Two weeks, at Balse.

ClassicAsobi starting his 2023-24 season in NYC. First up, Dead Man Walking, American contemporary opera that world premiered San Francisco Opera, 2000.

Photo editing, an obsession. The curative act.

Re-arranged the lab, separating the sound room to the visual, setup a new speaker in the projection room setup - MoFi SourcePoint 10, a floor model at Common Wave Hi-fi for a discount.

Listening to a lively mix by Elli Acula, Boiler Room

Continuing with Anna Vinnitskaya.

Meanwhile, Shostakovich, and this Italian doc by Rai from ClassicAsobi.

Re-examined Daido Moriyama: the photographer who didn't look through the viewfinder

Coming back to Janine Jansen. This, Prokofiev, prescribed weekly.

Each of these nine bulls were……took up the sails….Homer’s Odyssey, to read. vain toils.

and more music:

Rod Modell - Ghost Lights Side A [AI-35]

Art Of Trance - Madagascar (Cygnus X Remix) [Platipus 1998]

Alice Neel’s work up close at Blum & Poe.

Film - After Hours (1985) Official Trailer - Griffin Dunne, Martin Scorcese Movie HD

Jean Baudrillard: The System of Objects

Adam Smith’s value exchange. This new altruism.

Ayn Rand's Genius Philosophy: How Tough Love Can Empower You - no better tool than reason. ethical egoism. … reason is the only essential tool in our disposal. Once we accept our responsibilities of our own life and happiness, we become more creative and more productive.

Mao Fujita | semifinal 2017

Tigerhead RTS.FM Berlin at OYE Records 13.11.18

Until next time, good night.

***Emma Webster: Intermission***
***September 8–November 4, 2023***
*Jeffrey Deitch, LA*

Words of Wisdom

The great artists of subsequent periods had made one discovery after another which allowed them to conjure up a convincing picture of the visible world, but none of them had seriously challenged the conviction that each object in nature has its definite fixed form and colour which must be easily recognizable in a painting. It may be said, therefore, that Manet and his followers brought about a revolution in the rendering of colours which is almost comparable with the revolution in the representation of forms brought about by the Greeks. They discovered that, if we look at nature in the open, we do not see individual objects each with its own colour but rather a bright medley of tints which blend in our eye or really in our mind. - The Story of Art, E.H. Gombrich Page 154, Zettel 148
Through art, language and therefore experience become “defamiliarized”, so we can feel and experience anew:

The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects “unfamiliar”, to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged - Victor Shklovsky

Poetry exhibits the purest form of defamiliarization. This is because in a poem, other tasks such as telling a story, or fully and exhaustively expressing an idea, never take priority. Therefore, it is in poetry that we see most clearly and powerfully, without any other ultimate distraction, how language can be made deliberately strange, how it becomes especially “a difficult, roughened, impeded language”, in order to jar us awake. - WHY POETRY - Matthew Zapruder. page 42 - 43, Zettel 149
If you think that all art should be like High Renaissance painting, or like van Gogh, Eva Hesse, or Basquiat, think again. Human beings are hardwired to crave change. The universe is expanding; so are we, and so is art. Which doesn’t mean it’s getting better, or worse, only that all art was once contemporary art, in conversation with its time. yours is, too. Every choice you make - should serve not nostalgia, but your visceral present. You are an artist of modern life. That personal, specific urgency is what finds every successful work of art. - How to be an Artist, Jerry Saltz, Page 76, Zettel 150
Cezanne had ceased to take any of the traditional methods of painting for granted. he had decided to start from scratch as if no painting had been done before him….Cezanne had chosen his motifs to study some specific problems that he wanted to solve….- The Story of Art, E.H. Gombrich, Page 543, Zettel 151
…in all the struggles and gropings there was one thing he was prepared to sacrifice if need be: the conventional ‘correctness’ of outline. He was not out to distort nature; but he did not mind very much if it became distorted in some minor detail provided this helped him to obtain the desired effect….he hardly realized that this example of indifference to ‘correct drawing’ would start a landslide in art. - The Story of Art, E.H. Gombrich, Page 544, Zettel 152