Two weeks, at Balse.

what is this that I hear?

learn to lover harder.

Fighter like me.

that Landing Point

in the mist. - funke funke

the notes, where? place them. as you wish. - essence

that feel, just some high hats going, and another over here, add some distortion. - nonchalant. over on the alpha juno, in the meantime. sequenced by channel four, on top of that organ. with a nice decay in the middle, the downward movement to start. let’s put some nighth hats there some where, there, right about there. alright. no words for a while. just melody.

i got lost there.

is X-Ray color? - then,

S1rena laughs. no, I haven’t read sailor moon, no, but, is that ok with you?, wait, is this Bangkok? I said. the city of Bacarat?

Children Of Zu Zu

what if you just changed your name? - I will, says she.

but, spring is, not here.

yet. -meanwhile, in Tokyo. pueblo.

changing your perspective of music, forever -

higher and higher, i go

DJ sets:

Röyksopp live from Berlin | Full Set at Ritter Butzke

Kelly Lee Owens | Boiler Room: Manchester

till next time.

Charles A. Balse

Words of Wisdom

Gauguin advised a fellow painter not to "copy nature too much. Art is an abstraction; derive this abstraction from nature while dreaming before it, but think more of creating than the actual result."　In these statements may be found many of the concepts of twentieth-century experimental painting, from the idea of color used arbitrarily rather than to describe an object visually, to the primacy of the creative act, to painting as abstraction. Gauguin's ideas, which he called Synthetism, involved a synthesis of subject and idea with form and color, so that his paintings are given their mystery, their visionary quality, by their abstract color patterns. His purpose in creating such an anti-Realist art was to express invisible, subjective meanings and emotions. He attempted to free himself from the corrupting sophistication of the modern industrial world, and to renew his spirit, by contact with an innocence and sense of mystery that he sought in non-industrial societies. He constantly described painting in terms of an analogy with music, of color harmonies, of color and lines as forms of abstract expression. In his search he was attracted, to a greater degree even than most of his generation, to so-called"primitive" art. In his work we find the expression of modern primitivism, the tendency to understand non-Western or pre-industrial societies as more pure, more authentic than those of the West. Primitivism simultaneously valorizes and denigrates pre-industrial cultures, because their appeal rests in their perceived simplicity and resistance to progress.

Only by casting these societies as relatively naive and ineffectual could their potential as sources for aesthetic as well as economic exploitation be justified. Such notions were, of course, forged at a time when European countries were aggressively colonizing the very societies Western artists sought to emulate. For Gauguin, primitivism held appeal as a means of relieving himself of the burden of Western cul-ture, industrialization, and urbanization. Attracted not only to primitive-seeming motifs, Gauguin also cultivated a deliberately naive style. Like the paintings of Henri Rousseau, Gauguin's works convey an immediacy and authenticity that is generally absent in academic art.

History of Modern Art, H.H. Arnason page 59

The importance of the works discussed here lay not, incidentally, in their pictorial qualities alone: their revolutionary political character was at least as important. Painters such as Géricault, Delacroix and Courbet were the first to demand the autonomy of the artist as critical citizens in a society where power and authority were no longer unambiguous certainties. Citizens were gradually given a decisive voice in the political system and, above all, the freedom to choose: Catholic or liberal? Royalist or republican? Religious or freethinker? For the first time, artists were able to make ideological choices, and they wasted no time in doing so. The greatest in their ranks were no longer the visual ideologues of power, but critical thinkers in a complex society. Freedom loomed on the horizon.

A New history of western art Page 338

Main Studies

Takashi Kuribayashi: Roots - Tokyo

Wade Guyton - curation by Nicolas Trembley - Tokyo

JANE SWAVELY - Supernatural - LA

CLAIRE TABOURET Moonlight Shadow - LA

George Rouy The Bleed, Part II - LA

ClassicAsobi recommends

This section features content recommended from the NYC based ClassicAsobi and his team, specializing in classical music.

Assertion, Sympathy, and Harmony: Riccardo Muti and Vienna Philharmonic at Carnegie Hall

Muti brings out the best in Venna at Carnegie Hall

Globe: Muti and Vienna unified us at Carnegie by Mozart and Dvorak last Symphonies

London Symphony and Antonio Pappano at Carnegie Hall

Londonian's Sparkle with Pappano on Carnegie Hall

Franz Welser-Möst and the Cleveland Orchestra - Fighter for freedom at Carnegie Hall

Most and Cleveland Orchestra's 23rd years fate in Carnegie Hall

Julia Fischer and Jan Lisiecki's Spring battle in New York

APPENDIX:

Renga Weh - Same Time (Jam) feat. Natalie - from Realtiy Check Album [3000Grad Records] - ]

<

same time, at the same time

I wish I could feel this way

At the same time

>

Landing Point Atomic moog

Sascha Funke - Bo Knows - Kompakt

Sascha Funke - Master Mind - Kompakt <master mind>

upsammy - Relict PARADIGMAS

Understanding Mythology with Joseph Campbell <in a physical body, fantasy and imagination is a product of the body, quite literally, life systems, certain thoughts aims worth living for different forces, harmonious fruit soceity the new myster, this particular human life, nature that is outside of us but inside of us, with those matters, always derived from specific social environments….a crucial problem today, colision>

How to Read Dante's Inferno <Dante>

RIMA feat. Laatz by Marco Resmann