How to synchronize metronomes
Everyone begins an outsider. At birth, there is no inherent set of rules of what can be. Children's art is perpetually impressive in its ability to seem moving, because we, too, have all seen people as masses of scrawl, felt sun like a strong gold eye with countless tiny arms. There's something of a madness in the interpretative ability of someone like a child, working outside the frames of expectation or the desire to be recognized by anyone beyond the act of creating in itself.
Altars of Madness
The Sunset Strip in the Mid-1960s
We are now at Clark and Sunset, the world-famous friggin' Whisky A-Go-Go. This is it. When I first came here, the building was red, and there were little awnings up there all over the windows, and it looked like a French discotheque. Mario used to stand there, forever---always a fixture. The first time I was in the Whisky, I was hanging out right here; it was raining. It was either Moby Grape or Janis Joplin---somebody like that was playing inside---and I didn't have the money, and I was huddled here listening. And Mario was over there and he yelled at me, "What's the matter, don't you have any money?" I go no. He goes "Get inside." That was Mario for ya. Great guy. People say Bill Gazzari was the godfather of rock, but I think Mario was the godfather. He watched us all grow up here. I remember nights I'd come here, he'd grab me and say, "You look like shit. What are you on? You haven't eaten in a week!" Drag me over to the bar and say, "Give him a hamburger ---and you sit down and eat it!" The best. Nobody does that---who does that anymore?
Home
cool theme song i had stuck in my head, so i decided to try it out.
Whatever I wrote was surrounded by rays of light. I used to close the curtains, for I was afraid that the shining rays emanating from my pen might escape into the outside world through even the smallest chink; I wanted suddenly to throw back the screen and light up the world.
Anywhere, anywhere out of this world
the sleeping mechanical bird clamours for a kind of blue
I actually work with mood modeling sideways :-). Many improvisers I've worked with prefer not to make a lot of direct references to affect/mood, since it can be pretty subjective. We tend to talk about musical materials in a more abstract way, but still try to be sensitive about the non-musical references that may be evoked in listeners (or performers). I've studied some mood modeling research papers, and basically pulled some concrete musical aspects of their results to use in my work. For example, I work explicitly with tempo, loudness and timbre, which are the 3 main musical parameter classes that are used in mood modeling. But I don't go beyond that to try to come up with a description of the mood of specific musical materials. That can be tricky especially for music that does not sound much like pop or traditional classical music. For example, my father said after one of my gigs that we sounded "so angry", when that was not how we felt at all!
Abandoned Ukrainian sanatorium, once so famous
Artist turns his dead pet into flying helicopter after it is killed by a car
The Orvillecopter, half cat, half machine. Named after the famous aviator Orville Wright. He was killed by a car. After that he received his propellers posthumously. This is Orvillecopter's first test flight, Soon to be flying with the birds. Oh how he loved birds. He will receive more powerful engines and larger props for his birthday. So this hopping will soon change into steady flight. For the catlovers: it is a tanned hide, just like the shoes you're wearing. For the RC lovers: it's a Lotus T580 (still).
Is Kieron Britain’s most exciting painter?
An Argentinian town has re-emerged after being underwater for 25 years
The unbuilt is characteristic of those arts whose realization requires the remunerated work of many people, the purchase of materials, the use of expensive equipment, etc. Cinema is the paradigmatic case: anyone can have an idea for a film, but then you need expertise, finance, personnel, and these obstacles mean that ninety-nine times out of a hundred the film doesn't get made. Which might make you wonder if the prodigious bother of it all–which technological advances have exacerbated if anything–isn't actually an essential part of cinema's charm, since, paradoxically, it gives everyone access to movie-making, in the form of pure daydreaming. It's the same in the other arts, to a greater or lesser extent. And yet it is possible to imagine an art in which the limitations of reality would be minimized, in which the made and the unmade would be indistinct, an art that would be instantaneously real, without ghosts. And perhaps that art exists, under the name of literature.
Puppet Heap
Floating Record Player
Korean designer Rhea Jeong says she's been astounded by the amount of interest in her conceptual Void LP record player. One look at the design and you can see why it's made so much noise without even uttering a sound. Close your eyes and imagine a little red globe spinning around on top of a vinyl record emitting sound from speakers inside it. The record itself is suspended in mid-air above a simple black base unit - no strings attached, no wires holding it up and definitely no safety net. The imagery is quite simply jaw-dropping. But can such a thing really work?
Making a future with Robot
Keep Mellow Pages Library alive
Getting here, let's say, at 11. Or, if we are particularly hung over, at noon. We usually have a package waiting for us, which is a result of the attention the bookstore has received. A lot of people who read about us have either published work for small press or run a small press. We come in, process our new inventory, take a picture, and post it on our Facebook and Tumblr. During the day I think it all depends on work schedules, so for people who don't have 9 to 5 jobs, they'll stop by. A couple of friends will come and hang out for a while. A lot of people who come to this building don't necessarily come for the library—it's a pretty well known art studio, so they'll poke their head in, assuming we're another studio. We could get one person a day or 25. It really swings.
The End
It's Cool, I'm Good
As a performer, I think our ability to laugh at a thing is connected to our ability to cry about a thing. Humour requires a certain amount of empathy (or as Freud would argue, embarrassment and shame.) I learned quickly that if you give an audience permission to laugh right up front, they become more open to heavier material later. When pathos and humour come together, an alchemical kind of comprehension is possible for me; it’s psychic, visceral and intellectual all at once. It’s the most powerful and poignant way I’m able to understand the world. Improvisation is like another chemical element. Improvisation is where we dip into a more unconscious place while being intently present. It’s the trap door that can open and let in the unknown. And when the viewer/ audience know it’s unplanned, another layer of bonding happens: we’re all in this together. This isn’t all purely cerebral and calculated. That’s the thing about comedy. You’re either funny or you’re not. Like Jerry Lewis said, you either have funny bones or you don’t. I move through the world finding humour in situations and that helps me manage shitty-ness, and also gives me a lot of pleasure.
Gil the Nihilist: a Sitcom
POETRY IS NOT DEAD
Her sleep in those days was generous to a fault. But she would wake up and feel herself felled by the clarities and definitudes of the new day. Then to work, in the afternoons, in a windowless basement office in an overchilled building on the outskirts of town. There would sometimes be too rational a cast to her mind, and then sometimes she nodded off, but it was an ungiving, dream-free species of sleep and did not want her in it. There was nothing to be made of it, either. It left no residue.
Those eyes in the end! Every once in a while I come back just to look into them, like looking into an endless depth....
Indiana Man Turns Backyard Into Mini-Roller Coaster Park
The title ‘Amusement Park’ contains of two words- ‘Amusement’ and ‘Park’. The word amusement is derived from the key word ‘amuse’. And the ‘park’ itself is the key word. These verbs refer to actions that provide pleasure, especially as a means of passing time. Amuse, the least specific, implies directing attention away from serious matters. Amusement is the state of experiencing humorous and usually entertaining events or situations, and is associated with enjoyment, happiness, laughter and pleasure. Amusement may also be experienced through the recollection of events which have given rise to amusement in the past. Park is an area of land set aside for public use, as: a. A piece of land with few or no buildings within or adjoining a town, maintained for recreational and ornamental purposes. b. A landscaped city square. c. A large tract of rural land kept in its natural state and usually reserved for the enjoyment and recreation of visitors.
Amusement Park Rides as Closed Queueing Networks
Rare footage of Frank O’Hara, Allen Ginsberg, and Amiri Baraka reading in 1959
the candle end of a miser,/ For a flat-headed drawing pin on its own/ With its point in the air; — in Switzerland, at the bazaar, for an eyelash,/ Curved escapee from a soft eye, the black horn/ Of a chamois; — a warming pan after it’s been hung on its nail,/ For a motionless pendulum, called back to life;/ — In a rickshaw just as it's being readied,/ The puller’s degrading harness, for a pair of braces;/ — At a lewd woman's house, a pleasant lace-fringed pillow,/ For an unused pincushion with a merry flounce;/ — A mask put aside by a tired fencer,/ For an eye protector to be placed over the glasses/ Of a stonebreaker; — the clearly wrinkled temple/ Of an old man, for the upper part of the underside of a fist;/ — For the hair-touselling black cloth of a photographer,/ That with which, generating a breeze, four people cover/ A coffin; — an album of portraits, if, to open it,/ You have to overcome one or two fasteners, for a parish register;/ — For a lowly button hook, the hook, almost a part of his body,/ Whose noble fate is to stand in for the five fingers of an armless man;/ — An arm sling, for the scarf in which a much enlarged/ Cheek is hidden on a day when it's inflamed;/ — When he's making iron hot enough to be bent,/ For a pair of/ hearth bellows, the bellows used in a forge;/ — For that which someone with a cough shows to a throat-doctor,/ An arched cavern, reddened by the setting sun,/ With a solitary stalactite; — a lake of blood that appears/ In a dangerous district, for the treacherous spittle/ Of a consumptive; — at a saddler’s, the tether/ From which an empty stirrup gleams, for the broken fastener/ Of a yellow umbrella; — for the perfidious, sworn-at bit of shot/ That an eater of game spits aside, cursing it to the devil,/ A cannonball cleaving the air…
Kindertrauma
Ten Skies
I have an interest in exploring space-time relationships through film. There’s real time, and there’s how we perceive time. Time affects the way we perceive place. That’s where I get this idea of “looking and listening”. In my films, I’m very aware of recording place over time, and the way that makes you understand place. Once you’ve been watching something for a while, you become aware of it differently. I could show you a photograph of the place, but that doesn’t convince you, it’s not the same as seeing it in time. I’m very interested, now, in how much time is necessary to understand place. In my films, I tend to work with 100-foot rolls, which is about 2.5 minutes. That way I can have a little control over the window on the place that I record. I’m not convinced that 2.5 minutes is the proper amount of time necessary to understand landscapes but it is a manageable amount of time. I like to think I’m being democratic – each shot gets the same amount of time. It’s just a strategy. It’s important to watch for a period to choose the right time. I think that length is a manageable time for audiences. I also feel that it’s a bit like going back to the beginning of cinema, using the whole roll.
Martin Manufacturing
One man Black Metal bands
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p.s. Hey. Anyone who wants to enter the contest and hasn't yet, remember that the deadline is your bedtime in your time zone tonight. I'm in a really low mood today, and that'll surely effect the p.s., and I apologize in advance. ** Timmy Reed, Hi, nice to meet you. Thank you for coming in here and for the entry. ** kidinawell, Greetings, welcome, and thank you a lot. ** Gary gray, Thanks for the entry. Sucks about the Halloween photos, but it's well worth waiting for. Acid's ambitions are always too much to live up to in some way, usually a big way, or they were for me. ** David Ehrenstein, Hi, David. ** Kevin Killian, Hi, my pal. It's always a boon when you choose here. Alec, yes, a truly lovely and super smart guy. I'm glad you and Sypha will be meeting. Take care, K. ** Matty B, Thank you, Matty. ** Cassandra Troyan, Hey, Cassandra. Thanks for giving the contest a try, and it's really nice to see you. ** Don w, Ah, Don. I owe you a huge bunch. That project was so great and humbling. Thank you so much! ** Angela, Angela! It's cool how the contest is pulling people in here whom I miss, like especially you. I hope you're doing great. ** Scunnard, Hi, man. I had to make my eyes do a trick to not see what your link was, and I think I did so successfully. Thank you. ** Sypha, Hi, James. One of the dancers played the new Gaga album during warm ups yesterday. There was nothing more than a handful of very mildly interesting moments there for me, sorry. ** Thomas Moronic, Thanks, T. ** Bollo, And thank you, Jonathan. ** Bill, Probably not, and thanks a lot. ** Torn porter, I'll look around see if I can find a video for 'Shivers' that isn't blocked. I think the performance went well. The response had all the earmarks of appreciation, I think. ** Marilyn Roxie, Thanks a lot, Marilyn. ** Etc etc etc, Yeah, the packaging is sweet. Thanks for the contest entry. I think it came off last night as hoped, as far as we can tell. ** Chris Goode, Hi, Chris! It's so nice to see you, my friend! And thanks a whole bunch for wading into the contest. I look forward very much to hearing how you're doing and what you've been up to. ** gucciCODYprada, Thank you a lot. I wonder if you're who I think you might be. ** Misanthrope, I'm spared the pleasure/shock going to some dark, crazy place, eh? Oh, maybe the holidays are coordinated. That's interesting. ** Steevee, I'll check it out for sure, thanks. ** Zach, Thanks a lot for the link to the Ian Duncan thing. I'm pretty sure I don't know that. That'll hit the spot today, thank you, man. Happy to hear that MBV did their incontestable number on you. I did a skid/stop on your second comment lest I attach your name to the link when I look at it. Successfully. That Jake Evans thing looks totally bizarre or very interesting or both. I didn't know anything about it. Thanks. The second link didn't work, but the internet where I'm staying is very dodgy and temperamental. I'll try it again in a bit. ** Chris Dankland, Thank you very much, Chris. Sure, of course, about the hugs. It's really, really, really hard. Obviously, I'm so glad that you're listening to and enjoying GbV. That's really sweet to know. ** Bill Porter, Silverchair's later album 'Diorama' is kind of a masterpiece. Beckett, yeah, insanely good. Intimidatingly good. Thank you for the entry. ** J. J. Morr, Thank you very much for taking the time to come in here and entering the contest. It's good to meet you. ** Mark Murphy, Hi, Mark. Thank you very, very much! ** Okay. I haven't done a Varioso post in well over a year. It's weird. I hope there's something of interest in it for you. See you tomorrow.