Thursday, May 29, 2008
NEW VIDEO-EDIT WITH ARTIST NAMES ADDED : www.youtube.com/watch?v=N4Zy5lGNA10
video of the event : www.youtube.com/watch?v=8DKrxk1E_yw
Same video in 4 parts (normal speed) :
Found Here: http://www.flickr.com/photos/kriebel/2468455531/
Monday, May 26, 2008
I see that my model is one listed that may be affected by the optical block issue. The difference is, my set doesn't have the street map image in the picture, I have no picture, just multi colored vertical lines.See photo of the condition I am experiencing.
Sunday, May 25, 2008
The Hedonist - Feb. 1998
Hedonist (Bob) - In the first interview we did with you, you said that you loved Gospel because you felt it was pure and hadn't been co-opted by anything. I was just wondering if you felt whether you or your music had been co-opted in any way and if you do/don't, what weapons do you use against this co-option?
I - Well, number one, we are part of the music industry, just because some group is on some minor-league label, it's still business. There is money changing hands and product being made. I don't see anything inherently noble about running a small business. But at the same time we try to present our ideas. It's the nature of the medium, the magazine, it literally flattens you, people don't think about this. You can look at a horrible picture of yourself, and you'll say "I don't look like that" and other people will say "You do, you look just like that". But no-one looks like a picture-- a picture is flat. Film is a little closer, think of a film, an enormous projection of life on a screen, it's not real, that is not what people really look like. People take it as a representation of reality, but it's not at all, it's a complete abstraction. So it's like speaking into a microphone, it's not your real voice, it's an electrical amplification of your voice. It has very little to do with the reality of the thing. Just as oratory on the page is very different from oratory live. Fidel Castro is a great public speaker, other people are not. I doubt Morrissey would be a great public speaker, if he was speaking in Revolution Plaza in Havana, I doubt he would get his point across very well. In the interview format, quipping is like a different medium. They're almost like different forms of music, quipping, bluster, rhetoric. In the magazine you are thoroughly a characiture, it's an obscenity, but what are you to do? Marshall MacLuhan has a lot of interesting ideas about type, about the Gutenburg press and the revolution it had on people sensibilities. The way it changed the space people acted in, people used to be much more touchy-feely orientated, but once type was invented people became much more visual; he says TV is kind of a return, a step-backward from printing induced social systems.
H - I understand what you mean by a magazine though, in that whatever you say will never represent you as the 3-D person that you really are.
I - But you can't get worried about that, in fact I would never, that's why we never talk about our personal lives. I mean most performers pontificate about the tawdry details of their lives.
H (Ewa) - Like what their favourite colour is, joke!!
H (Bob) - Yeah, actually we are going to get personal, I just wanted to know what motivated you to do this?
I - Well you know I'm more or less a savage... I don't know, a lot of people are . . . to me it's just that congregational thing, the power that music has and the medium of music, how it is essentially the only oratorical or idea thing. It's the only living art, it's the only real form of expression available to most people. It's not just totally corrupt don't you think?
H - No, not really, not at all. I'm most interested in why you aren't something like a painter for example?
(--My Favorite Part--)
I - Well, in America, painting is more of a ghetto, even more than music, it's way more driven by money. Basically, you look at the relationship between different art-forms and business and government. And of course the government is just the judicial wing of business. If you look at art, in the 40's the socialist world, the Communist partisans had led the resistance against the Nazis and had earned the sympathies of the people through that. When America and the UK went into these countries, they killed off the socialist resistance and installed people who had been Nazi collaborators, thus ensuring that capitalism prevailed. You notice that the big 3 after the war were Germany, USA and Japan, the fascist powers. In Italy for example, the Communist partisans won the war basically against the Germans and the Allies took over and installed Victor Immanuel, the King under Mussolini, they made pacts with the Mafia. And they basically made sure that capitalist interests would prevail.
But the point is, that in the post-war period, socialism was gaining ground and it had a lot of support, especially among the intelligentia and the artists. What the USA had to do was prove that a capitalist, free market country could support an Avant-Garde movement. So the CIA introduced abstract expressionism, through (art critic/theorist) Clement Greenberg. Greenberg basically told abstract expressionists and Jackson Pollock how to paint. And then they constructed a formula in which notably socialist art, socialist realism or Constructivism and anything that had a political programme was excluded. You'll notice that before the 1940's art was very political, whereas Abstract-Expressionists, like Pollock, De Kooning, etc. had no politics, and art that had content was declared to be adolescent, and that's prevailed ever since and that is why Art today is not so interesting to me.
The Make Up - found on their myspace
Saturday, May 24, 2008
Tuesday, May 20, 2008
Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquis of Púbol (May 11, 1904 – January 23, 1989), was a Spanish surrealist painter born in Figueres, Catalonia, Spain. Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters. His best known work, The Persistence of Memory, was completed in 1931. Salvador Dalí's artistic repertoire also included film, sculpture, and photography. He collaborated with Walt Disney on the Academy Award-nominated short cartoon Destino, which was released posthumously in 2003. He also collaborated with Alfred Hitchcock on Hitchcock's film Spellbound.
Dalí insisted on his "Arab lineage", claiming that his ancestors were descended from the Moors who occupied Southern Spain for nearly 800 years (711-1492), and attributed to these origins, "my love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes."
Widely considered to be greatly imaginative, Dalí had an affinity for doing unusual things to draw attention to himself. This sometimes irked those who loved his art as much as it annoyed his critics, since his eccentric manner sometimes drew more public attention than his artwork. The purposefully-sought notoriety led to broad public recognition and many purchases of his works by people from all walks of life.
Amazing picture found here:
Sunday, May 18, 2008
Saturday, May 17, 2008
From Toyota’s Press Release:
“It is year 2057 and due to limited ground space, vertical architectures have caused the transportation industry to create new pathways that also explore vertical space.
An innovative solution is discovered in biomimicry. Inspired by life found in nature, the vehicle is powered by pollution with dynamic driving instincts and structural adaptations to accommodate the user’s need for space.
This vehicle’s unique capability to extract pollutants in the air and utilize it as an energy space source restores balance to our atmosphere. It is able to autonomously adapt its driving environment by utilizing its four nano-laser wheels. Nanotechnology also enables the structure of the vehicle to expand and contract horizontally and vertically to serve as a compact commuter, an aerodynamic performance vehicle and temporary dwelling”
Great posts From Dan Harlow's Blog
Tuesday, May 13, 2008
Wednesday, May 7, 2008
Gustave Courbet (French, 1819–1877)
Young Ladies of the Village, 1851–52
Oil on canvas; 76 3/4 x 102 3/4 in. (194.9 x 261 cm)
The Metropolitan Museum of Art, New York, Gift of Harry Payne Bingham, 1940 (40.175)
Monday, May 5, 2008
this is obviously one of those concerts anyone on the planet if given the chance to time travel would want to go see.
Found it here while looking for pics of Lou Adler