these are the timesdirty beloved
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Why?

11.3.06

word of the day: diagetic

8.3.06

"For Nanny I have devised a receiver with the capacity to pick up signals from hidden video cameras used to spy on neighbors, nannies, husbands and wives, or to survey back yards and baby cribs. I drive around the suburbs and collect material. This is a work in progress."
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an endless series of ecstatic moments
John Delk
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link path bloggy > artcat

6.3.06

Throughout the first half of the 19th century, there was a tendency for the pitch used by orchestras to rise. This was probably largely due to orchestras competing with each other, each attempting to fill increasingly large concert halls with a brighter, more "brilliant", sound than that of their rivals. They were helped in this endeavour by the improved durability of the violins' E-strings - in the 16th century, Michael Praetorius had rejected various high pitch standards as leading to snapped strings, but the new strings could take the higher tension without breaking.
The rise in pitch at this time can be seen reflected in tuning forks. A 1815 tuning fork from the Dresden opera house gives A = , while one of eleven years later from the same opera house gives A = . At La Scala in Milan, the A above middle C rose as high as .
The most vocal opponents of the upward tendency in pitch were singers, who complained that it was putting a strain on their voices. Largely due to their protestations, the French government passed a law on February 16, 1859 which set the A above middle C at 435 Hz. This was the first attempt to standardize pitch on such a scale, and was known as the diapason normal. It became quite a popular pitch standard outside of France as well.

Concert Pitch
Wikipedia

Wikipedia has a 440 A you can hear online

5.3.06

baghdad

Beijing in Images
215 photographs from pre-revolutionary China

In Hannover: Clairvoyance


will favor you? We strive for abundance, for perception.

You have a soul, an entelechy, you must do
as you are called to do. Where will you turn?

Sally Ball
drunken boat 7
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Sally Ball at Poetry Daily
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in synchronium congruum agnitium

Fraudster of Light pees on Pooh

The main reason Thomas Kinkade's successful is the people who buy his stuff have never been exposed to the artists he's ripping off - so they have that hit of opening discovery that's unique to the virginal art encounter.
Ahh, beauty.
Compared to the flash and tease of commercial imagery, and the little bit of "modern" art the average folk encounter, Kinkade seems gentle and sweet.
But he's a thief and an aesthetic charlatan.
The American Impressionists alone, not to mention their French predecessors, left us a body of work that's parallel in every regard and superior to anything of Kinkade's, as well as diverse enough to provide for everyone who turns to his dreck for something of beauty to keep at home.

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