaptX Gloves DK2 is an upgraded design and the world's most advanced haptic feedback gloves, which deliver unprecedented realism, with more than 130 points of tactile feedback per hand. These gloves have astoundingly real-life superpowers with VR, XR, and robotics technologies to meet the demand of various enterprises for quality requirements. Hence, the promising demand of industrial wearable and other smart personal protective equipment in these regions are estimated to drive the Smart Glove Market.

Smart Glove Market Drivers Growing prominence of healthcare wearable The growing demand of wearable medical devices owing to the increasing awareness on fitness and a healthy lifestyle along with prominence of connected devices in Healthcare, contribute to the growth of Smart Glove Market. Moreover, the rise of high-tech devices to usher clinical-grade wearable with 3G and 4G connection led to various viable solutions. In July 2020, UCLA bioengineers designed a glove-like device that can translate American Sign Language (ASL) into English speech in real time through a smartphone app. The entire system is integrated upon a pair of gloves with thin, stretchable sensors to translate hand gestures into spoken words. Hence, the sizable demand of personalized care, specific health issue monitoring devices and user-friendly, compact medical wearable propelled the growth of the Smart Glove Market.

Advancements in consumer electronics The advancements in consumer electronics with a wide range of technical advantages, including touch sensitive features and miniature designs, resulted into the growth of Smart Glove Market. The advent of digitalization and latest development in sensor technology to enhance user performances is further driving the market. In April 2019, British music tech company Mi.Mu, founded by Grammy award-winning artist Imogen Heap announced the release of newly designed Mi.Mu gloves, allowing artists to map hand gestures to music software. The new gloves of Mi.Mu are durable with a removable battery system that offers artists complete control over their musical performances. Moreover, the breakthrough innovation in microfibre sensor technology offers strain sensing capabilities that provides gesture-based control. In August 2020, A team of researchers from the National University of Singapore (NUS), led by Professor Lim Chwee Teck, developed a smart glove, known as 'InfinityGloveTM', which enables users to mimic numerable in-game controls using simple hand gestures. Therefore, the launch of sophisticated wearable electronics products, extensive glove's capabilities and rising usage of convenient-to-use devices are some of the factors that are estimated to drive the Smart Glove Market.

Smart Glove Market Challenge High price of Smart Glove solution The market of Smart Glove is expanding due to the significant technologies development, using the amalgamation of sensing and feedback operation to denote smarter systems. Thus, the commercially available devices, pertaining to smart glove features are prominently expensive, which is a major constraint that demotivated the rapid adoption. Thus, factors such as less sensible investment and unobtainability of some of the latest smart gloves technology around some regions  due to high cost are likely to restrict the Smart Glove Market.

Market Landscape Partnerships and acquisitions along with product launches are the key strategies adopted by the players in the Smart Glove Market. The Smart Glove Market top 10 companies include Apple Inc, Flint Rehab, Haptx, Lab Brother Llc, Maze Exclusive, Neofect, Samsung Electronics Co Ltd, Seekas Technology Co., Ltd, Vandrico Solution Inc, ProGlove, Workaround Gmbh and among others

Acquisitions/Technology Launches/Partnerships In December 2019, HaptX, the leading provider of realistic haptic technology announced the partnership with Advanced Input Systems along with a Series A financing round of $12 million. This acquisition provides a great opportunity for HaptX as they can finance the production of the next generation of HaptX Gloves, which represents the world’s most realistic gloves for virtual reality and robotics, coupled with product development, manufacturing, and go-to-market collaboration. In November 2019, Ansell Limited, a leading provider of safety solutions, announced a partnership with ProGlove, a renowned industrial wearable manufacturer.  The acquisition is formed to deliver advanced hand protection solutions to ensure the personal protective equipment (PPE) compliance in the workplace. Related Reports

Wrist Wearable Devices Market

Report Code: ESR 0021

Wearable Medical Devices Market

Report Code: HCR 0015

For more Electronics Market reports, please click here

[poojakapor12]

A makeup artist or bridal make-up  is one to  peach artist whose authority  is to glow the  human body, which also glows makeup and prosthetics on other hand  for theatre, television, film, fashion, magazines and other uses which includes every  aspects of the most trend modelling film industry.

Awards issues for this profession in the film industry which include the Academy Award for Best Makeup and Hairstyling, and entertainment industry awards such as the Emmy Awards, and the Golden Globes.

In most of the countries professional licenses are most required by agencies which is very useful in order to hire the MUA (Make Up Artist).It includes Beautician Course In Thanjavur.

Topmost and biggest production companies have in-house makeup artists on their payroll although most MUA's (Make up Artist).generally is freelance and their times remain flexible depending on the projects.

Fashion and Trends

Fashion makeup which tends to read magazine photography as well as on the fashion runway. Avant-garde makeup which is  also an most technique tend for works that will require experimental themes. Fashion makeup is most popularly used in Television shows and film which ranging for the natural glow look to more sophisticated applications such as prime colour balance.

Theatrical makeup

Audience or Stage makeup which is effectively used as a process in concidence with stage lighting to glow the hero’s faces which tend  to glow reactions which is visible to the audience from appropriate distances. This often tends which includes to attract the eyes and lips as well as the highlights and lowlights of the facial bones.

Airbrushing

The usage of an airbrush is one of the thin air-operated device that commonly sprays humorous  media particular products and water-based makeup .this process is called Nebulization. The most trend record of this kind of cosmetic application dates back to the 1925 film version of Ben-Hur, it has often been re-popularized by the advent of HDTV and digital photography, where the camera commonly focuses only on higher depths of detailed notes. Airbrushing will recommend to bridal makeup in Thanjavur.

Liquid foundations mean to only for coverage but when take topics to thin in consistency which are applied along with the airbrush for full coverage without a heavy build-up of product.

Bridal makeup

From the start of ethnic, glamorous, to contemporary, makeup artists are an essential  part of wedding planning which suits in Asia, Europe, Africa, North and Latin America.

Bridal makeup in Thanjavur is an important part of the wedding planning and also to designe or modifies the most suited look for customer’s wedding day which is my number one priority to achieve and to progress.  Here customer will found out few of the most trend beauty tips also with coordinating makeup vision boards to serve as inspiration among people with finishing touch.

This is the one of the most and most desired bridal makeup in Thanjavur which look to attract brides as it just to enhances customer’s nature beauty with soft and thin washes of colour in neutral tones.  This is one of the perfect and effective  option for anyone of the customer who does not mean typically to wear a lot and lot of makeup or someone who tends to look  or reflect ultra natural with a finish touch of elegance.

Main focus of Bridal Make-up

One of the main focus view of this look is to show attract and glow beautiful skin that shines with radiance and has an incandescent visual effect, as glow and peach on the glamorous Jennifer Lopez.  This attract look is also one of the great and effective natural choice for every  bride that wants to show extra and fabulous emphasis on a bright complexion with a smooth finish with elegance.

[snackpointcharlie]

(August 5) from 10PM-midnight EDT your humble musical docent Snackpoint Charlie conducts another bi-weekly tour of the international airwaves, tune in live on WGXC 90.7-FM in New York’s Hudson Valley for on-the-spot reporting or select the podcast option available shortly thereafter. Onward and upward, friends 🚀🛰🔊

Snackpoint Charlie - Transmission 072 - 2021.08.04 PLAYLIST

photo by Todd Webb https://www.vanityfair.com/style/2021/01/stunning-color-photos-of-africa-in-the-1950s-have-finally-been-published

1) Amy Cutler - “erthe toc of erthe - layla legard” from THE END (ALSO ENDS) OF (THE) EARTH AND VARIANTS https://amycutler.bandcamp.com/album/the-end-also-ends-of-the-earth-and-variants

2) Dariush - “Cheshme Man” from POMEGRANATES (انار) https://finderskeepersrecords.bandcamp.com/album/pomegranates

3) Shin Jung Hyun and the Men - “Twilight” from FORGE YOUR OWN CHAINS: HEAVY PSYCHEDELIC BALLADS AND DIRGES 1968-1974 https://www.discogs.com/Various-Forge-Your-Own-Chains-Heavy-Psychedelic-Ballads-And-Dirges-1968-1974/master/206412

(underbed throughout) Pinetop Gherkins - “Avante-Garters”

4) Sabah - “صباح يا حبيبي يا حياتي / Ya Habibi Ya Hayati” from OUMO NORKOS https://www.youtube.com/watch?v=Uje7BEZu5Wk

5) COS - “Boehme” from COSMIX https://finderskeepersrecords.bandcamp.com/album/cosmix

6) Manzanita y Su Conjunto - “Primavera 71 (con Los Cañeros)” from TRUJILLO - PERÚ 1971-1974 https://analogafrica.bandcamp.com/album/trujillo-peru-1971-1974 http://mailings.analogafrica.com/m/12858944/

7) Rosine Nyiranshimiyimana - “Umwana W’umuhanda (The Child from the Streets)” from WHY DID WE STOP GROWING TALL? https://abatwa.bandcamp.com/album/why-did-we-stop-growing-tall

8) Ti L’Afrique (Roland Fatime) - “S.I.L.V.I.E” from S.I.L.V.I.E / BAL SOUKI SOUKI https://www.discogs.com/Roland-Fatime-SILVIE-Bal-Souki-Souki/master/1128666

9) Pooran - “Shahre Paiz” from RANGARANG - PRE-REVOLUTIONARY IRANIAN POP https://vampisoul.bandcamp.com/album/rangarang-pre-revolutionary-iranian-pop

10) Jerry Berkers - “Es Wird Morgen Vorbei Sein (It Will Be Over Tomorrow)” from UNTERWEGS (TRAVELING) https://guysegers1.bandcamp.com/album/unterwegs-1972-07-01-full-album

11) Harar Police Orchestra (vocal: Wègayèhu Dègnètu) - “A Whole Lotta Love (Amharic version)” from NEGUSSIÉ TÈSHOMÈ

12) Robert Millis - “Radio Tamil Nadu part 2” from BATS IN THE TEMPLE https://robertmillis.bandcamp.com/album/bats-in-the-temple

13) イノヤマランド (Inoyama Land) - “Glass Chaim” from ダンジンダン・ポジドン (DANZINDAN-POJIDON) https://inoyamaland.amebaownd.com/posts/7862776?categoryIds=2222945 https://wrwtfww.com/album/danzindan-pojidon

14) Idir - “A Vava Inouva” from 1970'S ALGERIAN FOLK AND POP https://www.discogs.com/Various-1970s-Algerian-Folk-And-Pop/release/5764289

15) Twinkle³ - “Kalliope 22” from MINOR PLANETS https://twinkle3.bandcamp.com/album/minor-planets

16) Skimi Radio - “زوم في البالكون 03: بابور الڨايلة صدعلي راسي (Zoom in the balcony 03: Babur Al-Jaila Sadali Rasi)” from ZOOM IN THE BALCONY https://soundcloud.com/skimi-radio/03a-1

17) Moondog - “No, the Wheel Was Never Invented” from MOONDOG 2 https://www.discogs.com/Moondog-Moondog-2/master/337829

18) Charmaine Lee and Zach Rowden - “Cold Cuts I” from BUTTERFLY KNIFE https://noticerecordings.bandcamp.com/album/butterfly-knife

19) Ouda Relizania - “Aalemni Aaquemni” from JIT NELAAB / AALEMNI AAQUEMNI https://www.discogs.com/Ouda-Relizania-Jit-Nelaab/release/5147151 interpolating 20) exceprt from REFLECTIONS by Gerald Heard https://www.discogs.com/Gerald-Heard-Reflections/release/8943832

21) Ali Chouhad - “(unknown)” from MOROCCAN BANJO https://www.mixcloud.com/HiveMindRecords/moroccan-banjo/

22) (unknown) - “(unknown)” from ANALOG AFRICA: TROPICAL DREAM UNDER CONSTRUCTION - PART 12 (SOUTH AFRICA)

23) Rasela - “Pemain Bola” from THOSE SHOCKING SHAKING DAYS: INDONESIAN HARD, PSYCHEDELIC, PROGRESSIVE ROCK AND FUNK 1970-1978 https://nowagainrecords.bandcamp.com/album/va-those-shocking-shaking-days

24) Panom Nopporn - “Sao Ban Pok Pab” from THE SOUND OF SIAM - LEFTFIELD LUK THUNG, JAZZ & MOLAM IN THAILAND 1964-1975 https://soundwayrecords.bandcamp.com/album/sound-of-siam-leftfield-luk-thung-jazz-molam-in-thailand-1964-1975

25) Yishak Banjaw - “Segno Sra Allebign” from LOVE SONGS VOL.2 https://terangabeat.bandcamp.com/album/love-songs-vol-2