#yacm

[nyxgoddessofcandles]

Ok so I wanted to see if it was even loosely possible in MW5, with a loooot of mods, to make this theoretical mech possible

Unfortunately, MW5 is an inflexible monster of a game, so, the best I can do is find Anything that fits the weapons required.

And that....would unfortunately, be literally Only the fucking Direwolf (With 6.44 tons of negative mass because its Physically Impossible to do this anyway)

So here, behold, the absolutely god awful mech in question in a less TT-crunchy context

now you might ask "Hm, numbers seem a little Off, is something Wrong here?"

and you'd be right to ask that. The answer is Yes and that is that I can't just make an arbitrary 'mech chassis to test this on so I'm stuck with: Mech relevant Quirks (don't matter too much here), and 100 tonner structure, which can just be handwaved in this case

I even couldn't give it the proper Primitive armor without having to sacrifice *something* so it gets the benefit of era-inappropriate modern 'Mech armor! A whole...5 of it (I was generous) per component + 2 on the back torsos. (I am choosing to ignore quirk armor bonuses for this)

And yeah it goes slow. MW5 doesn't recalculate speed based on tonnage or anything so I'd have to stuff an overweight engine into it to make it not a snail.

Also Light Rifles (And rifles in general) in MW5 aren't actually *as* bad as TT but it's due to a few things. First is fun, which TT is not, often, because its got 30 years of design rot going on. Second is that MW is built around a wildly different timescale from Tabletop. TT assumes a 10s round. MW assumes *real time* and has to make compromises for that. 'Mechs have twice the armor they should, but weapons fire, often, twice as fast as tabletop. The LR does double the damage and is hotter than the tabletop version to make up for it. With a 2s cooldown, to boot. And it still sucks (Yet Another Revamped Weapon slapped 67% damage loss to 'Mech armor onto all three rifles (and their Burst variants. don't ask ok I don't have time))

As far as the other weapons go, the rockets had to go to arm-town because I can't change the 3 Omni-BE-Slots in the side torsos to be proper Omni without installing a 20Gb Unreal editor just to do that. So...arms it is.

also to point out, these are the Negative Mass modules in question

They are explicitly a cheat thing, but were required here to hit the 50t target because the direwolf's chassis itself is a bloated motherfucker at >26t in MW5 YACM mod

Also, it has too much ammo. Like, a lot too much. One ton of LR ammo in MW5 gives SEVENTY TWO shots. Each.

One ton of SSRM Ammo is 300 missiles (firing X per volley, so it doesn't give as many shots as it sounds)

NARC ammo is 20/t as well.

Oh, and cockpits cannot be torso mounted. I know, cringe. PGI needs to hire some people with vision.

Anywho all this is to say "hey you theoretically could put this together but it requires a 100t chassis with nearly no armor and literally impossible negative mass modules"

Oh also if you fire your rockets your damage just drops 2/3rds, lol. SSRMs doing a LOT of heavy lifting here

Here it is with just the rifle :)

Can The Titans from Titanfall Beat a Battlemech from Battletech?

To make a long story short, ffffffFFUCK no. HAH! Absolutely not.

But how did i reach this conclusion, you may ask? I will tell you.

OK. So. Introductions first. Meet Tone. She is long considered a menace(somehow, even though she's not hard to counter) to the Titanfall fandom and originally what inspired this thought process. She is a mech that has 4 very important distinctive features i will be bringing up repeatedly in this pseudo-essay. Those 3 things being her 40mm Tracker Cannon, her Tracking Rockets, her Salvo Core, and her Sonar Pulse.

Her Tracking Rockets will be compared to the Streak SRM 6, her sonar pulse will be compared to the NARC missile beacon, her Salvo compared to the Rocket Launcher 20 +10, (i will explain, dont crucify me just yet), and our first item on the docket, the 40mm Tracker Cannon compared to the Light Rifle.

Now, why the Light Rifle? Well it's mainly for one reason. The ammo count. As a matter of fact, while I was looking up shit for this essay, I found that one brand of AC/2 is chambered in 40mm. Specifically, the Whirlwind L, found on older Blackjack models. Perfect match!, except for the ammo count. In the Tracker cannon, or TC for short, (not to be confused with the BattleTech Targeting Computer,) the ammo per box is 12, 24 if you count the Aegis upgrades, which i will not be for this essay. The closest match, then, which has similar damage and ammo per "box", would be the Light Rifle, which has 18 rounds per ton, and in BattleTech, the Light Rifle is a primitive cannon that predates the AC/2. Government work and hand grenades, as they say.

The Tracking Rockets being the Streak SRM 6 and the Sonar Pulse being the Narc is self explanatory, and thusly will not be discussed at length here. Do your own math. However, to the moment you've all been waiting for, the Salvo Core being two Rocket Launcher 30 batteries. This is exclusively because i am bad at the game, and i can usually only get two cores, before I get punched through the face and have my lunch money (battery) taken away by a particularly hungry Monarch. Also, as a funny coincidence, the Salvo Core is 60 missiles fired from what would be in BattleTech the SRM launchers. This is illegal. Thusly, to replicate the damage from the Salvo core, but keep the tonnage reasonable, I have added two Rocket launcher 20s with two RL-10s respectively to simulate what the Salvo core is like to fire. I tried two MRM 30s. They did not fucking work.

Now that being said, this is the Mech we would end up with if we were playing Battletech.

Yes, the torso mounted cockpit is because the Tone doesn't technically have a head module.

If you have questions, let me know. If you have complaints, please feel free to build your own. Megamek is free. I am not. I still have rather expensive organs. I need those.

Now this looks like a serviceable mech on paper, right?

If you said yes, you are either guessing based on the RLs, or you are an unhinged goblin who uses a Panther with an AC/20 on it. This mech has lacking offensive capability once the RLs are gone, with pitiful midrange consisting of the lone Light Rifle and only half decent short range. The SRMS having a STREAK tracking system is a lone saving grace to this scrap heap. This machine can only really be used to bluff. And not much more.

[brenthousechicago]

Bienvenida a Puerto Rico! Ya me ha encantado la isla del encanto. #yacm #episcopalchurch (at San Juan, Puerto Rico) https://www.instagram.com/p/BrOPuVah_dR/?utm_source=ig_tumblr_share&igshid=jwm1hsxmk0tl

[piothub-blog]

YACM - Yet Another Compliance Mandate

The GDPR will mean a lot of different things to a lot of different people. For organization leaders, it will mean yet another compliance mandate. For vendors, it will be an opportunity to sell more of everything. For consumers, it should mean that their privacy will be protected at a heretofore unprecedented level. This article provides 5 tips to keep organization leaders from being toppled over by the marketing hype, fear-peddling, crowd noise, and information overload that comes with new compliance mandates.  

 1.       Understand the GDPR. This is an important compliance event. You don’t want to sweep this down the chain of command. You need to be able to speak to it in an intelligible and confident manner that inspires your colleagues, directs your employees, and comforts your customers. You can go online and get caught-up here:

·         Overview of Preparing for the General data Protection Regulation (GDPR) – video of slide presentation with narration - 1.5 hrs

·         General Data Protection Regulation - Wikipedia article

·         Expert tips: Get your business ready for GDPR – blog

There are many other resources. Please feel free to share your favorites or critique my choices here.

2.       Bolster your Information Governance (IG) capability. If you have left the management of data and information to IT, we highly recommend you revisit the situation. Ask probing questions such as:

·         Who is responsible for the data?

·         What are our obligations to keep/delete data?

·         Is our data easily ‘findable’?

·         Do we regularly review and dispose of ROT (Redundant, Outdated, and Trivial) information and data?

·         “Do we have a clear line of sight to legacy data stored off line in hard drives, tapes, and rogue computers and servers?

Just asking questions like these will give you a clear insight on the state of your information governance.  

3.       Keep technology solutions at arm’s length, for now. We are optimistic that there will be useful technology solutions that will help meet the mandates of GDPR, but we are not there. Be careful, we are in the initial period of “solution” marketing designed to scare you into purchasing something big and expensive you don’t really need.

4.       Ask the expert. There is a wide range of experts available to help you, whatever budget you may have. Lawyers, international consulting agencies, IT services groups, professional organizations, governments, non-profits, and technology vendors will all have guidance. However, that guidance may need to be translated into reasonable and defensible actions that meet the needs of your organization, while ensuring compliance. It is important to note that nobody has done this before, so be

5.       Own the solution. Involving the experts will provide a bounty of opportunity to solve the GDPR challenge, however, you will need to own the solution. Be sure that you are working at C-level. The CEO, CIO, General Counsel, COO, and head of HR must all agree on the solution. Train your IT to be responsible data stewards, even if the data lives in the cloud. IT may be excellent pipe builders, but have they ever been asked to care about the quality of the water? Help them see that content in their systems is also their responsibility as IT professionals.  

GDPR is a significant regulation that should be followed with an indisputable commitment from your organization. That said, compliance can be achieved by due diligence and reasonable actions. So breathe deep, after all, this is only another compliance mandate and it will not be the last!  

Visit PIOT at www.piothub.com. 

[zykatekb]

URL Songs Tag

I was tagged by @stories4sims  thanks! 😀

It was not easy to find songs with the letters of my name. 😅 Some are very old. lol 

Rules: spell out your url using song titles, then tag as many people as there are letters in your url.

Z - Zen - Zazie

Y - YACM - Village Poeple (It's very old, I know lol 🤣)

K -  Kimi ha mi amor - Kurofune (Dream Festival- Anime)

A -  Animals - Maroon 5

T - Toi + moi - Grégoire

E -  Ego -  Willy William

K -  King of My Castle -  Wamdue Project

B -  Beautiful Now - Zedd

I tag @elodielsims , @isaange , @sweetdemolitionlovers , @adelinestories , @brigittefortunefan , @origine1975 , @luna-igleo , @sani-sims4

[co-iki]

Talk Session : “Physicality” in the Time of Remote Communication Vol.1- On the frontlines of Buddhism,Butoh/Dance,Art&Tech -

トークセッション : リモート時代の「身体性」Vol.1

～仏教、舞踏・身体表現、アート＆テックの現場から～

--- 前半トーク＆後半ディスカッション ---

*English Follows, translation(Japanese/English) for the session available.

The English translation of Speakers Session will be followed in the FB Live comment field.※セッションの進行は日英通訳・翻訳ありで進めます。

>>Session Details セッション詳細：https://www.facebook.com/events/336199810810931/

https://co-iki-talk-session.peatix.com/

Trailer >>  https://www.youtube.com/watch?v=EvLt0tw4xXk

----------------------

パンデミック下で私たちが日々向き合い、また失敗と発見を繰り返しながら導き出そうとしている”New Normal”とオンライン化する日常コミュニケーション。 このリモート時代において、これまで生活の基軸として捉えてきた「身体性」や「生の感覚」「体験」とは一体どんなものなのか。 また、今後、あらたな知覚として発展する可能性のある、リモート時代における「身体感覚」とはどんなものになるのか。 仏教、舞踏・身体表現、アート＆テック等、様々なクリエイティブな現場で（パンデミック下においてもアクティブに）ご活躍の皆さんをお迎えし、トークセッションを開催します。 また、セッション後半は、co・ikiの実験リモートレジデンシー“Creativity from HOME”　（http://co-iki.org/en_US/events/creativity-from-home/　）に参加している各国クリエイター（シンガポール、インドネシア、香港、ウクライナ、ナイジェリア、��ーストラリア、日本）やディスカッション参加のみなさまを交えてセッションします。 （後半ディスカッションはPeatixかFBにてご予約ください。日英通訳ありますので日本語onlyでもお気軽にどうぞ💡） ☞Zoomディスカッション予約 はこちら: https://co-iki-talk-session.peatix.com/ 世界的なウィルス蔓延から早8カ月超。 この機会に一度振り返る時間を各国・各業界のみなさんとシェアし、日々の暮らしや仕事にフィードバックしていただければとおもいます。どうぞお気軽にご参加ください😊 After the serious virus outbreak, we've been trying to create the New Normal with the help of technologies. Our communications are now transforming into the remote ,online stuffs or maybe a kind of hybrid. Now it's time to reflect on the physical communication, its sensibilities we perceive and discuss on our new lifestyles, the temporary situations, issues or a new aspect we've been experiencing under the Pandemic. This time, we will welcome such active creatives from different art sectors in Japan like Buddhism, Butoh&Performing Arts ,Contemporary Art&Tech, and will share what they are facing and have been creating until now. We will also talk about the physicality from different perspectives of the speakers. Please share yours also as we will discuss altogether in the latter half of the session with the participating creators(Hong Kong,Singapore,Indonesia,Ukraine,Nigeria,Australia,Japan) of our experimental remote residency "Creativity from HOME"!

●参加者（スピーカー）Speakers： 風間天心（かざま・てんしん）さん　（美術家 / 僧侶） Tenshing Kazama / Japan [Artist / Monk] 会田大也（あいだ・だいや）さん　（YCAM 教育普及・キュレーター） Daiya Aida / Japan [YCAM Museum Educator&Curator] 松岡大（まつおか・だい）さん　（舞踏手 / LAND FESディレクター） Dai Matsuoka / Japan [Butoh Dancer / LAND FES Director]

●スピーカー・プロフィール　Speaker Profile 風間天心（かざま・てんしん）　（美術家 / 僧侶） Tenshing Kazama / Japan [Artist / Monk] http://www.tengshing-k.com/ 美術家、僧侶。1979年、北海道東川町生まれ。2006年、第9回岡本太郎現代芸術賞に入選。2010年、大本山永平寺での修行を経て禅宗の僧侶になる。2011年、武蔵野美術大学パリ賞によりパリ市「Cité Internationale des Arts」に滞在。現代���おける「宗教と芸術」の相互作用を求めながら、国内外で多様な活動を続けている。 I am a Japanese Zen monk and contemporary artist. Born in 1979. My reason for paralleling monk and artist is to discover the common challenges and values of art and religion and to re-present the interplay between them. The focus of my theme is “A methodology for gathering and enhancing the faith contained in religious institution.” and “The foundation of faith internalized in customs and culture.” and the physicality that is deeply related to both of these contents. In order to derive the uniqueness of art in Asia, his installations and art projects highlight the “history of nations and peoples” and the “spirituality behind the expression”. 1979 Born in Hokkaido, Japan 2008　B.F.A. Painting, Musashino Art University, Japan 2009　Training, Temple Eiheiji , Japan 2011　Residency of ” Cité Internationale des Arts ”, Paris, France 2018　Residency of ” Sa Sa Art Project”, Phnom Penh, Cambodia Awards 2019 “The 22th of art grand prize of TARO” Semi-Grand Prize 2017 “S-AIR Award” Winning a Prize 2016　 “The 5th Sapporo 500m Gallery Award”　Grand Prize 2016　 “JR Tower ARTBOX 2016”　Grand Prix 2016　 “LUMINE meets ART AWARD 2015”　 Winning a Prize 2015　 “Tokyo Midtown Award 2015”　Award for Excellence 2011 “Paris award of Musashino Art Univ.”　 Winning a Prize ◎現在進行中のプロジェクト： 「大仏造立プロジェクト」Big Buddha under the Pandemic (ongoing project) https://bigbuddha.jp/ 会田大也（あいだ・だいや）　（YCAM 教育普及・キュレーター） Daiya Aida / Japan [YCAM Museum Educator&Curator] https://www.ycam.jp/en/ 1976年東京生まれ。2000年東京造形大学造形学部デザイン学科造形計画専攻卒業。2003年情報科学芸術大学院大学IAMAS修了。2003年より11年間、山口情報芸術センター[YCAM]の教育普及担当として、メディアリテラシー教育と美術教育の領域にまたがるオリジナルワークショップや教育コンテンツの開発と実施を担当。一連のワークショップは、第6回キッズデザイン大賞を受賞。担当企画展示「コロガルパビリオン」が、第17回文化庁メディア芸術祭審査委員会推薦作品受賞。一連の「コロガル公園」シリーズは2014年度グッドデザイン賞を受賞。2013年、国際交流基金主催の日・ASEAN友好40周年事業 国際巡回メディアアート展「MEDIA/ART KITCHEN」キュレーターに選出。東京大学大学院ソーシャルICTグローバル・クリエイティブ・リーダー[GCL]育成プログラム特任助教（2014〜19）を経て、2020年現在、YCAM学芸普及課長。 Aida Daiya was born in Tokyo in 1976. He completed his studies at the Institute of Advanced Media Arts and Sciences (IAMAS), and worked at the Yamaguchi Center for Arts and Media (YCAM), an art institution with a focus on media art, from 2003 to 2014, where he was responsible for education and outreach, namely the planning and operation of film screenings, community participation programs, media workshops, and outdoor installations. His work at the YCAM earned him the Kids Design Award Grand Prize, Good Design Award, and Jury Selections for the Media Arts Festival Award. In 2013 Aida joined the 13-member, seven-nation curatorial team for Media/Art Kitchen, a media art exhibition—organized by the Japan Foundation to mark the 40th anniversary of ASEAN—Japan friendship and cooperation—that toured Japan and Southeast Asia. For five years, since 2014, he held the position of Project Assistant Professor, teaching workshop design for the Graduate Program for Social ICT Global Creative Leaders at theUniversity of Tokyo. In Dec. of 2019, Aida came back to YACM as Artistic Director. 松岡大（まつおか・だい）　（舞踏手 / LAND FESディレクター） Dai Matsuoka / Japan [Butoh Dancer / LAND FES Director] http://daimatsuoka.com/ https://landfes.com 上智大学卒業。桑沢デザイン研究所卒業。2005年より山海塾に舞踏手として参加。 「金柑少年」「とばり」「めぐり」「卵熱」「ARC」などの主要作品に出演中。 2011年より、街を歩きながらミュージシャンとダンサーによるライブを鑑賞するウォーキング形式のパフォーマンスイベント「LAND FES」を主催。調布市せんがわ劇場主催、巻上公一氏が総合プロデューサーを務める「JAZZ ART せんがわ」の同時開催イベントとして仙川の街で「LAND FES」を開催し、商店との交渉を重ねながら街全体を舞台に仕立てあげ、劇場と街を繋ぐ企画性が評価され、2014年～16年にかけて3年連続で開催している。 16年10月に、NYのパペットカンパニーPhantom Limbの作品「Falling Out」の振付を担当。 16年12月には、故・蜷川幸雄氏の意思を引き継いだ、高齢者による世界最大級の群集劇「一万人のゴールドシアター 2016」にてムーヴメント演出のディレクションを務める。 16年より、舞踏の価値を広く残し伝えるために、非営利活動法人ダンスアーカイヴ構想の理事となる。 これまでに巻上公一、坂本弘道、森重靖宗、大石将紀、ユーグ・ヴァンサン、カール・ストーン等、多数のミュージシャンと共演している。 Graduated Sophia University, the Faculty of Comparative Culture. Graduated Kuwasawa Design School. Matsuoka has been a dancer for SANKAIJUKU since 2005. He has appeared in 9 pieces of Sankaijuku including “Kinkan Shonen”, “Kagemi”, “Tobari”, “Unetsu” and “ARC”. He has also been directing the performance event “LAND FES” in Tokyo since 2011, in which audience is navigated to encounter live sessions by musicians and dancers taking place at different places in the town . https://landfes.com ◎Hijikata Three Chapters 土方三章 https://youtu.be/unfO-zP0mBg ◎LAND FES https://youtu.be/ZBqj2hs5zIo

//// COMING UP!! /////

Session Vol.2 short video >> https://www.youtube.com/watch?v=jx6wyu6pVe4&t=121s

https://co-iki.tumblr.com/post/640796616194981888/thank-you-so-much-for-joining-our-session

☟More details about the program organizer ---------------------------------------------- co・iki -Co-living&Co-creating Residency in Japan co-iki.org "Creativity from HOME" Experimental Remote Residency Project Outline　 実験リモートレジデンシープロジェクト概要 http://co-iki.org/en_US/events/creativity-from-home/ Blog: https://co-iki.tumblr.com/ Facebook: https://www.facebook.com/c0iki/ ----------------------------------------------

[malapkv]

Arangamonline with Yessel Narasimhan

A lot of us have been keeping ourselves busy in many ways during this pandemic. Art enthusiasts suddenly found a lot of online content- videos, replays, interviews, webinars...Suddenly in the midst of it all, during the month of May -quietly surfaced an online radio – much to the delight of Carnatic Music enthusiasts.

This radio is called arangamonline (https://arangamonline.com/  and is available 24/7 on any device.

We wanted to explore this radio and the story of the person behind it- Shri Yessel Narasimhan (Saranatha Lakshmi Narasimhan –became SL- which became Yessel)- for we are aware that he is already a Carnatic music archivist. What we were not aware of though, was that he has a repository of about 5000 concerts or about 15000 hours of Carnatic music !! :)

He dons many hats- he is a technical consultant for sounds and studios and equally a guide/consultant for students/performers of Carnatic Music. He consults for some big names in the country for their studios, is involved in some serious archiving and to fans of Carnatic vocalist Shri Sanjay Subrahmanyan, he is the go-to person for anything and everything, for he is present at all of  his concerts ,recording the present day doyen of Carnatic classical music. Not to mention the corporate and non corporate roles he has taken up in the past.

Yessel describes himself as someone whose listening journey started in a reverse manner. Unlike most people who get drawn into classical music after a foray into fusion and light classical, he began by listening to “ heavy-duty” classical and with it, the knowledge of and taste for music evolved within him in an organic manner.

Yessel, for those who know him is never at a loss for words, so an “interview” with him is not very difficult, he willingly comes forward to provide the information any keen enthusiast would want from him. Also, as we speak to him we sense a sudden shift of focus lights from Mylapore ( which has traditionally been the Carnatic hub)to Triplicane....and we discover a lot of trivia about the place, about the technical aspects of recording/archiving and many more.

Here is how the conversation with him unfolded-On his background, his passion for Carnatic music, his role as an archivist, his association with Sangita Kalanidhi Shri Sanjay Subrahmanyan , his listening sessions and now arangamonline..

Read on for many interesting anecdotes...embedded in his responses.

Tell us about how you got interested in Carnatic Music in the first place?

I have been attending live concerts since I was 3 years old. Those days, it was only the very rich who could afford gramophones and cassettes, so for some of us, live concerts was the most accessible route to Carnatic Music.

Music was always in the air- That may sound a bit of a cliché ... but since I lived and still live opposite to the Triplicane Parthasarathy temple, I grew up on a staple of temple music, mainly Nadaswaram.

You are known for constantly excavating and reminding rasikas about past masters all the time, as is evident in arangamonline. Is there a background to it?

 Maybe.. I had the opportunity be closely associated with the Carnatic music performers of the 60s and 70s- Thanks to my father Shri Saranatha Gopalan who was running a Sabha called Triplicane Arts Academy.The concerts used to take place at the Hindu High School on the third floor- in a hall which has a capacity of about 4000 people. Since there were no lifts, both artists and organisers had to climb stairs.

We used to hold concerts each weekend. Amongst the artists who performed, Shri Pinakapani, Smt MLV, Shri TMT, Shri Mali, Shri MDR, Shri S Balachandar, Shri S Ramanathan and Shri S Rajam were some of them-my dad was very fond of each of their music and was quite close to all of them.

Other than this, there used to be another organisation called the Triplicane Cultural Academy- Which had a library associated with it called the Kasthuri Srinivasan Library ( In memory of the founder of the Hindu)- My father used to be in the committee of this organisation as well. This Sabha organised more of lecture demonstrations- and we as young lads ,used to be involved in details right from laying the “Jamakkaalam” to cataloguing of books in the library.

That’s how my association with the “past masters” occurred.

Do you have any specific memories of these artists you were associated with?

I remember clearly that Flute Shri Mali was in Triplicane High Road for about 10 years.-He stayed in a place opposite the Star Theatre occupying the same room/flat  that Shri TN Krishnan occupied and vacated.

Mali stayed there because his flute maker stayed just behind- on Chellapillayar Koil Street- And that street is also famous for two other people who stayed there- Shri  UV Swaminatha Iyer  and Shri Koteeswara Iyer.

My best memories are with the legend Dr.S Ramanathan. He stayed close by-When he saw that I was a regular concert attender and spotted me at the concerts which he presided over/attended ...after about 3 months he asked me to tag along with him.

I have had the fortune moments of traveling together with him in the bus from Triplicane to Mylapore, have had coffee at Sukha Nivas with him and attended concerts along with him. I learnt many aspects of kutcheri attendance/ kutcheri appreciation from him. I’ve never seen him once leave in the middle of a concert-He always stayed till the end.

Also even at a concert where the performer did not do a great job, when he was invited to provide feedback, he had the art and the good heart to be completely honest at the same time without hurting anyone.

He sometimes sang to me to demonstrate how a piece should be/have been sung. I consider myself a very blessed child of God when I recall such moments.

You had such a close association with so many stalwarts. Did it motivate you to learn music yourself?

No , I was very clear I did not want to learn Carnatic music formally . Because I did not want to be boxed into one school or Bani. I wanted to be able to listen and appreciate all the schools and types of music. This decision helps me now in my role as an archivist as well.

Also, back then, the acknowledgement for this came from none other than Lalgudi Shri G Jayaraman- I was the chairman of the workshops committee of the YACM ( Youth Association for Classical Music, Chennai)and we had organised a three day workshop. LGJ who presided over the programme, on the third day made a comment “These days everyone wants to learn/perform. We also need people to be able to simply appreciate without learning or performing” which is what I was, exactly and I went up and told him that- And he genuinely appreciated it.

How did your recording journey start?

I started recording with the available gadgets as early as the 80s/ early 90s. We used small recorders –that would be kept directly before the main performing artist.

 I first started recording the concerts in which Shri Umayalpuram K Sivaraman played- thanks to his intervention, the main artist would allow us to record.

 Around 95/96 I started to digitise the collection. That was the time the various breakthroughs in technology began to rapidly occur, so with the changing times and technology, my methods of recording and preserving also changed.

What exactly do you mean when you say you digitised the collection?

In technical terms, it means using the optical drive / sound card in the PC  and the associated software to digitise.

In simpler terms,it meant connecting the walkman or the CD player of “those days” to the computer- converting it into a wave format and then into an audio-CD format.

Digitising from spools is of course another story altogether- Those were the days I would come home from work, and sit almost the whole evening through the night to complete this. This was during the early 90s.

Later, with the massive growth of technology, digitising became a simpler process and today it is the digital age so it is almost child’s play.

So today,how do you go about with your collection? Do you attend kucheris like before and record everything?

We closed the Triplicane Arts Academy sometime in the 80s –Since films were becoming very popular and Sabha attendance was dwindling. So obviously after that my associations were only in the form of kucheri attendance.

And with December 1999, after attending the “ millennium concert” I retired from “ live kucheri attendance” as well...

These days, I record for select artists only. I specialise in and would like to be identified with what is called as multi track- live recording. I am not into studio recording.

 What is the difference between a recorder and an archivist?

 In fact there are three categories- the listener, the collector and the archivist.

The listener is the simplest- Someone who listens a lot – to one or many artists

The collector is someone who would have exhaustive collections of a single artist or maybe a couple of them.

An archivist goes beyond these. Type A will collect anything and everything and stop there. Type B would want to develop and document what he/she has collected.

This starts with the ability to catalogue the recordings, give them names and tags- a long process by itself. It starts with a base in library science ( Recalls his early association with the Kasturi Srinivasan library..)

When you convert old recordings, say for instance from spools,then you will have to adjust speed differences, ensure that the timbre of the voice is maintained when you do so...Sometimes it involves validating the shruthi and speed of the final output with an artist- to ensure everything is just fine.

Even in today’s digital age, splitting a 2GB or 4 GB kutcheri recording into files and tagging those files requires a mimimum effort of 3- 4 hours.

If the recording is to be used for publication, then it has another 3- 4 hours of work involved.

So this job entails a lot of passion and is purely a labor of love. Not to mention a keen ear for detail in sounds.

One must understand that archiving music has to be done systematically and is indispensable to provide aural examples of Paadandharams to future students, musicians, scholars and researchers alike.

What did you do with all this music before Arangam online? We know you organised some listening sessions. Tell us about it?

 Everyone must be aware of Sangeethapriya. I was associated with this online platform of music sharing in 2006 and I still continue to be associated with them. With the boom of internet and the advent of youtube and so many free online platforms, we see anything and everything uploaded and shared. Not every upload was based on quality-The internet started becoming a digital dumpyard if I may call it that way.

So, I wanted to organise guided listening sessions for rasikas so they understand and identify good quality music coming from good quality recordings of course.

We started with “ Mottamadi kucheris”- Guided listening sessions at people’shomes accompanied with sweet, karam coffee. Then because of the limitations of the number of invitees, we shifted it to larger halls. This became a monthly recurrence.

 For instance we organised the Smt Suguna Purushotaman memorial day. And then for the MDR remembrance day, we had invited Shri TV Gopalakrishnan- who had been an accompanist for MDR. TVG became very emotional during the session . Sometimes the snippets we get from greats during moments like these are invaluable to say the least..

What would be the primary take away for anyone attending these listening sessions?

 The primary goal of the guided listening sessions was to dissect and dismantle various components of music and make them easier to understand and appreciate.

 At the same time we are very conscious that we conduct the dissection only AFTER the listening.  While we want to debrief on the grammar of things, we do not want the audience to compromise on the aesthetics at any cost. So after the concert is over, we have a resource person or an expert explain the nuances in the music- Audience who are interested could take notes and revisit these after going home..

 Ok, so now to the topic of the day....Tell us all about Arangamonline

I often have these thoughts of what exactly am I going to do with this large a collection and how could all this work be carried forward for the use of future generations? Also, during this COVID 19 situation, it looks like the guided listening sessions cannot happen in person for some time to come.

The thought of a radio was always in mind but now it has become economically feasible and technically it just involves a click of a button.Remember Worldspace that we all enjoyed at one point and grieved over its end? These were my points of inspiration towards arangamonline..

Oh yes...We all loved Worldspace.....But now, there are so many known and unknown Carnatic radios online. How is Arangamonline going to be different?

First of all as you are aware now, the collection comes from several years of passionate hardwork. Backed with some “sound” knowledge of sound imaging/stereo imaging- So I can assure you of the quality of what you hear ....It is not exactly some random playing of music.

Secondly all the tracks have been catalogued so details of each piece along with the composer, raagam etc is on display while the music is being played- it makes it a reference material as well- and those who do not know the raagams can equally identify and listen ..

Thirdly, in line with the concept of our listening sessions, there will be a resource person presenting on kucheris with some valuable take aways. The resource person could be a performing artist, an upcoming one or anyone else who is a true resource person in the field.

Fourth, this is an exclusive “ past masters”radio- The rule is that we will not play the music of any contemporary living artist- We make it unique by ensuring the past masters perform for you in crystal clear audio. ( Every rule has an exception so we may play a contemporary artist now and then)

So, you will get to hear people like Karaikudi Shri Sambasiva Iyer- (Some people/artists were surprised that such artists were feautured),Dwaram Shri Venkatasamy naidu,Dr S Pinakapani, Shri Srirangam Gopalaratnam, Shri TK Rangachari...and so on

When  and how was Arangamonline launched?

 This radio was under discussion...and within the next few days I lauched it just like that on MDR rememberance day- On may 20th 2020. I believe in not waiting for perfection to deliver- so launched it as it is.

The response has been great so far- This radio is completely community driven in terms of inputs- So I receive daily feedback on what to play and not...

I hope to scale the infrastructure up by August 2020

 When youngsters these days do not have much of a taste for contemporary classical musicians itself, why and how would they listen to the past masters?

Youngsters today should understand that whatever they claim is new has already been attempted and tried many decades back. Innovation is nothing but re-inventing some aspect of the past.

For example- Shri TK Rangachari as early as 1963 sang a two raga pallavi- Anandhabhairavi and Amritavarshini..

Shri S Kalyanaraman created  the dwi-madhyama ragas which is considered true innovation.

Our base in Carnatic music is very strong and is available in a state to be confidently explored. For fresh ideas,you need to listen as much as possible to the old- If you don’t, simple,it will only be your own loss.

I keep telling the youngsters to replenish the Carnatic stage with krithis that were popular 6o years back and then suddenly disappeared.

Innovation is simply restructuring of what has already been discovered and forgotten- So its imperative to listen to the past masters.

How exactly are you associated with the current day Sangita Kalanidhi Shri Sanjay Subrahmanyan?

For Triplicane – 3 Cs were non negotiable. Cricket, as everyone knows, Carnatic Music and Coffee.

So about 40 years ago I found someone who was a regular in both the cricket and carnatic circles. After a few instances of bumping into each other during concerts and during the Mylapore vs Triplicane cricket matches, we started getting acquainted. It then became friendship and we have been friends over these decades.

Obviously I am talking about Sanjay Subrahmanyan...

Those were 15 golden years of YACM and the camaraderie built over music was so memorable. As far as Sanjay and me are concerned, we have attended concerts, eaten together at Mylapore, were brave enough to explore IIT Madras which was a jungle at that time and where concerts just started....

Years passed and in 2005 I acquired a two track Tascam Porta Studio and did multi track recording for the first time.

In 2006, he happened to drop in when I was fiddling with the gadget and without much thought he asked me to record his concert at Bharat Kalachar the next day and thats how my mutli track live recording for concerts started.

After a break I then resumed recording for him in 2009 in his Shivaratri concert at Ratnagiriswarar temple and since then, except just one concert of another artist, I have been live recording with all my equipment only for Sanjay Subrahmanyan.

I am ever grateful to him for entrusting me with the recording of his concerts which are the products of decades of his dedication and hard work.

While I know and have interacted with almost all of his contemporaries, something exemplary about Sanjay- is his natural willingness to share his knowledge with others- A very very rare trait!!

------------------------------------------------------------------------------------

Just click on (https://arangamonline.com/  and listen 24/7 on any device- mobile, tablet, laptop

Yessel can be reached at yesselapps@gmail.com for any questions.

[masterx10-blog]

gracias:

Mi niña te prometo y te juro que te amo con cada gramo de mi existencia, cada día de mi vida y la tuya lo demostrare, no dejare que pasen los segundos, los minutos, las horas, los días, ni los años, sin que tu sepas que tan importante eres para mi, no desperdiciare ningún instante a tu lado, prometo besar esos hermosos labios rojos cuando de ellos no salga ninguna palabra, prometo recostarme en tu pecho cuando este descubierto, prometo admirar tu hermosura cuando estas distraído, cuando estas pensando en infinidad de cosas y no te puedas percatar que estoy fascinado con tanta perfección, prometo tomar tus manos cuando no las estés ocupando, prometo llenar tu mente de tantas cosas hermosas para que ya no quede espacio para malos ratos ni tristezas, prometo abrazarte y cubrirte de todo, quiero que tu cuerpo sienta tanto calor que olvides lo que es el frió, te prometo cuidar todo lo que te hace ser, prometo que dejare todo en el camino no me guardare nada porque todo lo voy a entregar por ti. te amo mucho mi niña.

YACM.

[enresumenagencia]

Yac-M, trajes de baño hechos por mexicanos para mexicanos y con causa social

#Entérate #YacM, trajes de baño hechos por mexicanos para mexicanos y con causa social

José Luis Cruz V. | Ciudad de México. Atletas dedicados a las actividades acuáticas se han preguntado sobre la existencia de algún traje de calidad, que a su vez sirva para entrenamiento así como competir, pero además, que esté dentro de las posibilidades económicas, y es justo Yac-M, un equipo multidisciplinario que pone en el mercado un nuevo producto con altos estándares pensado para los…

[bellanurmae-blog]

Yayasan Aceh Carong Meuadab Buka Puasa Bersama Anak Yatim

Bella Nurmae Yayasan Aceh Carong Meuadab Buka Puasa Bersama Anak Yatim Artikel Baru Nih Artikel Tentang Yayasan Aceh Carong Meuadab Buka Puasa Bersama Anak Yatim Pencarian Artikel Tentang Berita Yayasan Aceh Carong Meuadab Buka Puasa Bersama Anak Yatim Silahkan Cari Dalam Database Kami, Pada Kolom Pencarian Tersedia. Jika Tidak Menemukan Apa Yang Anda Cari, Kemungkinan Artikel Sudah Tidak Dalam Database Kami. Judul Informasi Artikel : Yayasan Aceh Carong Meuadab Buka Puasa Bersama Anak Yatim YAYASAN Aceh Carong Meuadab (YACM) menggelar buka puasa bersama para anak yatim dan piatu di Anjong Mon Mata http://www.unikbaca.com

[adelzahara-blog]

Yayasan Aceh Carong Meuadab Buka Puasa Bersama Anak Yatim

Adel Zahara Yayasan Aceh Carong Meuadab Buka Puasa Bersama Anak Yatim Artikel Baru Nih Artikel Tentang Yayasan Aceh Carong Meuadab Buka Puasa Bersama Anak Yatim Pencarian Artikel Tentang Berita Yayasan Aceh Carong Meuadab Buka Puasa Bersama Anak Yatim Silahkan Cari Dalam Database Kami, Pada Kolom Pencarian Tersedia. Jika Tidak Menemukan Apa Yang Anda Cari, Kemungkinan Artikel Sudah Tidak Dalam Database Kami. Judul Informasi Artikel : Yayasan Aceh Carong Meuadab Buka Puasa Bersama Anak Yatim YAYASAN Aceh Carong Meuadab (YACM) menggelar buka puasa bersama para anak yatim dan piatu di Anjong Mon Mata http://www.unikbaca.com

[zyrki]

Yayasan Aceh Carong Meuadab Buka Puasa Bersama Anak Yatim

Yayasan Aceh Carong Meuadab Buka Puasa Bersama Anak Yatim

LIPUTANRAKYAT.COM| Banda Aceh – Yayasan Aceh Carong Meuadab (YACM) menggelar buka puasa bersama para anak yatim dan piatu di Anjong Mon Mata, Kamis (31/05/2018). Selain buka puasa bersama, pada kesempatan tersebut juga diberikan santunan kepada para anak yatim dan piatu.

Hadir pada acara tersebut Ketua Dewan Pengawas YACM Aceh Sayuti Abubakar, SH, MA., Penasihat YACM yang juga Kepala Dinas…

[partyanimal-fireworks]

View this post on Instagram

A post shared by PARTY ANIMAL (@partyanimal_fireworks)

We have pop up store for selling our stuffs at YACM in Yamaguchi pref with @paulaandkarol and theirs new album 'OUR TOWN'. (at 山口情報芸術センター［YCAM］)

[co-iki]

Talk Session : “Physicality” in the Time of Remote Communication - On the frontlines of Buddhism,Butoh/Dance,Art&Tech - トークセッション : リモート時代の「身体性」～仏教、舞踏・身体表現、アート＆テックの現場から～

*English Follows, translation(Japanese/English) for the session available

※セッションの進行は日英通訳・翻訳ありで進めます。

>>Facebook イベントページ：

https://www.facebook.com/events/336199810810931/

●実施日程：2020年10月27日（火）20時～22時（日本時間）

　　　　　[前半1時間スピーカートーク＆後半1時間参加者全員でディスカッション（予定）]

Date&Time : October 27th(tue) 20:00-22:00JST *The time shown here is Japanese Standard Time.

[ 20:00-21:00 Speakers Session , 21:00-22:00 Discussion altogether ]

●企画概要：

パンデミック下で私たちが日々向き合い、また失敗と発見を繰り返しながら導き出そうとしている”New Normal”とオンライン化する日常コミュニケーション。

このリモート時代において、これまで生活の基軸として捉えてきた「身体性」や「生の感覚」「体験」とは一体どんなものなのか。

また、今後、あらたな知覚として発展する可能性のある、リモート時代における「身体感覚」とはどんなものになるのか。

仏教、舞踏・身体表現、アート＆テック等、様々なクリエイティブな現場で（パンデミック下においてもアクティブに）ご活躍の皆さんをお迎えし、トークセッションを開催します。

また、セッション後半は、co・ikiの実験リモートレジデンシー“Creativity from HOME”　（http://co-iki.org/en_US/events/creativity-from-home/　）に参加している各国クリエイター（シンガポール、インドネシア、香港、ウクライナ、ナイジェリア、オーストラリア、日本）やディスカッション参加のみなさまを交えてセッションします。

（後半ディスカッションはPeatixかFBにてご予約ください。日英通訳ありますので日本語onlyでもお気軽にどうぞ💡）

☞Zoomディスカッション予約 はこちら: https://co-iki-talk-session.peatix.com/

世界的なウィルス蔓延から早8カ月超。

この機会に一度振り返る時間を各国・各業界のみなさんとシェアし、日々の暮らしや仕事にフィードバックしていただければとおもいます。どうぞお気軽にご参加ください😊

After the serious virus outbreak, we've been trying to create the New Normal with the help of technologies.

Our communications are now transforming into the remote ,online stuffs or maybe a kind of hybrid.

Now it's time to reflect on the physical communication, its sensibilities we perceive and discuss on our new lifestyles, the temporary situations, issues or a new aspect we've been experiencing under the Pandemic.

This time, we will welcome such active creatives from different art sectors in Japan like Buddhism, Butoh&Performing Arts ,Contemporary Art&Tech, and will share what they are facing and have been creating until now.

We will also talk about the physicality from different perspectives of the speakers.

Please share yours also as we will discuss altogether in the latter half of the session with the participating creators(Hong Kong,Singapore,Indonesia,Ukraine,Nigeria,Australia,Japan) of our experimental remote residency "Creativity from HOME"!(Please make a reservation for the zoom link!)

*Reserve for discussion(on Zoom): https://co-iki-talk-session.peatix.com/

We look forward to talking and sharing time of reflection with you soon!

☟また、今回のテーマに関連するトークを高野山高祖院住職であられる飛鷹全法さんと風間天心さんとで行っております。

内容理解がより深まるかとおもいますので、お時間あればご参加の前にご覧ください。

Please watch the recorded talk between Zenbo Hidaka and Tenshing Kazama,which is related to our upcoming session.

(English translation will be available soon.)

Guest: Zenbo HIDAKA Koyasan Sanbō-in Deputy Chief Priest / Koyasan Kōso-in Chief Priest

https://www.facebook.com/watch/?v=2733663293567903

Facebook Event Page: https://fb.me/e/fWCgKhFDz

●参加者（スピーカー）Speakers：

風間天心（かざま・てんしん）さん　（美術家 / 僧侶）

Tenshing Kazama / Japan [Artist / Monk]

会田大也（あいだ・だいや）さん　（YCAM 教育普及・キュレーター）

Daiya Aida / Japan [YCAM Museum Educator&Curator]

松岡大（まつおか・だい）さん　（舞踏手 / LAND FESディレクター）

Dai Matsuoka / Japan [Butoh Dancer / LAND FES Director]

※後半ディスカッションは参加のみなさんを交えてセッションいたします（要予約・日英通訳あり）。

We will discuss together with the participants in the latter half of the session.

*Reservation via Peatix/Facebook is needed for the discussion(for the Zoom link).

*Translation(Japanese/English) is available.)

（進行：　co ・iki ）

●ご予約・問い合わせ Reservation:

後半ディスカッション��ご予約はPeatixから（もしくはＦＢ）お願いいたします。Zoomリンクをお送りします。

Please make a reservation for the discussion part(21:00-22:00JST) via Peatix/Facebook.

https://co-iki-talk-session.peatix.com/

We will send you the Zoom link to participate.

The live streaming of speakers session(20:00-21:00JST) will be available from Co-iki's Facebook page.

※前半のスピーカーセッションはco・ikiのＦＢページかサイトよりご覧いただけます。

Facebook Live Streaming: https://www.facebook.com/c0iki/

(*If you are not a FB user then please see this link >>

http://co-iki.org/en_US/events/creativity-from-home/

)

●企画・主催：風間天心　＆ co・iki（クリエイターレジデンシー）

Organized by Tenshing Kazama&Co-iki

●スピーカー・プロフィール　Speaker Profile

風間天心（かざま・てんしん）　（美術家 / 僧侶）

Tenshing Kazama / Japan [Artist / Monk]

http://www.tengshing-k.com/

美術家、僧侶。1979年、北海道東川町生まれ。2006年、第9回岡本太郎現代芸術賞に入選。2010年、大本山永平寺での修行を経て禅宗の僧侶になる。2011年、武蔵野美術大学パリ賞によりパリ市「Cité Internationale des Arts」に滞在。現代における「宗教と芸術」の相互作用を求めながら、国内外で多様な活動を続けている。

I am a Japanese Zen monk and contemporary artist. Born in 1979.

My reason for paralleling monk and artist is to discover the common challenges and values of art and religion and to re-present the interplay between them.

The focus of my theme is “A methodology for gathering and enhancing the faith contained in religious institution.” and “The foundation of faith internalized in customs and culture.” and the physicality that is deeply related to both of these contents.

In order to derive the uniqueness of art in Asia, his installations and art projects highlight the “history of nations and peoples” and the “spirituality behind the expression”.

1979 Born in Hokkaido, Japan

2008　B.F.A. Painting, Musashino Art University, Japan

2009　Training, Temple Eiheiji , Japan

2011　Residency of ” Cité Internationale des Arts ”, Paris, France

2018　Residency of ” Sa Sa Art Project”, Phnom Penh, Cambodia

Awards

2019 “The 22th of art grand prize of TARO” Semi-Grand Prize

2017 “S-AIR Award” Winning a Prize

2016　 “The 5th Sapporo 500m Gallery Award”　Grand Prize

2016　 “JR Tower ARTBOX 2016”　Grand Prix

2016　 “LUMINE meets ART AWARD 2015”　 Winning a Prize

2015　 “Tokyo Midtown Award 2015”　Award for Excellence

2011 “Paris award of Musashino Art Univ.”　 Winning a Prize

◎現在進行中のプロジェクト：

「大仏造立プロジェクト」Big Buddha under the Pandemic (ongoing project)

https://bigbuddha.jp/

会田大也（あいだ・だいや）　（YCAM 教育普及・キュレーター）

Daiya Aida / Japan [YCAM Museum Educator&Curator]

https://www.ycam.jp/en/

1976年東京生まれ。2000年東京造形大学造形学部デザイン学科造形計画専攻卒業。2003年情報科学芸術大学院大学IAMAS修了。2003年より11年間、山口情報芸術センター[YCAM]の教育普及担当として、メディアリテラシー教育と美術教育の領域にまたがるオリジナルワークショップや教育コンテンツの開発と実施を担当。一連のワークショップは、第6回キッズデザイン大賞を受賞。担当企画展示「コロガルパビリオン」が、第17回文化庁メディア芸術祭審査委員会推薦作品受賞。一連の「コロガル公園」シリーズは2014年度グッドデザイン賞を受賞。2013年、国際交流基金主催の日・ASEAN友好40周年事業 国際巡回メディアアート展「MEDIA/ART KITCHEN」キュレーターに選出。東京大学大学院ソーシャルICTグローバル・クリエイティブ・リーダー[GCL]育成プログラム特任助教（2014〜19）を経て、2020年現在、YCAM学芸普及課長。

Aida Daiya was born in Tokyo in 1976. He completed his studies at the Institute of Advanced Media Arts and Sciences (IAMAS), and worked at the Yamaguchi Center for Arts and Media (YCAM), an art institution with a focus on media art, from 2003 to 2014, where he was responsible for education and outreach, namely the planning and operation of film screenings, community participation programs, media workshops, and outdoor installations.

His work at the YCAM earned him the Kids Design Award Grand Prize, Good Design Award, and Jury Selections for the Media Arts Festival Award. In 2013 Aida joined the 13-member, seven-nation curatorial team for Media/Art Kitchen, a media art exhibition—organized by the Japan Foundation to mark the 40th anniversary of ASEAN—Japan friendship and cooperation—that toured Japan and Southeast Asia.

For five years, since 2014, he held the position of Project Assistant Professor, teaching workshop design for the Graduate Program for Social ICT Global Creative Leaders at theUniversity of Tokyo.

In Dec. of 2019, Aida came back to YACM as Artistic Director.

松岡大（まつおか・だい）さん　（舞踏手 / LAND FESディレクター）

Dai Matsuoka / Japan [Butoh Dancer / LAND FES Director]

http://daimatsuoka.com/

https://landfes.com

上智大学卒業。桑沢デザイン研究所卒業。2005年より山海塾に舞踏手として参加。

「金柑少年」「とばり」「めぐり」「卵熱」「ARC」などの主要作品に出演中。

2011年より、街を歩きながらミュージシャンとダンサーによるライブを鑑賞するウォーキング形式のパフォーマンスイベント「LAND FES」を主催。調布市せんがわ劇場主催、巻上公一氏が総合プロデューサーを務める「JAZZ ART せんがわ」の同時開催イベントとして仙川の街で「LAND FES」を開催し、商店との交渉を重ねながら街全体を舞台に仕立てあげ、劇場と街を繋ぐ企画性が評価され、2014年～16年にかけて3年連続で開催している。

16年10月に、NYのパペットカンパニーPhantom Limbの作品「Falling Out」の振付を担当。

16年12月には、故・蜷川幸雄氏の意思を引き継いだ、高齢者による世界最大級の群集劇「一万人のゴールドシアター 2016」にてムーヴメント演出のディレクションを務める。

16年より、舞踏の価値を広く残し伝えるために、非営利活動法人ダンスアーカイヴ構想の理事となる。

これまでに巻上公一、坂本弘道、森重靖宗、大石将紀、ユーグ・ヴァンサン、カール・ストーン等、多数のミュージシャンと共演している。

Graduated Sophia University, the Faculty of Comparative Culture.

Graduated Kuwasawa Design School.

Matsuoka has been a dancer for SANKAIJUKU since 2005.

He has appeared in 9 pieces of Sankaijuku including “Kinkan Shonen”, “Kagemi”, “Tobari”, “Unetsu” and “ARC”.

He has also been directing the performance event “LAND FES” in Tokyo since 2011, in which audience is navigated to encounter live sessions by musicians and dancers taking place at different places in the town .

https://landfes.com

◎Hijikata Three Chapters 土方三章

https://youtu.be/unfO-zP0mBg

◎LAND FES

https://youtu.be/ZBqj2hs5zIo

☟More details about the program organizer

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co・iki -Co-living&Co-creating Residency in Japan

co-iki.org

"Creativity from HOME" Experimental Remote Residency

Project Outline　

実験リモートレジデンシープロジェクト概要

http://co-iki.org/en_US/events/creativity-from-home/

Blog:

https://co-iki.tumblr.com/

Facebook:

https://www.facebook.com/c0iki/

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[masterx10-blog]

terminando con mi vida.

Desde muy pequeño se me enseño a creer en el amor.

En que tenia que cuidar lo que amaba.

Que tenia que procurar a todo lo que amara sin importar nada.

 Y lo mas importante, nunca dejar ir a lo que amo.

Pero que voy hacer si un día, lo que tanto amo no quiere permanecer a mi lado????

Si lo que tanto amo se quiere marchar????

Eso.......... nunca me lo enseñaron, que se hace???? 

Te amare tanto y no querré dejarte ir, pero creo que eso también seria egoísta de mi parte, retenerte en contra de tu voluntad no estaría bien, la verdad es que eso seria lo mas doloroso en mi vida, y por primare vez en mi vida, dejaría ir a mi amor, seria como sacarme el corazón con mis propias manos, yo mismo cortando mis alas, yo mismo por voluntad propia estaría dispuesto a terminar conmigo mismo, solo por ti.

Luchare para que nunca suceda, te amo mi niña hermosa, mi pedazito de infierno XD. 

YACM.

[masterx10-blog]

1-10000000.

Mientras pasa el tiempo descubro y me doy cuenta de cosas que no me gustan de ti,,,,,,,,,,, mi niña hermosa, es lógico, nadie es perfecto.

Pero sabes, así como descubro esas cosas que no me gustan, descubro cosas muy buenas de ti, cosas que me matan, cosas que me gustan mucho, cosas que adoro de ti, cosas que nunca vi en otra persona, cosas que me parecen loquitas pero que adoro con toda mi alma.

Me día cuenta desde el primer día en que te vi, que contigo lo tendría todo, no necesitaría de nada mas, no necesito ir al cielo no anhelo un paraíso, porque por el simple echo de que tu estés en mi vida, es como estar en el y tu eres mi paraíso. 

YACM.

[masterx10-blog]

<3

Todo dicen que soy un pendejo.

Un tonto.

Un loco.

Un estúpido.

Un  soñador.....................

Solo por creer en el amor.......

Por creer que es real el amor.

Pues que creen?

Si soy todo eso, porque tu mi niña hermosa eres real, y tu para mi eres el amor, eres mi amor.

YACM.