There is nothing more important in this world than your breath.

When your breath ends, your journey has ended.

It’s as simple as that.
That’s it!

Enjoy your life Trey, you only get one.

All I need to do is just to be, just exist, like a cat, it’s peaceful.

I am alive.
Let that sink in.

The Observer Gawx

Cloth – Polaroid

ELIZA - Heat of the Moon

We depend on each other.

we start with - pluko - BLEACH [Hi-Fi] (Album Film)

we are the last weather observers of whole of Sweden….Observers record weather conditions, every three hours around the clock.

The owls came to my window. Hooting. 4am Christmas morning. The annual visit.
`
ice

fire

ice

air, plastique,

Ice Drop

the mighty octopus appears in front of my eye.

kwes e - juggin, Shygirl - F*Me ft. Yseult,

holds me, anymore

WEIMAR & DESSAU - Walter Gropius and BAUHAUS, Hannes Meyer, Ludwig Mies van der Rohe, to BERLIN, closed , and to worldwide, revisited

Born collaborator. How art and spirituality can go together. Theater and dance. Sculpture and motion.A temporary architecture. Hired because they are different. Like a child’s dream. A fantastic revolution, that redefined everything. A hopeful new future. So many returned soldiers. A reaction against Expressionism, the moody goths. The students were supposed to forget everything that they have learned at school and start off without any kind of preconception. The six months course that was revolutionary. Color as power. And shapes.

Before you draw a tiger, you must roar like a tiger.

Dance the color blue.
Esperanto. Understand the material itself.

The Bauhaus school only lasted 14 years, but the legacy continues to be felt around the world today.
Other movements may have come and gone, but we are still living in the Bauhaus era. The reality is that they prepared us for the modern era. They took the creative risks and leaps of imagination and faith and they set the benchmark for the way we live our lives today.

Idea that beauty is not marginal, but beauty is part of human understanding we need to cling to that thought.

form and function -

Walter Gropius died in Massachusetts on 5th of July, 1969. At his request, a metal themed fiesta alla Bauhaus was held with drinking, dancing, laughing, and loving.

DJ sets: n/a

pluko - FALLING
Salz - fyne

till next time. - game time

Charles A. Balse

P.S. - May you be centered, hey, see you later.

Take care. It’s as simple as that.

Wonderment Noe Aoki / Ritsue Mishima
Saturday, November 30, 2024 - Sunday, February 16, 2025
Tokyo Metropolitan Teien Art Museum, Main Building & Annex

Words of Wisdom

"This man thought only of painting, loved only painting" Monet, a worldlier type, said of Cézanne long after his revered Impressionist confrere was gone. It was, in fact, a common observation, one shared in 1907 from less temporal but more personal distance by Charles Morice, the critic who asked the survey question, "What do you make of Cézanne?" Morice set the significance of the recently deceased artist into the context of modernity: "We hardly dare say that Cézanne lived; he painted...[His is] painting estranged from the course of life, painting with the [sole] aim of painting... [His art constitutes) a tacit protest, a reaction... He put everything in question." How does painting—of a nude, a tree, a mere apple-"put everything in question"?

Richard Shiff, April 2000

Conversations with Cezanne

Intro page 33

Il Nostro Tempo - Triennale Milano- **Emmadefelice**
**CinéFondationCartier, Milano Italia**
**Until March 16 2025**

Whenever he began a sitting or took up his interrupted work, Cézanne, his brush raised, always looked at me with an unyielding, fixed gaze. This time he seemed disturbed. I listened to him mumbling with rage between his clenched teeth, "That Dominique (Ingres) is damned talented!" Then, making a stroke with his brush and stepping back to judge its effect, he added "but he bores the shit out of me!" Every afternoon Cézanne would go to the Louvre or to the Trocadero? to sketch the old masters. Sometimes, around five in the afternoon, he would stop by my place, his face glowing with happiness, and say, "Mr. Vollard, I have good news to tell you; I am so satisfied with this afternoon that if the weather tomorrow provides a pale gray light I think that our session will go well."' It was one of his principal preoccupations at day's end: what will the weather be tomorrow? Since he went to bed early, often he would wake up in the middle of the night. Always haunted by this idea, he looked out the window at the sky. Then, once decided on this important matter and before going back to bed, carrying a candle he would go and review the work in process. If he felt good about it, he would go at once to share his satisfaction with his wife. He would awaken her and afterward, to make up for having disturbed her, he would invite her to play a game of checkers before going back to bed. But before a sitting had any chance of succeeding, it was not enough that Cézanne was satisfied with his study at the Louvre and that the light was pale gray. Other conditions were necessary, notably that there had to be silence in the factory of pile-drivers. This "factory" was the noisy elevator next door, to which Cézanne had given this name. I refrained from correcting him and from telling him that when the noise had stopped, it was because the elevator was out of order. I allowed him to hope that the firm would declare bankruptcy one day. The silences, in truth, were frequent, and he believed that the hammering stopped because sales were poor. Another noise that he could not stand was that of dogs barking. There was a dog in the neighborhood that made noise sometimes-just a small bark—but for sounds he felt to be disagreeable, Cézanne's hearing became extremely acute. One morning, as I arrived, he came toward me joyously saying, "That Lépine (the Police Chief) is a fine man! He gave the order to arrest all dogs; it's in La Croix." We gained several good sittings from this great news. The sky stayed light gray and, by a fortunate coincidence, both the dog and the factory of pile-drivers were quiet at the same time. But one day, just as Cézanne repeated again, "That Lépine is a great man," we heard a faint "woof, woof, woof!" Immediately he dropped his palette and cried in discouragement, "The bugger, he has escaped!"

Very few people had seen Cézanne paint. He could barely stand to be watched while he was at his easel. For those who had not seen him paint, it is difficult to imagine how slow and difficult this work was on some days. In my portrait, there are two little places on the hand where the canvas is unpainted. I drew this to his attention, "If this afternoon's session at the Louvre goes well," he answered, "maybe tomorrow I'll find the right tone to cover these white patches. But please understand, Mr. Vollard, if I were to put just any color there at random, I would be forced to take my picture and leave!" And that prospect made me shudder.

Abbroise Vollard 1899

Page 9, Conversations with Cezanne

As we lose our vagueness about our self, our values, our life situation, we become available to the moment. It is there, in the particular, that we contact the creative self. Until we experience the freedom of solitude, we cannot connect authentically. We may be enmeshed, but we are not encountered. Art lies in the moment of encounter: we meet our truth and we meet ourselves; we meet ourselves and we meet our self-expression. We become original because we become something specific: an origin from which work flows. - THE ARTIST’S WAY, by Julia Cameron, Page 82, Week 4: Recovering a Sense of Integrity

The universe is prodigal in its support. We are miserly in what we accept. All gift horses are looked in the mouth and usually returned to sender. We say we are scared by failure, but what frightens us more is the possibility of success.

Take a small step in the direction of a dream and watch the synchronous doors flying open. Seeing, after all, is believing. And if you see the results of your experiments, you will not need to believe me. Remember the maxim "Leap, and the net will appear." In his book, The Scottish Himalayan Expedition, W. H. Murray tells us his explorer's experience:

Until one is committed, there is hesitancy, the chance to draw back, always ineffectiveness. Concerning all acts of initiative [or creation] there is one elementary truth, the ignorance of which kills countless ideas and splendid plans: that the moment one definitely commits oneself, then Providence moves too.
All sorts of things occur to help one that would otherwise never have occurred. A whole stream of events issues from the decision, raising in one's favor all manner of incidents and meetings and material assistance which no man would have believed would have come his way.

If you do not trust Murray—or me-you might want to trust Goethe. Statesman, scholar, artist, man of the world. Goethe had this to say on the will of Providence assisting our efforts

Whatever you think you can do or believe you can do, begin it. Action has magic, grace, and power in it.

- THE ARTIST’S WAY, by Julia Cameron, Page 66, Week 3: Recovering a Sense of Power