23 de febrero de 2020


Some reflections

ON WORK:
                    

“What do I want to do with my life?” “What am I passionate about?” “What do I not suck at?” 

So when people say, “What should I do with my life?” or “What is my life purpose?” what they’re actually asking is: “What can I do with my time that is important?”

But I made them that way because discovering purpose in our lives should be something that’s fun and interesting, not a chore.

Everything involves sacrifice. Everything includes some sort of cost. Nothing is pleasurable or uplifting all of the time. So, the question becomes: what struggle or sacrifice are you willing to tolerate? Ultimately, what determines our ability to stick with something we care about is our ability to handle the rough patches and ride out the inevitable rotten days.

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We’re taught that the only reason to do something is if we’re somehow rewarded for it. And the transactional nature of the world inevitably stifles us and makes us feel lost or stuck.

The funny thing though, is that if my 8-year-old self asked my 20-year-old self, “Why don’t you write anymore?” and I replied, “Because I’m not good at it,” or “Because nobody would read what I write,” or “Because you can’t make money doing that,” not only would I have been completely wrong, but that eight-year-old-boy version of me would have probably started crying. That eight-year-old boy didn’t care about Google traffic or social media virality or book advances. He just wanted to play. And that’s where passion always begins: with a sense of play.


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Whatever it is, don’t just look at the activities that keep you up all night, but look at the cognitive principles behind those activities that enthrall you. Because they can easily be applied elsewhere.

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Ergo, due to the transitive property of awesomeness, if you avoid anything that could potentially embarrass you, then you will never end up doing something that feels important.

Yes, it seems that once again, it all comes back to vulnerability.

Right now, there’s something you want to do, something you think about doing, something you fantasize about doing, yet you don’t do it. You have your reasons, no doubt. And you repeat these reasons to yourself ad infinitum.

But if your reasons are, “My parents would hate it,” or “My friends would make fun of me,” or “If I failed, I’d look like an idiot,” then chances are, you’re actually avoiding something you truly care about because caring about that thing is what scares the shit out of you, not what mom thinks or what Timmy next door says.

Great things are, by their very nature, unique and unconventional. Therefore, to achieve them, we must go against the herd mentality. And to do that is scary.

Embrace embarrassment. Feeling foolish is part of the path to achieving something important, something meaningful. The more a major life decision scares you, chances are the more you need to be doing it.

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IF YOU HAD TO LEAVE THE HOUSE ALL DAY, EVERY DAY, WHERE WOULD YOU GO AND WHAT WOULD YOU DO?


What most people don’t understand is that passion is the result of action, not the cause of it.2, 3
[VERBS AS OPPOSED TO NOUNS]
Discovering what you’re passionate about in life and what matters to you is a full-contact sport, a trial-and-error process. None of us know exactly how we feel about an activity until we actually do the activity.

So ask yourself, if someone put a gun to your head and forced you to leave your house every day for everything except for sleep, how would you choose to occupy yourself? And no, you can’t just go sit in a coffee shop and browse Facebook. You probably already do that. Let’s pretend there are no useless websites, no video games, no TV. You have to be outside of the house all day every day until it’s time to go to bed — where would you go and what would you do?
What would you do with all of that time?

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“If you had a year to live, what would you do?”

Ultimately, death is the only thing that gives us perspective on the value of our life. Because it’s only by imagining your non-existence that you can get a sense of what is most important about your existence. What is your legacy going to be? What are the stories people are going to tell when you’re gone? What is your obituary going to say? Is there anything to say at all? If not, what would you like it to say? How can you start working towards that today?


ON PERSONAL RELATIONSHIPS:
                                                            


"Nobody can go back and start a new beginning, but anyone can start today and make a new ending.”

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Stop spending time with the wrong people. – If someone wants you in their life, they’ll make room for you.  You shouldn’t have to fight for a spot.  Never, ever insist yourself to someone who continuously overlooks your worth.  

Stop running from your problems. – Face them head on.  No, it won’t be easy.  There is no person in the world capable of flawlessly handling every punch thrown at them.  We aren’t supposed to be able to instantly solve problems.  That’s not how we’re made.  In fact, we’re made to get upset, sad, hurt, stumble and fall.  Because that’s the whole purpose of living – to face problems, learn, adapt, and solve them over the course of time. 

Stop lying to yourself. – You can lie to anyone else in the world, but you can’t lie to yourself.  Our lives improve only when we take chances, and the first and most difficult chance we can take is to be honest with ourselves.

Stop putting your own needs on the back burner. – The most painful thing is losing yourself in the process of loving someone too much, and forgetting that you are special too.  Yes, help others; but help yourself too.  If there was ever a moment to follow your passion and do something that matters to you, that moment is now.

Stop trying to be someone you’re not. – One of the greatest challenges in life is being yourself in a world that’s trying to make you likeeveryone else.  Someone will always be prettier, someone will always be smarter, someone will always be younger, but they will never be you.  Don’t change so people will like you.  Be yourself and the right people will love the real you.

Stop being scared to make a mistake. – Doing something and getting it wrong is at least ten times more productive than doing nothing.  Every success has a trail of failures behind it, and every failure is leading towards success.  You end up regretting the things you did NOT do far more than the things you did.

Stop trying to buy happiness. – Many of the things we desire are expensive.  But the truth is, the things that really satisfy us are totally free – love, laughter and working on our passions.

Stop exclusively looking to others for happiness. – If you’re not happy with who you are on the inside, you won’t be happy in a long-term relationship with anyone else eitherYou have to create stability in your own life first before you can share it with someone else.     [THIS IS SO INCREDIBLY IMPORTANT]

Stop being idle. – Don’t think too much or you’ll create a problem that wasn’t even there in the first place.  Evaluate situations and take decisive action.  You cannot change what you refuse to confront.  Making progress involves risk.  Period!  You can’t make it to second base with your foot on first.

Stop thinking you’re not ready. – Nobody ever feels 100% ready when an opportunity arises.  Because most great opportunities in life force us to grow beyond our comfort zones, which means we won’t feel totally comfortable at first.

Stop getting involved in relationships for the wrong reasons. – Relationships must be chosen wisely.  It’s better to be alone than to be in bad company.  There’s no need to rush.  If something is meant to be, it will happen – in the right time, with the right person, and for the best reason. Fall in love when you’re ready, not when you’re lonely.

Stop rejecting new relationships just because old ones didn’t work. – In life you’ll realize that there is a purpose for everyone you meet.  Some will test you, some will use you and some will teach you.  But most importantly, some will bring out the best in you.

Stop complaining and feeling sorry for yourself. – Life’s curveballs are thrown for a reason – to shift your path in a direction that is meant for you.  You may not see or understand everything the moment it happens, and it may be tough.  But reflect back on those negative curveballs thrown at you in the past.  You’ll often see that eventually they led you to a better place, person, state of mind, or situation.  So smile!  Let everyone know that today you are a lot stronger than you were yesterday, and you will be.

Stop wasting time explaining yourself to others. – Your friends don’t need it and your enemies won’t believe it anyway.  Just do what you know in your heart is right.[HOT ONE HERE]

Stop trying to make things perfect. – The real world doesn’t reward perfectionists, it rewards people who get things done. 
[THIS IS SO MEGA-IMPORTANT]

Stop blaming others for your troubles. – The extent to which you can achieve your dreams depends on the extent to which you take responsibility for your life.  When you blame others for what you’re going through, you deny responsibility – you give others power over that part of your life.

Stop worrying so much. – Worry will not strip tomorrow of its burdens, it will strip today of its joy.  One way to check if something is worth mulling over is to ask yourself this question: “Will this matter in one year’s time?  Three years?  Five years?”  If not, then it’s not worth worrying about.

Stop focusing on what you don’t want to happen. – Focus on what you do want to happenPositive thinking is at the forefront of every great success story.  If you awake every morning with the thought that something wonderful will happen in your life today, and you pay close attention, you’ll often find that you’re right.

Stop being ungrateful. – No matter how good or bad you have it, wake up each day thankful for your life.  Someone somewhere else is desperately fighting for theirs.  Instead of thinking about what you’re missing, try thinking about what you have that everyone else is missing.







17 de febrero de 2020

DIMITRIS PAPAIOANNOU



is a Greek experimental theater stage director, choreographer and visual artist who drew media attention and acclaim with his creative direction of the Opening Ceremony of the Athens 2004 Olympic Games. His varied career spans three decades and has seen him conceive and direct stage works for the Athens Concert Hall, Edafos Dance Theatre and Elliniki Theamaton, work as a costume, set and make-up designer, and published over 40 comics.

https://issuu.com/stegi.onassis.cultural.centre/docs/occ_since_she_final_issuu



17 de febrero de 2020



CRYONICS

More
CRYONICS from Diego Diapolo on Vimeo.



17 de febrero de 2020


Theatre and Performance Design

Routledge


10 de febrero de 2020




Some Work in progress

10 de febrero de 2020


On the idea of alternative spaces for art:

houses/industrial spaces/bars

http://thewordmagazine.com/neighbourhood-life/belgiums-20-best-spaces-for-emerging-art/

Another One:

nightclubs/old performance venues/stadia

https://www.nytimes.com/2018/05/03/arts/design/nightclub-design.html

"It was more a performance art venue than a nightclub: Guests were required to don white gowns and were then led by attendants through an interactive experience that featured 360-degree psychedelic projections. Each evening was different; one involved projected images of snowy New England, complete with flakes falling from the ceiling and hot cider for the guests."

"What was happening in New York during this period also made its way over to Europe. In Italy, a group of young architects were already using nightclubs as testing grounds for their avant-garde designs. Inspired by what they saw at the Electric Circus, Grupo 9999, a collective associated with the Radical Design movement, went on to open Space Electronic in Florence in 1969."

"The venue, housed in a former engine-repair shop, featured a parachute suspended from the ceiling and was furnished using salvaged washing-machine drums and refrigerator casings. During the day, it housed an experimental architecture school; one project involved planting a vegetable patch on the dance floor. “It was an interesting moment in Italy because there was discourse about what a club is,” Mr. Eisenbrand said."

3rd One:

https://www.hackneycitizen.co.uk/2019/11/14/into-the-night-cabarets-clubs-modern-art-barbican-centre/

"Throughout the period we generally label ‘modern’ (1880s-1960s), people flocked after dark to clubs and cabarets for immersive experiences that took them to a different place."

"The Dada movement was born in 1916 at Zürich’s Café Voltaire. Futurism was first tried on for size in Bal Tic Tac and the Cabaret del Diavolo in Rome."

[Unfortunately Fluxuxs was more focused on co-housing, like the "artist communities" of New York Soho]

Books:

Disco : The Bill Bernstein Photographs 


Into the Night: Cabarets and Clubs in Modern Art 


Night Fever: A Design History of Club Culture


Nightswimming: Discotheques from the 1960s to the Present 2015






10 de febrero de 2020











3 de febrero de 2020


I already made a post on this under

3 DE NOVIEMBRE DE 2019


I think it is important to draw the distinction made here in this article, between synaesthesia and  intermedia:

Intermedia was a term used in the mid-1960s by Fluxus artist Dick Higgins to describe various inter-disciplinary art activities that occurred between genres in the 1960s.
Synesthesia is a perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to involuntary experiences in a second sensory or cognitive pathway.
I have seen intermedia also been described in many academic programs as: multidisciplinary, transdisciplinary and cross-disciplinary (more here)
I also like to think that the way I engage with the production of artwork has to do with the triggering power of sound, and therefore, of musical structures in defining visual imagery. This might contain architecture, small scale structures, props, fashion, bodies, and the time element of movement linked to the expressiveness of sound.
 This means that the following definition is important:
Visual music refers to the use of musical structures in visual imagery. 
Visual music also refers to systems which convert music or sound directly into visual forms, such as filmvideocomputer graphics, installations or performances by means of a mechanical instrument, an artist's interpretation, or a computer.
This implies that the reverse can also be true, by reverse engineering these relationships.



Visual music

From Wikipedia, the free encyclopedia
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Visual music, sometimes called colour music, refers to the use of musical structures in visual imagery, which can also include silent films or silent Lumia work. It also refers to methods or devices which can translate sounds or music into a related visual presentation. An expanded definition may include the translation of music to painting; this was the original definition of the term, as coined by Roger Fry in 1912 to describe the work of Wassily Kandinsky.[1] There are a variety of definitions of visual music, particularly as the field continues to expand. In some recent writing, usually in the fine art world, visual music is often confused with or defined as synaesthesia, though historically this has never been a definition of visual music. Visual music has also been defined as a form of intermedia.
Visual music also refers to systems which convert music or sound directly into visual forms, such as filmvideocomputer graphics, installations or performances by means of a mechanical instrument, an artist's interpretation, or a computer. The reverse is applicable also, literally converting images to sound by drawn objects and figures on a film's soundtrack, in a technique known as drawn or graphical sound. Famous visual music artists include Jordan BelsonOskar FischingerNorman McLarenJohn Whitney Sr., and Thomas Wilfred, plus a number contemporary artists

On film[edit]

Visual music and abstract film or video often coincide. Some of the earliest known films of these two genres were hand-painted works produced by the Futurists Bruno Corra[3] and Arnaldo Ginna between 1911 and 1912 (as they report in the Futurist Manifesto of Cinema), which are now lost. Mary Hallock-Greenewalt produced several reels of hand-painted films (although not traditional motion pictures) that are held by the Historical Society of Philadelphia. Like the Futurist films, and many other visual music films, her 'films' were meant to be a visualization of musical form.
Notable visual music filmmakers include: Walter RuttmannHans RichterViking EggelingOskar FischingerLen LyeJordan BelsonNorman McLarenHarry SmithHy HirshJohn and James WhitneySteven Woloshen and many others up to present day.
Artist Larry Cuba, founded the iota Fund in 1994, which was later called iotaCenter. They currently own the films of such artists as Sara PettyAdam Beckett, some of the films of Jules EngelSky DavidRobert Darroll and others. They hosted the renowned Kinetica programs (1999–2003) touring the world introducing new audiences to the wonders of visual music.

Computer graphics[edit]


Oscilloscope showing a single pitch, a sine wave
The cathode ray tube made possible the oscilloscope, an early electronic device that can produce images that are easily associated with sounds from microphones. The modern Laser lighting display displays wave patterns produced by similar circuitry. The imagery used to represent audio in digital audio workstations is largely based on familiar oscilloscope patterns.
The Animusic company (originally called 'Visual Music') has repeatedly demonstrated the use of computers to convert music — principally pop-rock based and composed as MIDI events — to animations. Graphic artist-designed virtual instruments which either play themselves or are played by virtual objects are all, along with the sounds, controlled by MIDI instructions.[4]
In the image-to-sound sphere, MetaSynth[5] includes a feature which converts images to sounds. The tool uses drawn or imported bitmap images, which can be manipulated with graphic tools, to generate new sounds or process existing audio. A reverse function allows the creation of images from sounds.[6]
Some media player software generates animated imagery or music visualization based on a piece of recorded music:
  • autom@ted_VisualMusiC_ 4.0 planned and realized by Sergio Maltagliati. This program can be configured to create random multiple visual-music variations, starting from a simple sonorous/visual cell. It generates a new and original audio-visual composition each time play is clicked.


notation[edit]

Many composers have applied graphic notation to write compositions. Pioneering examples are the graphical scores of John Cage and Morton Feldman. Also known is the graphical score of György Ligetis Artikulation designed by Rainer Wehinger.
Musical theorists such as Harry PartchErv WilsonIvor DarregGlenn Branca, and Yuri Landman applied geometry in detailed visual musical diagrams explaining microtonal structures and musical scales.