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ambitionsource · 5 years ago

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Hi, I am so here for all this ambition content right now. I check this page every day! I remember u guys mentioning about a rl and dasher road trip and I was wondering about that! Thank you!

hello pal!! literally so honored and happy that you’re enjoying ambition and the fact that you check our page every day... ugh you’re too sweet. hopefully the nonsense we do around here is entertaining! very happy to have you in our fandom community <3

so yes, rl + da road trip! i hope it’s okay that i took a bit to answer this, bc i wanted to ruminate on it for a bit before typing it up. so as y’all know we refer to the summer between s1 and 2 as “cruel summer” (thank u tswift), and similarly we have a code name for the summer between s2 and 3 which is “summer of love.” this is admittedly mainly because of rl, but also because a majority of the characters are in such a better headspace this summer than they were last.

boppin the rest under a read more, because i just go on... and on... and on............. (i really love rl & da)

-- Maggie

one facet of this summer is that around... july sometime, dylucasher decide they want to take a trip down to virginia beach (or the beaches in that general vicinity) because they want to check out a beach that isnt grey and cold like the ones close to them in ny, and because a trip before their last year of school together seems like a fun and Classic idea. originally they plan it for just the three of them, but somehow riley comes up and all of them agree -- especially dylan -- that it would be way more fun if she came along too. so they try to convince her to come along, which doesn’t take much convincing, it’s more so about figuring out how she’s going to get around cory because if he knew she wanted to go on a like week long trip with her boyfriend (who he doesn’t really trust) and two other boys he would probably have a heart attack.

you know, it would be like “you can’t go on an overnight trip with three boys!!!” “dad, you know dylan and asher. they’re gay. they’ve been dating for three years. they’re GAY. i do not think i’m at ALL at risk in that scenario???” fsdfSDKGDL

so riley devises a plan / cover story that involves like “going to stay with mom” for a few days, maybe a lie about staying over at isa’s or yindra’s for a couple days in there, you know, she lays out the whole lie and then bribes maya to go along with it and help cover her tracks (rl have very inverse influences on one another -- where riley sort of tames lucas and helps calm him and make him less feral, she develops a bit of a rebellious streak from him or just better identifies the nuances of which rules should be followed vs which were meant to be bent or broken..)

the good thing about this road trip is that it’s what truly cements riley’s friendship with dylan and asher. they’ve been toeing the line of friendship for like two years now (as riley said in cruel summer, she regretted not taking the time and establish a friendship with them in sophomore year before everything fell apart), and it’s kind of like it’s bound to happen. riley and asher takes a little more time to grow and develop just because of the kind of person asher is, but on this road trip dylan and riley just Click. like they were basically made to be best friends, dylan is the first person who kind intrinsically Gets riley and they match each other in terms of enthusiasm / personality / brightness. again, a friendship that’s just been Waiting to happen, and this trip really brings that to the forefront.

(on that note, i once joked that when dylan and riley get really into chatting about something and lucas zones out, they start sounding like the villagers in animal crossing to him. like if he stops paying attention for even a second suddenly dyley sound like this. and i stand by that claim.)

as for the trip itself, its not like i have the whole thing perfectly plotted or anything like that, more just... musings and ideas. oh and a playlist, of course i have a playlist. obviously they’re really good about swapping around drivers and sort of organizing their time since they only have a week, and i think it’s mainly funded by dylan’s youtube vlogger coin. asher helps and riley chips in her fair share, but dylan basically covers lucas because obviously he can’t pay but they all want him there. he makes up for this by driving the most even tho the other three insist its not a big deal.

when it comes to sharing space, the quartet of them are pretty good at it. obviously when they stop for the night they just share beds by couple, but it is interesting to think about how different these two relationships are in terms of like... you know, where they’re at. like its super easy for da to share a bed because they basically do that all the time now, but for rl breaking that boundary would be a kind of unspoken big deal and lucas would be so cautious about it. like they spend most of the summer in riley’s car (can’t hang out at her place with cory there and no one is going to lucas’s) and so theyve probably like fallen asleep together there once or twice and maybe napped ONCE at riley’s place when maya and cory were both gone in the 2.5 months they’ve been together, but it’s still... not the same. so at first lucas would be really nervous about it, but after the first couple of nights he’d relax and realize its really not that big a deal -- esp since riley seems pretty confident and comfortable with it. by the end of the week, lucas wakes up in the middle of the night and riley has cuddled up next to him and he’s like... okay MAYBE sharing a bed with someone makes points. perhaps.

one of the nights on the way down the coast, what truly breaks the ice for dylan and riley is that they break out a SMALL amount of alcohol and both get tipsy (which for them is just like. giddy and giggly and very chatty. they’re both happy drunks without a doubt). lucas and asher don’t indulge bc lucas doesn’t trust himself getting intoxicated and asher is just wary of it in general, but they figure dyley can do it as long as they’re both supervising. so dylan and riley talk A LOT that night and truly form their Kindred Spirit bond and also lucasher end up regretting letting them drink bc for like a half an hour dyley do this thing where they just pretend to share secrets with one another. like they theatrically whisper in one another’s ears and look at lucasher while they’re doing it and then start laughing and they’re literally not saying anything Important (like it’s probably like riley being like “psst... i think lucas is... hee hee... lucas is hot”) and then dylan cracking up and agreeing but bc lucasher don’t know what they’re saying they’re like ha ha very funny........... but y’all aren’t talking about us doe right. wait, what did you say. hold on --

a lot of the trip is also based around being in nature and the outdoors, since they don’t get to do much of that day-to-day in manhattan. considering one of their favorite spots to hang out as a group during senior year is at central park, they’re all definitely fresh air outdoorsy kind of people to a degree. so like, stopping at parks, going on hikes, and of course the beach itself. i made an instagram edit of one of said hikes when i was testing a template i made:

naturally, and i swear this happens at least once on a long road trip whether it is with family or friends or any combo of people, but you hit a point where you get irritable and start to get a little sick of one another. i think in this case that mainly starts between lucas and asher, because although they’re Best Friends i think lucas has a knack for finding ways of irritating him. and also lucas probably gets irritated by dylan’s high energy after too much time with no breaks, so he’s also snappy, and as they’re on the way back up to nyc people are spatting at one another or getting snippy over stupid things so riles is like. here’s an idea! how about we split up for the day when we get to philadelphia. this is an excellent idea and none of them are opposed, so when they arrive in philly, dylan and asher split off to go explore the city + historical sites.

what do riley and lucas do? well, riley takes lucas to meet her grandparents, of course.

at first lucas is like ummmmmmm no because he’s SUPER nervous about meeting her family -- the only family he’s met is cory and we know that’s... unideal, and eric, both of whom have a completely different perception of him bc of school and his behavioral record. he’s yet to meet topanga or auggie yet or anything like that -- but riley assures him that her grandparents are chill and she has no doubt she’ll like them. they’re also meeting lucas with a completely blank slate (i.e. no preconceived notions about him like those who work at aaa), so it’s not hard for lucas to make a good impression since he really is like... a good guy. not to mention no way is he snarky or deadpan in situations where he doesn’t feel comfortable or like he has the right lmao, so he’s on his BEST behavior around amy and alan.

the good thing is that alan himself kind of had a similar background and run on the wild side that lucas does (kind of like jack, altho jack was never as troubled as lucas), and so i think he would kind of... inherently Get him. like he’d strike up a conversation with him and at first lucas would be like omg why is this man speaking to me please i’m invisible pretend i’m not here... but after a bit he’d find it’s surprisingly easy to talk to alan. and they’d talk for like an hour and get on pretty well. meanwhile, amy is talking to riley and is like so... let me guess. cory does not know you’re traveling with your boyfriend???? and riley is like... perhaps. maybe don’t tell him? pretty please? and once amy convenes with alan and is like how is he and alan is all “he’s fine, we can approve,” then they agree not to rat riley out.

riley and lucas also climb up into the matthews tree house and take a look around and they comment on how strange it is that cory and eric once used to like, hang out in there and in that house and were once teenagers (lucas: be careful this is humanizing your father too much for me). and i’d think they’d sit up in the treehouse for a little bit and just talk and riley would talk about how nice it must’ve been to grow up in the suburbs like this, and she’s surprised when lucas agrees and he admits he fucking hates living in manhattan. and that kind of prompts this subtle internal thinking in both of them of like hmm well... maybe in the future when things are different and we can make our own rules maybe we’ll move out of the city and into a quieter life... they don’t say any of that out loud, but they’re both thinking it. and at the tail end of that conversation riley kisses lucas which turns into a Really Good Kiss... but then they’re interrupted by amy calling for them to come down for dinner and its kind of like lmao, they’re both a little bashful but in a casual silly way

#riley x lucas #dylan x asher #riley x dylan #rl x da #SOL #bonus content #kind of lol #is this readable? who knows. i just really Love them #thank you for asking about them!!!#there's also an insta edit buried in here gJFDLGH #Anonymous #answered #high praise tag

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njadakaufey · 2 years ago

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I'm so happy, I finally got the sticker from @catoce_shop with the little Animal Crossing sized adaptation of Luna*. Luna is part of the elemental guard, and she's a darkness elemental, the best elemental, I don't make the rules 🤭. Feel free to check out her Etsy shop, her artwork is incredible 🖤 🤎 To shop my desk set up items, you can check my Throne storefront linked in bio 🛒 You can find my notion templates, twitch overlays, wallpapers & digital reading journal on my Ko-fi shop linked in bio *PS: I won the little sticker thanks to her random draw on discord. ☁️ Cozy gaming partners 🐻 @tinybearsprout 🐙 @lecoindekoko 🐸 @pixel_plant_gamer 🐿️ @clara.crossings 🦊 @evs_gamespot 🐱 @doenutt_geek 🦉 @savscozycorner 🐺 @junimocove 🐝 Check out the beautiful creators I tagged 📩 If you’d like to collaborate with me send me a DM or email me #desksetup #setup #setupdetails #deskdetails #cozyspace #cozydesksetup #setupinspiration #gamingroom #neutraldecor #deskgoals #shop #acnh

#gamer #desk inspiration #aesthetic #pc setup #cozy gamer #cozy games

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omniversalobservations · 4 years ago

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Will We Ever See a Star Wars/MCU Crossover?

Ben Lindbergh: Daniel, Kevin Feige says that Patton Oswalt’s 2013 pitch on Parks and Recreation is “probably as close as we’ll ever get” to seeing a Star Wars–MCU crossover. In February, the Marvel mastermind dashed hopes (and assuaged fears) that he and Lucasfilm president Kathleen Kennedy would join forces and rule the galaxy together, telling Yahoo! Entertainment, “I really don’t think so … I don’t think there’s any reason for it.”

However, I can think of one reason: It would make a gazillion dollars. The new Space Jam may be bad, but it still bodied Black Widow at the box office last weekend, posting the strongest opening of any pandemic-era Warners or family film despite a simultaneous streaming release on HBO Max. A Star Wars–MCU crossover would be a much bigger deal than a team-up between Tweety and LeBron James. Granted, Star Wars and the MCU are already raking it in as separate entities, but with Disney’s non-streaming revenue depressed by the pandemic and its streaming subscriber growth slowing, the pressure to milk Marvel and Lucasfilm for all that they’re worth could become more powerful than you can possibly imagine.

Another Marvel mastermind, the late Stan Lee, anticipated that temptation in 2016. “Obviously the people who produce these [movies] are looking to be as successful as possible,” he said. “If they feel that incorporating Star Wars with the Marvel characters will be very successful, they’ll find a way to do it.” Even Feige—who, by the way, is producing a Star Wars movie—didn’t totally rule out the idea, noting that “If you’d ask me if anything we’re talking about right now was in the realm of possibility 20 years ago, I would’ve said, ‘I don’t think so.’” My take? Dread it. Run from it. Destiny arrives all the same. And so will a Star Wars–MCU crossover, someday and in some way.

What say you? Will Disney bring together a group of remarkable characters to see whether they could become something more?

Daniel Chin: Yeah, as much as I hope that this never happens, I agree, Ben. No matter how you might feel about it, a Star Wars–MCU crossover is inevitable.

Despite Feige shooting down the idea, the fact that the architect of the MCU is himself crossing over to a galaxy far, far away shows how closely tied these two mega franchises are already becoming. Feige even handpicked Michael Waldron, head writer of Loki and cowriter of Doctor Strange in the Multiverse of Madness, to work on his secretive Star Wars project as well.

And speaking of Waldron, the finale of Loki just set up the MCU with limitless storytelling possibilities in the years to come. The era of the multiverse has officially arrived, and with Feige recently holding a meeting at Marvel Studios to establish the rules of the multiverse and discuss how they’ll deliver on all the excitement surrounding it, it’s clear that these interdimensional stories aren’t going anywhere any time soon. If the MCU is already rewriting its own history with the upcoming animated anthology series What If…? based on the notion of colliding realities (along with the rumors that we may soon see three Spider-Men in Spider-Man: No Way Home), then what’s to stop the House of Mouse from linking up Baby Yoda and Baby Groot in the near future?

Since we’re both in agreement here that this extremely lucrative crossover is sure to happen one way or another, what do you think it could look like and how do you think Disney could actually make it work?

BL: I imagine the Mouse’s attitude would be similar to the Avengers’ in Endgame: whatever it takes. On top of the creative connections we’ve already mentioned, Marvel is the primary publisher for Star Wars comics. It wouldn’t be a big leap for the crossover to start on the page, where the expectations and scrutiny would be a bit more muted than they would if this were built up as a blockbuster movie or major streaming series.

The urge to create crossovers is nothing new, and there’s precedent for a smaller-scale meeting of Marvel heroes and characters from a famous sci-fi franchise: In the 1990s, the X-Men crossed over with Star Trek via two one-shot comics and an accompanying novel. The comics were kind of a home-and-home series: In the first one, the X-Men traveled through a dimensional rift into the 23rd century of the Star Trek timeline while pursuing Proteus. In the follow-up, a rift in the space-time continuum caused by a malfunctioning time-displacement field sent the 24th-century crew of the Enterprise into the parallel reality of the 1990s X-Men. Those setups could serve as a template for a future Star Wars–MCU merger: Just dream up a temporal rift into an alternate dimension, insert some technobabble, and presto, you’ve got yourself a crossover episode.

Of course, there was no MCU in the 1990s. Nor were there streaming services. If and when Disney decides to bring together its two biggest moneymakers, it will probably want to do so in a way that would bolster its streaming catalog. One possibility is a noncanonical, just-for-fun spoof along the lines of last year’s LEGO Star Wars Holiday Special, which featured crossovers between characters from multiple eras of Star Wars. This year, another Disney acquisition, The Simpsons, crossed over first with Star Wars and then with the MCU via short films on Disney+. By the transitive property, then, we’re due for a short film featuring Star Wars and the MCU (both of which were already represented in Disney’s 2018 animated movie Ralph Breaks the Internet). Video games are another medium where this would work: Both Star Wars and the MCU have made forays into Fortnite, and it wouldn’t be shocking to see them overlap there, in DLC for Marvel’s Avengers, or even in a Super Smash Bros.–style brawler.

Source: The Ringer

#unofficial #Star Wars #Star Lord

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archteriorbd · 4 years ago

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9 things considered sticky in architectural visualization

Architectural 3d visualizations can inform a terrific story. At the identical time, they can supply treasured insights into how working or residing would be like inside these buildings.

With new, expanded tools, architects now have the alternative to create highly detailed, photorealistic visualizations. However, it’s now not all about the tools. Visualization is one of the jobs the place humans have a lot of innovative freedom.

This capability that they can effortlessly get carried away and leave out the factor altogether. Misleading visualizations can without difficulty lead to a loss of belief between consumers and architects. This is why you have to examine the matters you shouldn’t do when doing your renderings.

Too tons reflection

Some of the most difficult matters to symbolize honestly in visualizations are reflective surfaces and glass reflections. If a glass has plenty of transparency or the mirrored facade is “perfect,” your total visualization will be deceptive and seem plenty extraordinary than the authentic building.

Getting the reflection proper is a check of how suitable a visualizer is actually. It requires the use of superior tools, however with the proper dosage. Going over can seem worse than now not including reflection altogether.

When consumers see that the actual consequences aren’t whatever like the visualization, you may get into large trouble. Learning how to manage glare is one of the quality approaches to give up doing this.

Trying to make the entire component seem sci-fi

When it comes to architectural rendering, one of the most quintessential policies anybody desires to take note of is to remain inside realism. However, this is frequently no longer the case. Visualizers have a lot of equipment at their disposal, and they get carried away.

Of course, architects do many matters to make their designs extra impactful, however crossing the line would possibly have a counter-effect. Clients count on to seem to be at designs that are going to resemble actual structures. Even although it’s a visible illustration of something that doesn’t but exist, it wishes to be realistic.

Once it loses its realism, the story-telling impact of visualization receives misplaced as well. On the different hand, as a good deal, as it is essential to create awesome renders, you want to understand the reason for your work. You aren’t making a sci-fi recreation for kids. Keep it expert and inside your niche.

Adding too many inventory images

Originality is large in architectural renders. Making certain that you add herbal factors is crucial. Make certain to create plenty of your visuals, appear to show off their quality, add cohesion, and set up your style.

Even if they aren’t the best, they will depart a higher impact than combining random activities you located online. In most cases, visualizers overdo it by including too many inventory images. When you make your visuals, it will be less difficult to match them all together.

Additionally, taking photographs on your personal will enable you to get the proper resolution. Stock photographs are greater tough to show up authentic and unique. Furthermore, humans can regularly understand them as they’ve viewed them elsewhere.

Trees on skyscrapers

There has been an argument in the architecture world about whether or not or now not it’s feasible to develop bushes on tall buildings. Yes, it’s possible. However, this doesn’t suggest that every visualization has to have timber on top. The problem is now not if a visualizer can put them there or not, however, whether or not they are wanted there.

Even if there is a format for a backyard on the roof, it doesn’t suggest that bushes will grow. Furthermore, now not all roofs are appropriate for such a form of pressure. You want to be realistic and remain on the practical side.

We’ve considered a lot of examples of bushes on skyscrapers, however, in reality, this is an uncommon practice. It’s impractical to do this and requires greater funding whilst now not bringing any great benefits. On pinnacle of that, this is a historic trend, and no person is impressed with timber on roofs anymore.

Adding inappropriate details

At first, architectural 3d visualization was once all about offering the challenge and nothing else. Structures mattered solely and nothing else. However, with the development of visualization tools, it shortly grew to become integral to add details, surroundings, and small print that will decorate the appearance of the essential object.

The constructing is nevertheless the most important focus, however, it has extra factors that all work in making it seem to be even better. A lot of architects misunderstand the function of these details, and they give up focusing to lot on them. With this form of approach, consumers will be in a position to see a lot of beside the point statistics that won’t inform them something about the structure.

Nobody needs to see how proper you are at highlighting small print that doesn’t elevate that a good deal of importance. They favor seeing a sensible presentation of the structure and how it interacts with its surroundings.

Leaving a bleak atmosphere

Leaving a melancholic and grim environment isn’t the first-rate method until this is the standard tone of the rendering narrative you’re following. Don’t attempt to make your visualizations depressing; there is not often any want for that. After all, your work is targeted at the personal experience.

There is a want for your narrative to lead to a comfortable ending in which architectural visualization is realized. When a patron appears at the project, he or she shouldn’t eat up using ideas of Armageddon or sadness.

Instead, they want to have an effective outlook on things. The development desires to encourage emotions of well-being, prosperity. The total notion is to make humans like the notion and prefer to go via with the project.

Recycling the equal elements

Naturally, now and then you will have to use visuals from someplace else. This is fantastic simply as lengthy as you don’t overdo it. However, a lot of architects get lazy over time and locate fashions or factors that flawlessly scale in their projects. They repeat themselves many instances and add the identical matters they’ve used before.

This is a handy way to make the entire technique quicker and easier. However, it loses originality and doesn’t appear genuine. Recycling some minor factors from time to time is no longer a large deal, however, if you do this very often, humans will see thru it when they take a look at your work.

A lot of humans like to recycle scale people. This can be distracting to viewers, and at some point, it may also come to be ridiculous. Additionally, even if you are the use of template elements, you want to put in the work to include them in your presentation so that they don’t seem to be unnatural.

Not ample mild bounces

A lot of human beings strive to reduce down on their work by using including fewer mild bounces. They do this due to the fact this is how the rendering will final a shorter quantity of time. However, mild bouncing is very vital as it influences the way the shadows are rendered. For more information click here

It’s additionally referred to as oblique lighting or easy world illumination. When there are countless light-bounces, all of the shadows will get dark. Your total undertaking won’t be seen and will appear unnatural. This is why it’s crucial to take the time and add extra bounces.

This is a massive problem when it comes to photorealistic presentations. However, as visualizations want to be as sensible as possible, it’s emerged as necessary to add adequate mild bounces right here as well.

With a fly-through view, attempting to be cool

Almost all architectural renderings want to have animation. It can assist promote the concept and talk the common assignment to the client. The trouble is that most designers go with a fly-through view. Even even though this technique is beneficial for displaying the facets of a shape and the features, it can be dull.

Everyone is doing it, and it doesn’t depart any unique effect on the viewer. Instead, seem to destroy the entire animation into a couple of scenes. It does require a bit extra work and time, however, it’s so a good deal extra versatile and dynamic.

You can add dramatic cameras, layout snippets, and special viewpoints. These work collectively to excite the target market and get them worried about what you’re attempting to present. Additionally, the usage of scenes makes it lots less difficult to existing integral elements and achievable ideas.

Conclusion

Like all visually innovative work, architectural rendering wishes to be accomplished with fashion and modesty. Adding to an awful lot element or doing too little when it counts can make your last format have much less impact. This is why you must pay interest on these 9 errors we started today.

If need any architectural help or any architecture service. Visit our site 👉architectural 3d rendering 3d visualization

#3D Visualization #exterior rendering #3D Rendering #architectural design #exterior design

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cutsliceddiced · 5 years ago

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New top story from Time: The Pandemic Closed Art Galleries’ Doors. But Who Said a Gallery Needs Four Walls and a Ceiling?

The traditional art gallery—the sterile, windowless viewing room aptly labeled the “white cube” by artist and critic Brian O’Doherty in 1976—has dominated the art world for decades as the primary way to display works. The white cube, which has been compared to an operating room as well as a burial vault, has been championed as a way to maintain neutrality while viewing artworks. “The outside world must not come in, so windows are usually sealed off. Walls are painted white. The ceiling becomes the source of light. The wooden floor is polished so that you click along clinically, or carpeted so that you pad soundlessly, resting the feet while the eyes have at the wall. The art is free, as the saying used to go, ‘to take on its own life,'” O’Doherty wrote in Artforum.

But its eerie, clinical neutrality comes at a price. The cube creates something artificial about the way the viewer interacts with art, removing both from the outside world, and from anyone who doesn’t seek out or stumble upon that room. The cube has been perceived as a symbol of elitism: if you didn’t dress the right way or frequent certain neighborhoods, the cube and its contents were not for you. And if you didn’t know the right people, the chances of your work being displayed there were even slimmer.

Now the pandemic has made the gallery even more inaccessible, at least temporarily, inspiring curators and creators to reimagine how art might be shared. But while today’s circumstances are new, artists’ efforts to think beyond such restrictions are not. In the 1960s, members of the Fluxus movement created works that blurred the distinction between art and life and denounced the gallery’s formalities. Everyday acts could be works of art, and many of the works could not be restaged or reproduced in full. Yoko Ono’s Cut Piece, in which the artist sat on a stage with a pair of scissors and invited audience members to take turns cutting off her clothing, blurred the relationship between the viewer and the art, and threw into question any sort of neutrality.

The land-art movement of the ’60s and ’70s saw artists sculpt the earth to create large-scale works, like Robert Smithson’s 1,500-ft.-long Spiral Jetty made of salt crystals, water, and basalt rock on Utah’s Great Salt Lake, that inherently held their creators’ anti-commercial politics: other than in photographs, there was no way for the massive pieces to exist within four walls. The “earthworks” made during this period were the antithesis of what the white cube represented; rather than existing in a void that nullified the outside world, these works were the outside world.

As galleries have shuttered during social distancing and stay-at-home orders, this spirit of creativity, if not outright anti-establishment thinking, has informed new relationships between art and viewers. From video games to snail mail, the examples below are just a few of the ways artists and museums have seized upon this difficult moment to prove, yet again, that possibilities for interacting with art are as wide open as a room is closed.

A Miniature Gallery

Courtesy of Shelter In Place GalleryB. Chehayeb’s abstract paintings on display in the miniature Shelter in Place Gallery

On March 27, artist Eben Haines launched Shelter in Place Gallery, a miniature display room that allows artists to create small-scale works that appear larger when photographed and shared on Instagram. After reviewing artists’ submissions of sample images and proposals over email, Haines and his partner Delaney Dameron ask the selected artists to drop off or mail them their work. Then they install and photograph each tiny solo art show, which lasts for less than a week.

“The fact that the space is miniature, and that the viewer understands that it is a fabrication, means that they end up looking closely at details: the masonry and the conduit and poorly placed outlets, the water stains where the skylight has leaked,” explains Haines.

For artists who don’t have access to their studios now, creating small works is far more feasible than what their usual work might entail. They’re “able to make more ambitious work than they could ever afford to at scale, let alone have shown in a commercial gallery,” says Haines, referencing the prohibitively high cost of real estate for urban galleries that might otherwise show more large-scale works.

Exhibited artists include B. Chehayeb (whose work is shown above), who makes paintings of abstracted memories of growing up Mexican American, as well as Mary Pedicini, who created a mixed-media room installation that hung from the beams.“ Hopefully,” Haines says, “we allow people to make the work they’ve always wanted to make.”

Video-Game Curation

Courtesy of Sarah WaldorfThe Getty’s Animal Crossing Art Generator tool allows players to import works from the museum’s open-access catalog

In 2020, you can have your very own Claude Monet or Vincent van Gogh—or at least a pixelated version hanging above the stove in your virtual kitchen. With the Los Angeles–based Getty Museum’s Animal Crossing Art Generator tool, players of the highly popular Nintendo game—in which users design a whimsical island world while befriending the animals that inhabit it—can search through the museum’s open-access collection and import images into their game. Then, players can display each work however they choose: on a wall; on a piece of clothing; or even in their own galleries, which friends who are also playing the game can visit virtually.

Bringing works of art into a video game and inserting them into a fictional world changes their contexts entirely, making them playful, moldable items. Players, in a sense, become curators. “It doesn’t just give users access to our collections, but it allows them to shape the museum experience for themselves,” says Selina Chang-Yi Zawacki, a software engineer at the Getty who developed the project. “In general, the typical museum experience is very rigid. It’s set up for you; there’s a flow you have to follow—but with this tool, you can make it whatever you want.”

Some users have chosen to print out the digitized versions of their chosen works, bringing the digital back into the physical world. The Art History Undergraduate Association at the University of California, Irvine, even used the tool to add works to a virtual art show honoring the opening of a canceled campus exhibition.

Mail Art

Courtesy of Julie Sola and Jason BrownMore than 350 participants sent their works to Nashville for Brown’s “my view from home” mail-art project

The decades-old populist art practice commonly known as mail art or postal art has seen a revival in recent months. The rules are simple: all one has to do is make a small work of art of any kind (drawing, collage, poem, etc.) that can fit into an envelope and send it through the mail to another correspondent.

Dada artist Marcel Duchamp, Fluxus artist On Kawara and many others practiced the form in the late 20th century. The movement gained prominence in the 1950s, when Ray Johnson, who wanted to rebuke the gallery system, encouraged his network of acquaintances as well as strangers to share work through the mail. Johnson would send templates that had copies of his own drawings with prompts, like “Please add hair to Cher,” to correspondents, who would add their own mark to the mailings before returning them to him or forwarding them to someone else. The project eventually became known as the New York Correspondence School.

Since stay-at-home orders took effect, several mail-art projects have emerged. For one such project, Nashville-based art collector and curator Jason Brown has been holding an open call called “my view from home.” The initiative invites people everywhere to send in their works, which Brown collects and posts to the project’s website and Instagram account. After the submission period is over, Brown plans to donate the mailings to the Special Collections at Vanderbilt University Library in Nashville. According to Brown, he’s received more than 350 works from 27 countries, including India, Cuba and Germany. “It expands the notion of what an artist is. Mail artists come from all walks of life; most are not professional artists,” says Brown. “All you need is your imagination and a stamp.”

Jason Pickleman, a Chicago-based graphic designer and gallerist, held a mail-art exhibition over Instagram Live and plans on divvying up the 600 artworks he’s received in the mail into smaller groups that can be mailed out as “as a lending library to anyone interested in experiencing the collection.” The project, titled “MAILL” (Mail Art Inventory Lending Library), aims to create “a museum from your mailbox,” as Pickleman puts it, and allows for art viewing to become a more tactile and intimate experience. Plus, according to Pickleman, it’s nice to open your mail and discover artwork rather than utility bills or mail-order catalogs.

“Drive-By” Exhibits

Courtesy of Toni Ross and Sara SalawayIn a “Drive-by-Art” show in New York, Toni Ross and Sara Salaway exhibited When, a social-isolation “calendar” of jumbled chairs with date-related words

Organized by Los Angeles–based conceptual artist and theorist Warren Neidich, “Drive-by-Art” is a unique blend of the physical and digital that creates a socially distant art experience. Aimed at bringing art back to its starting place, the artist’s studio—where Neidich believes the work is in its purest and most powerful state—his shows allow spectators to use an online map to drive past works displayed on artists’ lawns, porches and mailboxes from the safety of their cars. He came up with the idea after being sequestered in a cabin at the start of the pandemic; “Drive-by-Art” was his “reaction to feelings of isolation and disconnection.”

Neidich has already completed shows in L.A. and New York’s Long Island, and plans to expand to more cities and countries. Exhibits have included Jeremy Dennis’ “Destinations,” wood silhouettes covered in photocopied images of the Eiffel Tower and Elvis’ meeting with President Nixon. Neidich worked with local artists and curators Renee Petropoulos, Michael Slenske and Anuradha Vikram to ensure a diverse range of both established and emerging voices for the expanded Los Angeles show. “I was using the car, which has many functions in the history of America, like the building of suburbia, and was trying to give it another meaning as a place of protection, a kind of solitary bubble through which you could experience art,” he explains.

via https://cutslicedanddiced.wordpress.com/2018/01/24/how-to-prevent-food-from-going-to-waste

#Time #top stories #IFTTT #news

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t-baba · 5 years ago

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An interview with the author of 'JavaScript: The Definitive Guide'

#490 — May 29, 2020

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👀 This week we have a fun bit of bonus content at the end of the issue — an interview with David Flanagan, someone who's written more JavaScript books than I've had hot dinners. 😆

JavaScript Weekly

Snowpack 2.0: A Build System for the Modern Web — Say bye-bye to your bundler and let modern browsers’ ES module support do the heavy lifting with Snowpack. Or if you need to target more than just modern browsers, you can always just use it to speed things up in development. This talk by Ryan Lanciaux introduces the idea of escaping using bundlers, if you’re new to this area.

Fred K. Schott

The Process of Making Vue 3 — We know a lot of you are excited about the next major version of Vue.js – the final release is due soon (betas available here) and here Evan talks about the process and how it differs from Vue 2 at a high level.

Evan You / Increment

New Course: Design Systems with Storybook & React — Learn to create a design system from scratch using React, and document the design system to share with your team using Storybook.

Frontend Masters sponsor

A First Look at Records and Tuples — An introductory look at two new compound primitive value types in the ECMAScript spec: Records and Tuples.

Axel Rauschmayer

▶ What's New in TypeScript — You might know Daniel better from all his TypeScript release posts, but here he is in video form with a brief TypeScript introduction followed by essentially a code and example-heavy ‘state of the union’ about where TypeScript is at and where it’s headed.

Daniel Rosenwasser (Microsoft)

htmx: Build Dynamic Pages Using HTML Attributes — Billed as the ‘successor to intercooler.js’, htmx lets you add dynamic Ajax-y elements, Server Sent Events (SSE), WebSockets and more to a site using just HTML attributes.

Big Sky Software

⚡️ Quick bytes:

🎉 Node.js is 11 years old this week.

💰 The company behind the React-based Gatsby framework has raised $28m in series B funding.

🎧 The TC39er podcast has continued to interview TC39 delegates and is at episode 4. Worth listening to if you want more 'inside baseball' of the JavaScript world.

💛 In the latest Stack Overflow survey results, JavaScript remains the most popular language. However, TypeScript is higher on the 'most loved' list.

💻 Jobs

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📚 Tutorials and Opinions

Analyzing the Performance of Notion's Electron App — I was going to save this for our React newsletter but it’s too good! A real deep dive into analyzing the performance of a desktop JavaScript app for a popular note taking service and some basic optimizations that can be done.

Ivan Akulov

ECMAScript 4: The Missing Version — If you were around the JavaScript world in the early 2000s, you might recall how long discussion around ES4 rumbled on before it ultimately fizzled out. Some of the ideas were picked up by ActionScript, as used by Flash, but it felt like we lost a lot of potential progress in that decade.

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3 Hacks to Level Up Your Dashboards — Watch this webinar to learn about three elements that will help you build better dashboards for your application.

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Some Causes of Memory Leaks in JavaScript and How to Avoid Them — A primer on the basic ideas.

Ekaterina Vujasinović

How To Create Better Angular Templates with Pug — Pug is a template engine that allows you to write cleaner templates with less repetition.

Zara Cooper

A (Mostly) Complete Guide to React Rendering Behavior — Details on how React rendering behaves, and how use of Context and React-Redux affect rendering. There are a lot of concepts compressed into this article.

Mark Erikson

▶ A 50 Minute Deno Crash Course — A lot of people are cranking out Deno videos right now, but Traversy Media has a solid reputation for getting these things right. In 50 minutes we get a nice, balanced approach to Deno’s plus points, tooling, building an API, etc.

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Today’s JavaScript, From An Outsider’s Perspective — Lea is a JavaScript expert, of course, but she was trying to help a computer scientist friend work with JS and commented on the frustrations along the way.

Lea Verou

10 JavaScript Quiz Questions and Answers to Sharpen Your Skills — Lots of tidbits here to sharpen your skills and understanding, but keep in mind that not all JavaScript interviews will be like this(!)

Nick Scialli

🔧 Code & Tools

RoughNotation: A Small Library to Create and Animate Rough Annotations — Uses Rough.js for the handdrawn look. Lots of nice interactive examples on the page showing the diversity of annotation types.

Preet Shihn

AudioMass: A Full-Featured Web Audio Editing Tool in JavaScript — Runs entirely in the browser with no backend or plugins required. Impressive. Source here.

Pantelis Kalogiros

See Runtime Values Right in Your Editor as You Type — Quokka.js is a rapid prototyping playground for JavaScript & TypeScript. Code runs immediately as you type and results display in your editor. Discounted by 40% for the next few days.

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Fluor.js: A High Level Way to Add Interactions and Effects to Pages — Think a modern jQuery-lite. Pretty short and sweet for what it is.

François Vaux

Angelfire: Add Custom Context Menus to Any Page Element — Hands up if the name of this project takes you on a nostalgia trip to the 90s.. 🙋‍♀️

Rishabh Anand

number-precision: Tiny Library for Basic but Precise Arithemetic — For when you don’t want 0.1 + 0.2 to equal 0.30000000000000004 😏

NEFE

Perspective: Streaming Pivot Visualization Via WebAssembly — An interesting use for WebAssembly here. Originally built for J P Morgan, Perspective is for building real-time high performance interactive visualizations, powered by a C++ engine compiled to WASM under the hood.

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Divy Srivastava

vue-list-scroller: A Vue Component for Efficiently Rendering Large Lists — Uses the ResizeObserver API to help with creating a Twitter-like feed that has thousands of items, and supports infinite scroll.

Ivan Safonov

Notable Improvements to the Profiler in React DevTools 4.7.0 — This tweet thread from Facebook developer Brian Vaughn distills out the highlights from the changelog.

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💬 A Q&A with… David Flanagan Author of JavaScript: The Definitive Guide

David has been programming since 1981 and getting paid for it since 1985. In 2011, he started working at Mozilla. Since then he's worked as a full-stack engineer on MDN and at Khan Academy. He currently works on cloud software at VMware and is in the process of releasing the seventh edition of JavaScript: The Definitive Guide, a hugely popular JavaScript book published by O'Reilly.

Why a seventh edition now?

I allowed the sixth edition to become badly out of date (sorry!). So the seventh edition is a major, and long-overdue, update. Importantly, it covers ES2020 and even mentions some features expected to be formalized in ES2021. Also new in this edition is a detailed chapter on Node, reflecting the reality that JavaScript isn't just for web browsers anymore.

(Ed: David has written more on what's new in the seventh edition here.)

What was the story behind writing the first edition?

I started on it shortly after I wrote Java in a Nutshell. In those days the buzz around Java was that Java "applets" could add dynamic content to web browsers. JavaScript seemed like a promising alternative and I remember talking to an engineer from Sun Microsystems (the company that created Java) about what I was going to work on next. When I told him I thought JavaScript might become more important in the browser than Java, he scoffed. But seven editions of my book later, I'm starting to think I was right(!)

What's your favorite chapter?

Most interesting JavaScript code is asynchronous, and now that Promises are a core part of the JavaScript language, I dedicate chapter 13 to asynchronous programming with callbacks, events, Promises and async/await.

Promises are a revolutionary addition to JavaScript, but once you move beyond the simplest examples, it becomes very easy to misuse them and you need to understand them deeply in order to use them correctly and with confidence. So I devote more than 20 pages to explaining them in depth. These are some of the most complicated pages in the book, but if they increase the understanding of Promises, I'll feel I've provided an important service to the community.

You've spent so much time writing books about JavaScript, but what other technologies interest you?

I'm intrigued by both Go and Rust and would enjoy documenting those languages. I've thought about writing short books about React and Angular. And I've wondered whether it is possible to write an interesting book about coding for a non-technical audience.

What's the secret to being able to write so many programming books?

No secret, really: from about 1991 to 2011 I was self-employed and for most of that time, writing books was my primary job. This 7th edition of JavaScript: The Definitive Guide is the first book I've written while also working a regular software engineering job.

You can find David on Twitter @__DavidFlanagan or more about JavaScript: The Definitive Guide at O'Reilly Media.

by via JavaScript Weekly https://ift.tt/2BilxR3

#Javascript Branding #Javascript Weekly

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m00gle11 · 8 years ago

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Thoughts on art comps

I’ve been meaning to do some reflection on my comprehensive project and how it came into being, but it’s been hard to sit down and take the time to do it. Well, now I’m opting to do this instead of my homework, so here goes.

From my artist statement, because probably 2% of people actually read them when the show opened:

My project consists of a single silkscreen print of an imaginary town, accompanied by a branching-path narrative "book," which takes the form of 45 individual digital prints. The screen print features a sprawling, densely layered beach suburbia. The illustrations feature details extracted from the larger screen print, which allows the viewer to closely inspect and make sense of the cityscape. I intend for both the large print and the print series to be visually overwhelming: in the screen print's miniscule detail, and in the print series' meandering layout, inviting viewers to get lost in this fictional world. Much of my work stems from a nostalgia for the media from my childhood, particularly books, cartoons and video/computer games geared towards a young audience. This project is largely influenced by print and media from the 90s—in the textual style of gamebooks, which offer branching paths for the reader to decide on multiple possible endings, and in the visual style of 8-bit games, especially "Pokémon" and "The Oregon Trail.” There are many contemporary influences as well, including: children's television shows “Steven Universe,” “Arthur,” “The Aquabats! Super Show!” and more recently released, the role-playing computer game "Undertale," through its nostalgic 8-bit style and complex writing. Children's media in particular has a simplicity, security, and innocence that I try to emulate. There is a sense of magic in the imaginary, in creating a fantastic and dreamlike world cast in pastel colors and where animals humorously act as stand-ins for humans. My illustrations are packed with detail and a sense of playfulness, likely inspired by the Where's Waldo? books. The density sets up an interactive experience for discovery by the viewer. Everything is drawn from imagination, however, there are many obscure cultural references. This town is rooted in my ideas of Americana and kitsch: plastic lawn flamingos, unconventionally decorative buildings, tropes such as a UFO abduction, etc. There is a certain charm to what may be considered tasteless, fanciful and overdone, and I draw attention to their irony: the symbol of the lawn flamingo is exaggerated into an existence far beyond its role of suburban decoration; the impractical, decorative giant donut on the roof falls without warning; and the UFO reveals an unexpected alien form. My goal is to make art that elicits positive feelings by evoking senses of nostalgia and humor. The style and subject may be naive and childlike, but there are complexities that demand closer examination. In the print series, the writing can be absurd and non sequitur, at times shifting into a metanarrative. It asks the reader to consider ethical choices, although this rarely impacts any endings. There is tension between the 8-bit narrative text and the "cute," pleasant aesthetic of the images. None of the endings are overtly violent or gruesome; deaths are lightened, tamed, and made absurd enough to work with the overall whimsical tone. However, the writing challenges the notion that this is an idyllic utopia.

And so, that’s the concise version of what I’m about to say. I guess I’ll start by saying: I never intended to be an art major, or to seriously pursue art. I drew silly comics and made birthday cards for my friends, having always been a doodler, but I didn’t have access to any formal training. I didn’t have AP Art at my high school. I find it weird that other people do.

I started my etsy my senior year in high school and did a variety of crafts for it that were largely unsuccessful. I experimented with a lot of different mediums, but I never really got good at any one thing. I see that now as my blessing—I love learning new skills and trying to grow as much as I can. 80% of what I do is self-taught. I’m actually pretty proud of that. I’m a designer-illustrator-printmaker-zinester-publisher(working on it)-sculptor(ish)-crafter-entrepreneur. Maybe a writer? (I definitely put that on the backburner—I knew I wanted to major in English and I was really interested in creative writing, but I never got the chance to take a class in it....) I feel like to be an artist these days it’s necessary to be multi-talented. Part of it is because I’m just trying to survive as an artist. Another part of it is I genuinely love finding ways to use my creativity and imagination. Another part of it is I care about accessible/affordable art and I don’t believe that selling thousand dollar works in a high-end gallery would ever make me happy.

The past few years have been a hell of a ride. I’ve been focusing on printmaking at school, working on comics, making tiny clay dogs, etc. And it just feels really weird to think of how much I’ve grown. I can’t pretend that it feels utterly bizarre and egoistic to call myself an artist sometimes. I’ve been really lucky though, and I know that I work really hard to do what I do.

I had the ambitious idea to do a branching-path narrative zine a few months prior, but I would get stuck thinking about what sort of subject matter and setting could be compelling enough. And then suddenly it was time to decide on a project for comps as fall semester started up, and I was planning to build a 3D miniature town. I love miniatures, dioramas, cityscapes, etc. I was inspired largely by: Sean Chao, Yoskay Yamamoto’s installations, a diorama of a bunch of birds in the LA Natural History Museum I saw once (which I tried googling desperately but to no avail), fictional worlds like in Animal Crossing, The Simpsons, Arthur, and of course, Steven Universe. And yet I hadn’t built anything to that effect before, and as I was experimenting with paper buildings from templates I found online, I was realizing quickly that none of this came from any of my studio art practice or knowledge from school, and really, comps should be about what I’ve learned over the past few years, so I abandoned that idea. To build a huge diorama would require some technical practice, otherwise I’m convinced that it would have just looked like a child’s project. And as much as I am invested in children’s media, it’s frankly insulting to call my work “childish” or “naive,” two terms that kept cropping up to describe my “aesthetic.” (I mean yeah I can’t draw realistically and yeah my colors are typically pastels, but that doesn’t mean my artwork is like that of a child’s, or somehow inferior and not “real” art?)

I thought about my interests, which revolve around print culture, books, and children’s media. I had just bought a diptych risograph print by my favorite artists in Tiny Splendor, Kenny Srivijittakar, which really inspired my project as it was a weird (slightly apocalyptic?) beach cityscape (Tuff Town). So I started drawing digitally (even though that’s something I haven’t learned in school either, oh well), hoping for a huge scale project, a series of multiple giant prints that together would form a large map of sorts. Well, I spent ages trying to finish drawing just one, which was 20x30 in. so that idea got scrapped.

(finished digital illustration—cropped into equal sections for the book where you start in the far left center and travel to the opposite side, then up or down and back towards the left—and converted into a silkscreen print)

Then, after weeks, it was finally ready to screenprint. I figured that silkscreen printmaking would allow me to do something I learned in school. And yet it was also the biggest challenge I came across. I took silkscreen printmaking my very first semester at Oxy, three years ago, and haven’t touched it since. It was difficult, and I wasn’t happy with the work I produced then, but it was in that class that I knew I had to become an art major. And so I did. Thus, It feels significant for me to return to it, and it also made the most sense as a means to reproduce the image I had drawn digitally. Well, no matter how many hours I spent in the studio, I could not get it to print right. I won’t go into all of the horrible details, but essentially the ink was drying up as soon as I printed just one, and so I only managed to get one half-decent print, and that’s the one on display. The professors kept asking me why I chose to do printmaking when it’s a medium suited for churning out multiples, but I just physically couldn’t. They wanted me to wallpaper the room with these prints. I wasn’t really sure what that would mean, but I couldn’t do it anyway. So here we are, with probably a month or so left until the show opens, and all I have is one single print to show for myself. Even though it took ages to draw, it didn’t feel like enough (everything I do never feels like enough). So then I started working on cropping sections of the image into a book, and the rest sort of fell into place.

(also didn’t anticipate my colors being that far from what I intended)

As mentioned in my statement, I wanted to draw on the visual/textual style of early videogames, because I LOVE pixel art and I love being immersed in other worlds. I like things where everything is nice and happy, and that’s what draws me to children’s media. But I also want it to be weird and campy. When it comes down to it, everything in this project is really just a bunch of things that I like, with a lot of hidden references that probably no one except for me would get (Temmie from Undertale, The Aquabats, some bunny versions of Karamatsu fishing with a love letter as bait, etc). But I wanted this to be interactive, where viewers notice certain details and feel a connection to it. That’s my favorite kind of art, that which is accessible and relatable and makes you go like “oh! this person is a real human being who also likes this—game/TV show—I wasn’t expecting to see that type of cultural reference and humor in a piece of art.” Okay well maybe that isn’t your reaction, but that’s how I feel when I identify with something. Maybe it’s just something to do with fan culture though. Discovering that you have mutual interests. And for a lot of ~fine art~ you likely wouldn’t find that. Probably because it’s copyright infringement on some level. But anyway, it’s nice to know that artists are real people and not some edgy/misunderstood person placed on a pedestal?

(cropping from the top right corner—still laughing at Fresh Flamingo Scent and Flamingo21)

Even if it does rely on pretty obscure cultural references, the image still boils down to a pleasant little town with anthropomorphic animals walking around wearing clothes. I wanted it to be funny and silly. I’m honestly really unsure where all the existentialist writing came from, but I guess it seemed like the easiest and funniest road to go down?

I wanted it to be a book, but I also wanted it to be displayable, for multiple people to view it at once, rather than feel like it’s a precious object that a single person had to handle at a time. This became one of the most difficult issues, the question of how to display this “book.” I thought about it for a really long time and AB came up with some complicated diagrams and mock-ups with me during a late night at the studio. I was leaning towards an accordion fold book that stretched across the wall, but the issue is that options A and B for a gamebook cannot be in a linear book sequence. Gamebooks solve that issue by relying on scrambled page numbers, but that was not suitable for displaying everything at once. Option A would go down and then there would be an entire sequence stemming from that, while option B would continue to the right and then go down, right, down, right, right, etc. It very nearly took that format, where it was either down or to the right with multiple accordion folds. My prof liked the idea of The Book as a Sculptural Object and Installation, but the book would have been impossible to close or to read, really. So I designed it to form a perfect grid, where each option branched in a particular direction indicated by arrows, and when I installed it, I connected each page with color-coordinated washi tape (with flamingos on them) so that the direction might be more obvious. A week before the show, I was still drawing new pages to fill up the missing space to create the grid, then I sent all of the files off to Catprint (my go-to printer). It ended up being 45 pages long, and granted, many of the new illustrations are pretty sloppy, but I am for the most part pretty pleased with the writing.

Then it was installation day, and a whole slew of problems arose. I didn’t know the best way to adhere them to the wall. I opted for blue tape because it was on hand, but they were falling off by next morning. I was advised to do these difficult but professional methods, or buy obscure expensive materials, or to just stick a tack in it, but I didn’t want to puncture them and I didn’t have the means nor the money nor the time to do much else, so I just bought different types of mounting squares and hoped that they wouldn’t be so strong so as to tear the paint off the walls. You’d be surprised how complicated it can be. So I had everything ready to go, and then I was told that the grid layout was a bad idea, not to mention lopsided because I eyeballed it, the washi tape was the wrong shade of color, etc. etc. I did my best to compromise with my prof who was pushing for a more immersive experience, so I installed a second set of prints to make it more installation-like and utilize the full space I had. I wasn’t really happy about it because it felt utterly redundant to have 2 sets of the same prints right next to each other, because you’d start reading when you walked in and then get to the other standalone wall and think that’s a separate piece. I kept nervously asking viewers if it made sense and if they could figure out the direction of the writing, which they could, thankfully. Or so they said.

In the end, though, it worked out. The opening was lovely and many friends and strangers said incredibly nice things about my work, and they laughed and followed along and were impressed that I was able to do all of this in a short amount of time. I can’t say how much it warmed my heart to have that validation from peers and professors, and I am so thankful that my project was, for the most part, entirely my vision and what I truly love and care about, and that I got to do something so silly and personal. I’m also pretty impressed with myself that the writing came fairly naturally to me and I never spent too long getting stuck.

So thanks for reading this, if you actually did, and I’m not really sure anymore why I wanted to say all of this for the world to see, but I think it’ll be good for me to look back on.

Edit: the prints are finally compiled and bound into a 52 page zine with directional page numbers. Snag a copy from me in person, on my etsy, or my new shop for my new PRESS. I can’t stop thinking about the projects I want to do and zines I want to publish but alas I must first finish school. Honestly, it’s my pipe dream to be able to run and live off my own publishing press, making books and prints for myself and other people. In the meantime though if anyone knows who will hire me for design/publishing/illustration/etc... :^)

*EDIT: I’ve had to replace every instance of the words “choose your own adventure” with “gamebook” and “branching path narrative” because of intellectual property infringement, including replacing the covers for the latest edition... you live and ya learn

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shinrigakusei · 5 years ago

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100 Days of Productivity: Day 9

Today was a good day! I didn’t do that much in the way of studying, however I have been working hard in other aspects. Mainly, I reorganised my Notion space. As that is my main hub for basically everything I do (alongside Todoist and Google Drive), it’s important I keep it looking and running as smooth as possible.

I also got back into freelance writing after a long hiatus, but this time I’m not doing requests (for now at least). I’m going to write about things I’m knowledgeable and passionate about and see where that goes...

Learning

Finished week 1 of my nutritional science course on FutureLearn.

Did some Duolingo practice.

Tasks

Rearranged my Notion layouts. It’s a lot neater now! I was inspired by these templates I found.

Edited and submitted an article I’ve been writing for a gaming website. It’s now awaiting final approval before publishing.

Edited and finished drafting another article, just need to take some pictures to include with it before submitting to the editor.

Tagged all of the mobile reblogs on here!

Self

Make some peppermint tea to drink while I studied/worked.

Relaxed with some Animal Crossing <3

#challenges: 100dop #100dop

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viralnewstime · 5 years ago

Link

Cold Chisel. Two words that’ll inspire a reverential smile from most Australians and a spontaneous outburst into song from others. National icons, music legends, pub rock poets, all fitting descriptors for a group of mates that emerged from tumultuous Adelaide origins, to become both the soundtrack to and the narrator of the Australian cultural experience.

Cold Chisel’s presence is so deeply ensconced in our collective consciousness, that as a person who has called Australia home for all 34 years of my life, I can’t for the life or me remember how, where or when I first heard their music. I’m not even sure my parents owned any Cold Chisel records (although I think I can safely assume they must have, I mean everyone owns at least that Chisel, best of, right?) All that I know is that I somehow know every single word to every single song. You need only to walk into any suburban pub, attend any BBQ or turn on the radio, to discover that I’m not alone. Cold Chisel is omnipresent.

Somehow, despite being so synonymous with a time and place (late ’70s /early ’80s Australia), the songs that Ian Moss, Don Walker, Jimmy Barnes, Phill Small and the late Steve Prestwich penned and performed during the golden era of Cold Chisel, remain endlessly relatable and seemingly timeless. From ‘Flame Trees’ to ‘Khe Sanh’ to ‘Rising Sun’ to ‘When The War Is Over’, ‘Bow River’ and beyond, these are the songs that have served as musical accompaniment to our triumphs and tribulations, our breakdowns and failures, our heartbreaks and our honeymoons, our glory days and the days we’d sooner forget. For some they are our true national anthems, for others, they are company on a long drive or an excuse to sing out of key in public. Whatever they are to you, to us all, they are essential.

Khe Sanh, Cold Chisel (1978)

Inarguably Cold Chisel’s most famous song, ‘Khe Sanh’ inspires even the most docile of Aussies to embrace their inner Barnsey and belt out every word. There’s a bloody good reason for that too. This Don Walker penned song is positively anthemic. From the instantly recognizable piano intro to Barnsey’s trademark soulful verse delivery, the perfectly timed harmonica, and of course THAT joyous sounding major key refrain (“The last plane out of Sydney’s almost gone!”). It’s absolutely the most triumphant sounding song ever written about the horrors of PTSD and the endless restlessness and displacement felt by some Vietnam veterans. It’s worth noting that its focus on some less than ideal choices of coping mechanisms, (drugs, womanizing), inspired some controversy initially, with the record label reluctant to release it as a single until their hand was forced by popularity. But that duality of character and the juxtaposition of key and narrative, are perfect examples of why Don Walker is one of Australia’s finest songwriters. In my opinion, it’s not Cold Chisel’s best song, but it is a really good one and in the court of public opinion, it’s our alternate national anthem.

Breakfast at Sweethearts, Breakfast at Sweethearts (1979)

The title track of off Cold Chisel’s second studio album, Breakfast at Sweethearts is an exercise in people-watching by Walker, only the people he’s watching aren’t exactly the 9-5 types. One of the most instantly recognisable songs about peak-era Kings Cross ever written, Breakfast at Sweethearts combines Walker’s knack for seeing beauty in the mundane with his instinctive songcraft. The combination of slow reggae bass and electric piano, locking in with reverb-drenched guitars and Barnes’ contemplative vocals to create a sonic soundscape that genuinely feels like having breakfast at 6am with a hangover. No one has ever made drinking cheap wine out of a paper bag, when you should be having a coffee, quite as poetic as Walker does here, and that ability, to not just write songs you hear, but songs you live, goes on to become one of Cold Chisel’s defining characteristics.

Rising Sun, East (1980)

In the early years, Cold Chisel gigs had a reputation for being wild and unruly affairs, and it’s tracks like ‘Rising Sun’ that undoubtedly inspired many to bust a move (or as legend may have it, a skull or two). A rollicking rockabilly number and Barnes’ first solo writing credit, ‘Rising Sun’ is powered by a constant guitar/piano interplay and a simplistic yet urgent rhythm that gives Barnes just enough room to go full Barnesy. There’s a scorching solo from Ian Moss, and that chorus of “The rising sun just stole my girl away” is just too addictive not to be belted out. It’s ostensibly a song about a certain type of heartbreak, but it almost doesn’t matter, this is Cold Chisel in ‘good time’ mode and it is one hell of a good time.

Choir Girl, East (1980)

Don Walker is on record as saying that ‘Choir Girl’ was a deliberate attempt to write a commercial hit. He’s also on record as saying that the song is written about pregnancy termination. Not many people could make those two seemingly disparate notions coexist, but with the help of his Cold Chisel bandmates (and East producer Mark Opitz), he absolutely nailed what he set out to achieve, with the r’n’b influenced track scoring Cold Chisel their first ‘official’ hit, landing at #14 on the Australian charts. It’s not hard to see why either. After Walker’s trademark electric piano intro, ‘Choir Girl’ lets its gorgeous soulful melody shine, with Barnes’ voice, placed high in the mix as the track is driven along by electric piano and a simple bass groove, with new layers of instrumentation introduced throughout. There are some stunning backing vocals and guitar lines from Ian Moss, who also sings the lead on the bridge in a wonderful vocal interplay with Barnes. It’s 3.13 of blue collar pop-nous and arguably a template for some Cold Chisel hits to come.

Four Walls, East (1980)

Another gorgeous piano-led slow burner, ‘Four Walls’ is one of the finest early examples of Cold Chisel in bogan poet mode. A song about the experience of a prisoner in the aftermath of the riots at the Bathurst Gaol, it is both beautiful and heartbreaking. Compositionally, quite a simple song, essentially some piano, delicate guitars, handclaps and some occasional soulful backing vocals, but the hero of ‘Four Walls’ is its lyrical narrative. The sparsity of the musical accompaniment gives Barnes just the right amount of room to make us feel every word. Walker’s lyrics are inspired with the opening verse (“They’re calling time for exercise, round her Majesty’s hotel/ The maid’ll hose the room out/ When I’m gone/ I never knew such luxury/ Before my verdict fell/ Four walls, washbasin, prison bed”) placing you right there in the cell with him. As the song unfolds and the poor chap’s despair grows, so to does the mournfulness of Barnes’ delivery, with the last verse (I can’t see/ I can’t hear/T hey’ve burnt out all the feeling/ I’ve never been so crazy/ and it’s just my second year/ Four walls, washbasin, prison bed) absolutely devastating.

Bow River, Circus Animals (1982)

Choosing the essential songs off of one the most essential Australian albums of all time is quite the task, so with my sincerest apologies to ‘You’ve Got Nothing I Want’, ‘Bow River’ gets the nod in the booty-shaking slot on Circus Animals. An absolute riot of a song, this Ian Moss written number is an arena-sized blues-rocker, with a kitchen sink approach to instrumentation, that absolutely goes off at the Deni Ute Muster. Everything that makes Cold Chisel so fun as a live band is present on this song. Moss’ incendiary guitars, Walker’s honky-tonk pianos, Small’s rolling bass, Prestwich pounding drums and yes, Barnsey’s shrieking vocal. It’s such a good time that you’d be forgiven for missing that it’s actually quite brilliant lyrically, capturing the essence of the working man’s battle between the need to work and the will to actually live, I’m particularly fond of the couplet: “I’ve been working hard, twelve hours a day/ And the money I saved won’t buy my youth again”. Put it on, crack open a can, have a blast with your old man (or your inner old man).

Forever Now, Circus Animals (1982)

The late Steve Prestwich didn’t write a lot of Cold Chisel songs, but the ones he did write, were typically great, and ‘Forever Now’ is one of the best. Released as a single in March 1982, the track hit #4 on the Aussie charts and has gone on to become a staple of Cold Chisel’s live sets. A mid-tempo melodic rocker that’s anchored by some typically inspired lead guitar playing by Moss, the song’s best feature is the absolute earworm of a chorus, which Barnes absolutely smashes. A structural departure from much of what Cold Chisel presented on Circus Animals, this anthem of unrequited love, is worthy of the vocal damage you’ll do trying to singalong.

When the War is Over, Circus Animals (1982)

‘When the War is Over’ is one of the most frequently covered Cold Chisel songs by other recording artists, and it’s not hard to understand why. From the moment the opening refrain of “Ain’t nobody gonna steal this heart away” hits, this song just oozes emotion and sentimentality. Another Prestwich written song, ‘When the War is Over’ is a beautifully composed power ballad with a deliberately non-typical song structure. A song about undying, albeit potentially non-mutual love (a definitive theme to much of Prestwich’s writing) ‘When The War is Over’ is simultaneously heartbreaking and heartwarming. It shouldn’t work, but in the hands of Cold Chisel, it does. Despite originally peaking at #25 on the charts, it did eventually take the #1 spot, thanks to Australian Idol’s Cosima De Vito, a fact that much like the song has been known to make even the most battle hardened barking spider a little teary eyed!

Saturday Night, Twentieth Century (1984)

The most oddball moment on this list, ‘Saturday Night’ is a delightfully off-kilter rock song with an infectious hook, that will get stuck in your head for days on end. Ostensibly a song about the aftermath of a Saturday night out in Kings Cross, it has also (quite reasonably) been interpreted as being Walker’s metaphorical ‘goodbye’ to the chaos of life in Cold Chisel. Twentieth Century is an album recorded by a burnt-out band, yet, it features some of their finest songs and most obtuse ideas and ‘Saturday Night’ is the quintessential example of that weirdness. Loneliness and longing has never sounded so invigorating as it does here, with Phil Small’s bassline laying the grounding for the vocal tandem of Moss and Barnes to dazzle with. Moss’ verse vocals give the song a Police-esque vibe and Barnes; rock outbursts ensure you don’t forget that it’s Cold Chisel. There’s some awesome saxophone from a local busker, some crowd noise from an actual Saturday night in Kings Cross, and pretty much anything else they could think of. The weirdest Cold Chisel hit ever.

THE MOST ESSENTIAL COLD CHISEL SONG EVER IS:

Flame Trees, Twentieth Century (1984)

You thought I’d left this out didn’t you? That was never going to happen.

In my humble opinion ‘Flame Trees’ is one of the finest songs written by any Australian artist. It is irrefutably the essential Cold Chisel song and one of my favourite songs of all time. Everything about this song is so perfectly executed. From the song structure to the instrumental performances, to Barnes’ vocal delivery and ESPECIALLY the lyrics. ‘Flame Trees’ is a flawless song and it seems so fitting that it came into existence at the end of Cold Chisel’s initial run because it sounds like the culmination of everything they’d learned. Penned by Prestwich, ‘Flame Trees’ is to me what living in Australia sounds like.

From the moment another perfect Walker piano intro gives way to Barnsey’s opening lines, you are immersed in a world so beautifully, hauntingly familiar, that you can’t help but try to reach out and touch or maybe even hug the narrator. The references are so specific, so inherently small-town Australia, that it’s almost too relatable. It’s as if Cold Chisel somehow captured the entirety of our cultural experience and distilled it into song.

The utilisation of the ‘Flame Tree’, a tree native to the subtropical regions of the East Coast, gives specificity to the geography, but not so much as to remove it from universal relatability. You could live in Broome or Glenorchy or Frankston (as I did) and still connect with the experience of this song. The fact that I can barely ever make it through this song without shedding a tear, one that’s seemingly neither happy nor sad, but somehow nostalgic in nature (and that was BEFORE Sarah Blasko went and covered it for Little Fish, absolutely destroying any hope I ever had of simply just listening to the song, instead of living it) speaks so much to the power of Cold Chisel as storytellers. Only Cold Chisel could take a song about longing and heartbreak, and turn it into something so truly timeless.

–

Cold Chisel’s ‘Blood Moon’ tour continues this week. Remaining dates and details here.

The post Cold Chisel – 10 Essential Tracks appeared first on Music Feeds.

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networkingdefinition · 5 years ago

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Pomegranates Quotes

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• Adversity is like the period of the rain. . . cold, comfortless, unfriendly to people and to animals; yet from that season have their birth the flower, the fruit, the date, the rose and the pomegranate. – Walter Scott • And her sweet red lips on these lips of mine Burned like the ruby fire set In the swinging lamp of a crimson shrine, Or the bleeding wounds of the pomegranate, Or the heart of the lotus drenched and wet With the spilt-out blood of the rose-red wine. – Oscar Wilde

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• But I have an African or Indian approach to what I find. I like to make use of everything. I can’t bear to throw things away – a nice wine bottle, a nice box. Sometimes I feel like a wizard in Toytown, transforming a bunch of carrots into pomegranates. – Eduardo Paolozzi • Close to the Gates a spacious Garden lies, From the Storms defended and inclement Skies; Four Acres was the allotted Space of Ground, Fenc’d with a green Enclosure all around. Tall thriving Trees confessed the fruitful Mold: The reddening Apple ripens here to Gold, Here the blue Fig with luscious Juice overflows, With deeper Red the full Pomegranate glows, The Branch here bends beneath the weighty Pear, And verdant Olives flourish round the Year. – Homer • Fun fact #1 about pomegranates: Pomegranates are awesome.Fun fact #2: Pomegranates are like little explosions of awesome in your mouth.Fun fact #3: A lot of people think you’re not supposed to eat the seeds of a pomegranate – but that’s not true, people who tell you that are liars, and they don’t know anything about life, and they should never be trusted. – Tahereh Mafi • Gospel ministers should not only be like dials on watches, or mile-stones upon the road, but like clocks and larums, to sound the alarm to sinners. Aaron wore bells as well as pomegranates, and the prophets were commanded to lift up their voice like a trumpet. A sleeping sentinel may be the loss of the city. – Joseph Hall • I am Persephone” she said, her voice thin and papery. “Welcome, demigods. Nico squashed a pomegranate under his boot. “Welcome? After last time, you’ve got the nerve to welcome me?” I shifted uneasily, because talking that way to a god can get you blasted into dust bunnies. “Um, Nico-” “It’s all right,” Persephone said coldly. “We had a little family spat.” “Family spat?” Nico cried. “You turned me into a dandelion! – Rick Riordan • I envied women with signature hair-dos, signature perfumes, signature sign-offs. Novelists who tell Vogue Magazine: “I can’t live without my Smythson notebook, Pomegranate Noir cologne by Jo Malone and Frette sheets”. In the grip of madness, materialism begins to look like an admirable belief system. – Emma Forrest • I felt like a seed in a pomegranate. Some say that the pomegranate was the real apple of Eve, fruit of the womb, I would eat my way into perdition to taste you. – Jeanette Winterson • I loved every second of Catholic church. I loved the sickly sweet rotting-pomegranate smells of the incense. I loved the overwrought altar, the birdbath of holy water, the votive candles; I loved that there was a poor box, the stations of the cross rendered in stained glass on the windows. – Anne Lamott • In 1879 the Bengali scholar S.M. Tagore compiled a more extensive list of ruby colors from the Purana sacred texts: ‘like the China rose, like blood, like the seeds of the pomegranate, like red lead, like the red lotus, like saffron, like the resin of certain trees, like the eyes of the Greek partridge or the Indian crane…and like the interior of the half-blown water lily.’ With so many gorgeous descriptive possibilities it is curious that in English the two ancient names for rubies have come to sound incredibly ugly. – Victoria Finlay • My heart is like a singing bird Whose nest is in a water’d shoot; My heart is like an apple-tree Whose boughs are bent with thick-set fruit; My heart is like a rainbow shell That paddles in a halcyon sea; My heart is gladder than all these, Because my love is come to me. Raise me a daïs of silk and down; Hang it with vair and purple dyes; Carve it in doves and pomegranates, And peacocks with a hundred eyes; Work it in gold and silver grapes, In leaves and silver fleurs-de-lys; Because the birthday of my life Is come, my love is come to me. – Christina Rossetti • Or from Browning some “Pomegranate,” which if cut deep down the middle Shows a heart within blood-tinctured, of a veined humanity. – Elizabeth Barrett Browning • Pomegranate juice has staying power. It’s not a fad. Once people have tasted POM Wonderful, they say they are addicted – and it’s a good addiction to have. – Lynda Resnick • Pomegranate Soup is glorious, daring and delightful. I adored the Iranian sisters, Marjan, Bahar and Layla, who are looking to build a life, start a business and find love in a place so far from home. Ireland has never been more beautiful – the perfect setting for this story filled with humor, hope and possibility. – Adriana Trigiani

• So hey, once Joshua heals your brother, you want to go do something, get some pomegranate juice, a falafel,or get married or something? – Christopher Moore • So where does the name Adam’s apple come from? Most people say that it is from the notion that this bump was caused by the forbidden fruit getting stuck in the throat of Adam in the Garden of Eden. There is a problem with this theory because some Hebrew scholars believe that the forbidden fruit was the pomegranate. The Koran claims that the forbidden fruit was a banana. So take your pick—Adam’s apple, Adam’s pomegranate, Adam’s banana. Eve clearly chewed before swallowing. – Mark Leyner • Surely Love is a wonderful thing. It is more precious than emeralds, and dearer than fine opals. Pearls and pomegranates cannot buy it, nor is it set forth in the marketplace. It may not be purchased of the merchants, for can it be weighed out in the balance for gold. – Oscar Wilde • The decor bowled me over. Everywhere I looked, there was something more to see. Botanical prints, a cross section of pomegranates, a passionflower vine and its fruit. Stacks of thick books on art and design and a collection of glass paperweights filled the coffee table. It was enormously beautiful, a sensibility I’d never encountered anywhere, a relaxed luxury. I could feel my mother’s contemptuous gaze falling on the cluttered surfaces, but I was tired of three white flowers in a glass vase. There was more to life than that. – Janet Fitch • The fallen hazel-nuts, Stripped late of their green sheaths, The grapes, red-purple, Their berries Dripping with wine, Pomegranates already broken, And shrunken fig, And quinces untouched, I bring thee as offering. – Hilda Doolittle • While still sixteen I am put in charge of a class of forty children who are two, three or four years younger than I. I fall in love with them. They are my possession, my mob whose forty minds, under my flashy and domineering control, are to become one, a mind unsullied by errors, unmarked by blots, contaminated by misplaced originalities outside the curriculum, and as full of facts as a pomegranate seed. – Hal Porter

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equitiesstocks · 5 years ago

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Pomegranates Quotes

Official Website: Pomegranates Quotes

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shivabackontrack-blog · 7 years ago

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SHIVA - Back on Track

Summer Hip Hop Music

Music movies are defined as brief movies or movies which can be accompanied by a complete musical piece, typically by a song. A music video (MV) today is used primarily for advertising functions. It usually promotes music recordings - the more practical the music video, the upper the gross sales of those music recordings. The origins of this specific media dates way back but they acquired extremely acknowledged within the Eighties. MVs obtained the eye of people when the format of MTVs was primarily based round these music quick movies. The actual time period "music video" grew to become broadly used early in the Nineteen Eighties. Previous to that, such quick movies were called promotional clips or promotional films.

There are such a lot of methods wherein music movies can be made. A wide range of movie making kinds can be employed to do a music video. Some of these film making strategies which are efficiently used through the years to provide MVs are stay motion filming, documentaries, and animation. Even approaches that are not narrative in form are used. One example of this case is using abstract film. Different MVs don't solely go for one film making type but attempt to mix quite a few styles together. A typical mixing that has been used for music video is the dwell motion and animation combine.

The internet is without doubt one of the places where music movies are so prolific. In truth, there are already a number of recognized conditions the place a music video turns into viral, spreading everywhere in the world so fast! Not only that, there are additionally loads of enormous web sites constructed solely Official Music Video for music videos. These web sites comprise pages and pages of those brief musical clips. The brief music films out there could be those mainstream ones, these of great artists and of great hit songs. Other music movies on the market are those made by individuals just desirous to share what they will do.

The unfold of music movies within the Web was said to have been started by IRC-based group members. These individuals recorded the video as they have been proven on TELEVISION after which transformed the recordings to digital recordsdata. They then exchange these .mpg recordsdata with each other by means of the IRC channels. The time when broadband web connection grew to become easily obtainable to almost everybody really expanded the list of things folks can do with music movies. Now, music video streaming and downloading are pretty frequent place.

There are mainly two sorts of music videos - official ones and non-official ones. The official ones are those with official labels, copyrights, resale rights, and many others. These are these made by recording artists and are a part of their data. The non-official music videos are made by followers. These are normally put together by utilizing totally different pictures or video clips and music from completely different sources. The primary identified creator of fan video was Kandy Fong. Kandy Fong created the "songvid" in 1975 using Begin Trek nonetheless photographs and a track.

Today's practitioners of what we once referred to as "trendy" music are discovering themselves to be abruptly alone. A bewildering backlash is ready in opposition to any music making that requires the disciplines and instruments of research for its genesis. Tales now circulate that amplify and amplify this troublesome development. It as soon as was that one could not even method a major music college within the US unless properly prepared to bear the commandments and tenets of serialism. When one hears now of professors shamelessly finding out scores of Respighi so as to extract the magic of their mass viewers attraction, we all know there's a disaster.

This disaster exists in the perceptions of even probably the most educated musicians. Composers right this moment seem to be hiding from sure difficult truths relating to the creative course of. They've deserted their seek for the tools that may help them create really hanging and challenging listening experiences. I consider that's as a result of they are confused about many notions in fashionable music making!

First, let's examine the attitudes which can be needed, however which were abandoned, for the development of particular disciplines within the creation of a long-lasting fashionable music. This music that we are able to and should create gives a crucible during which the magic within our souls is brewed, and it's this that frames the templates that information our very evolution in artistic thought. It's this generative course of that had its flowering within the early Nineteen Fifties. By the Nineteen Sixties, many emerging musicians had turn into enamored of the wonders of the fresh and exciting new world of Stockhausen's integral serialism that was then the trend. There seemed limitless excitement, then.

It seemed there could be no bounds to the creative impulse; composers could do anything, or so it appeared. On the time, most composers hadn't actually examined serialism fastidiously for its inherent limitations. But it surely seemed so fresh. However, it quickly turned apparent that it was Stockhausen's thrilling musical method that was fresh, and never so much the serialism itself, to which he was then married. It turned clear, later, that the methods he used have been born of two special concerns that finally transcend serial units: crossing tempi and metrical patterns; and, particularly, the idea that treats pitch and timbre as special circumstances of rhythm. (Stockhausen referred to the crossovers as "contacts", and he even entitled considered one of his compositions that explored this realm Kontakte.) These gestures, it seems, are actually unbiased from serialism in that they can be explored from different approaches.

The most spectacular method at that time was serialism, though, and never a lot these (then-seeming) sidelights. It is this very method -- serialism -- however, that after having seemingly opened so many new doorways, germinated the very seeds of modern music's personal demise. The method is very liable to mechanical divinations. Consequently, it makes composition easy, like following a recipe. In serial composition, the less thoughtful composer seemingly can divert his/her soul away from the compositional course of. Inspiration will be buried, as method reigns supreme. The messy intricacies of observe shaping, and the epiphanies one experiences from crucial partnership with one's essences (inside the mind and the soul -- in a way, our familiars) may be discarded conveniently. All is rote.

All is compartmentalized. For a long time this was the honored methodology, lengthy hallowed by classroom academics and young composers-to-be, alike, at the least in the US. Quickly, a sense of sterility emerged within the musical ambiance; many composers began to look at what was happening.

The substitute of sentimental romanticism with atonal music had been a crucial step within the extrication of music from a torpid cul-de-sac. A music that may closet itself in banal self-indulgence, equivalent to what gave the impression to be occurring with romanticism, would decay. Right here came a time for exploration. The brand new alternative --atonality -- arrived. It was the contemporary, if seemingly harsh, antidote. Arnold Schonberg had saved music, in the intervening time. Nevertheless, shortly thereafter, Schonberg made a critical tactical faux pas.

The 'rescue' was truncated by the introduction of a way by which the newly freed process could possibly be subjected to control and order! I have to specific some sympathy here for Sch?nberg, who felt adrift within the sea of freedom provided by the disconnexity of atonality. Massive forms depend on some sense of sequence. For him a method of ordering was needed. Was serialism an excellent reply? I am not so certain it was. Its introduction provided a magnet that would appeal to all those who felt they needed specific maps from which they could build patterns. By the point Stockhausen and Boulez arrived on the scene, serialism was touted because the cure for all musical issues, even for lack of inspiration!

Pause for a minute and consider two pieces of Schonberg that deliver the problem to gentle: Pierrot Lunaire, Op. 21 (1912 - pre-serial atonality) and the Suite, Op. 29 (1924 serial atonality). Pierrot... seems so vital, unchained, virtually lunatic in its special frenzy, whereas the Suite sounds sterile, dry, forced. In the latter piece the excitement got misplaced.

This is what serialism appears to have carried out to music. But the eye it received was all out of proportion to its generative power. Boulez once even proclaimed all different composition to be "useless"! If the 'illness' --serialism --was bad, certainly one of its 'cures' --free likelihood --was worse. In a series of lectures in Darmstadt, Germany, in 1958, John Cage managed to show that the outcome of music written by chance means differs very little from that written using serialism. However, likelihood appeared to go away the public bewildered and offended.

Probability is probability. There may be nothing on which to carry, nothing to information the mind. Even powerful musical personalities, similar to Cage's, usually have trouble reining within the raging dispersions and diffusions that probability scatters, seemingly aimlessly. But, again, many colleges, notably within the US, detected a sensation in the making with the entry of free likelihood into the music scene, and indeterminacy turned a brand new mantra for anyone eager about creating one thing, anything, so long as it was new.

I consider parenthetically that one can concede Cage some quarter that one could be reluctant to cede to others. Typically probability has develop into a citadel of lack of self-discipline in music. Too usually I've seen this outcome in college lessons within the US that 'teach 'discovered (!)' music. The rigor of discipline in music making should never be shunted away looking for a music that is 'found', relatively than composed. However, in a most peculiar means, the facility of Cage's personality, and his shocking sense of rigor and discipline appear to rescue his 'chance' art, the place other composers merely flounder in the sea of uncertainty.

Nonetheless, as a solution to the rigor mortis so cosmically bequeathed to music by serial controls, chance is a very poor stepsister. The Cageian composer who could make chance music speak to the soul is a rare hen indeed. What seemed missing to many was the fragrance that makes music so splendidly evocative. The ambiance that a Debussy could evoke, or the fright that a Schonberg might invoke (or provoke), appeared to evaporate with the fashionable technocratic or free-spirited methods of the brand new musicians. Iannis Xenakis jolted the music world with the potent solution within the guise of a 'stochastic' music. As Xenakis' work would evolve later into excursions into connexity and disconnexity, offering a template for Julio Estrada's Continuum, the path towards re-introducing power, beauty and fragrance into sound turned clear. All this in a 'modernist' conceptual approach!

Once again, although, the US college milieu took over (principally beneath the stifling influence of the serial methodologist, Milton Babbitt) to remind us that it isn't good to make music by fashioning it via 'borrowings' from extra-musical disciplines. All through his book, Conversations with Xenakis, the writer, Balint Andr?s Vargas, together with Xenakis, approaches the evolution of Xenakis' work from additional-musical issues. Bodily ideas are dropped at bear, corresponding to noise propagating by a crowd, or hail showering upon metallic rooftops.

Some relate to terrible warfare recollections of experiences suffered by Xenakis, culminating in a severe wound. To shape such powerful sounds, ideas akin to natural phenomena had to be marshaled. From the standpoint of the musical classroom, two things about Xenakis are most troubling: one is his relative lack of formal musical training; the other, or flip facet, is his scientifically oriented education background. In methods no one else in musical history had ever performed, Xenakis marshaled ideas that gave birth to a musical ambiance that no one had ever anticipated might exist in a musical setting.

One most outstanding function is a sound setting that emulates Brownian movement of a particle on a liquid floor. This profoundly physical idea wanted high-powered mathematics to constrain the actions of the (analogous) sound 'particles' and make them trustworthy to the idea Xenakis had in mind. There is, consequently, a sure inexactitude, albeit a bodily slipperiness, to the movement of the sound particles. Good musical smoothness and transition give approach to unpredictable evolution and transformation. This idea blows the pores and skin off conventional ideas of musical sample setting! Its iridescent shadows are unwelcome in the grey gloom of the American classroom.

Of their haste to keep musical issues musical, and to rectify sure undesirable developments, the official musical intelligentsia, (the press, the US university elite, professors, and so forth.) managed to find a technique to substitute false heroes for the troubling Xenakis. Across the time of Xenakis' entry into the musical scene, and his troubling promulgation of throbbing musical landscapes, attendant with sensational theories involving stochastic incarnations, a bunch of composers emerged who promised to deliver us from evil, with easy-minded solutions erected on shaky intuitional edifices. The so-referred to as 'cluster' group of would-be musical sorcerers included Krzysztof Penderecki, Henryk G?recki and Gyorgy Ligeti.

These new musical darlings, with their simple methodologies, gave us the first style of the quickly-to-emerge post-modernism that has posed as our ticket to the Promised Land for the final thirty years. It seemed that, simply as music finally had a master of the caliber and importance of Bach, Schonberg, Bartok and Varese in the particular person of one Iannis Xenakis, history and musicology texts appeared not to be able to retreat rapidly sufficient to embrace the brand new saviors, all the while conspiring against an all embracing creativity found quick, and well-embedded throughout the turmoil of the stochastic course of.

Alas, Xenakis has been exiled from American history, as a lot because the powers have been ready to take action! His competitors, these within the intuitive cluster faculty, became the fixtures of the new musical landscape, as a result of their art is a lot easier than that of Xenakis. Ease of composing, of analyzing and of listening are the brand new bywords that sign success within the music world. Those that extol such virtues herald the arrival and flourishing of put up-modernism and all its guises, be it neo-romantic, clustering or eclecticism. The proud cry as of late, is "Now we can do about anything we wish." Higher, perhaps, to do nothing than to embrace such intellectual cowardice.

The promise of a return to musical fragrances that stroll in concord and synchronicity with intellectual efficiency was precious and important. It should signal the next phase of evolution in the artistic humanities. The problem to write about this potential of a marriage of humanities was overwhelming. No sufficient textual content seemed to exist. So I had to offer one. All that was missing for an excellent guide was a unifying theme.

Algorithms control the walk of the sounds. Algorithms are schemata that work the attributes of sound to enable them to unfold meaningfully. An algorithm is a step-perform that may range from a easy diagram to stochastic or Boolean features. Even serialism is an algorithm. While they are necessary, algorithms take second place in importance to the main focus of music: its sound. This concentration is given a terminology by composer, Gerard Pape: sound-based mostly composition. Isn't all music sound based? It is all sound, in any case.

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