http://www.youtube.com/watch?v=DlbJMBTOfL8
http://www.youtube.com/watch?v=uQCrPNEsQaY
Pina Bausch
The Man I Love:
https://www.youtube.com/watch?v=LA65HrIMrjs
https://www.youtube.com/watch?v=6TLJ-TcY5BQ
Le Sacre du Printemps:
http://youtube.com/watch?v=KXVuVQuMvgA
Die Klage der Kaiserin (8 parts, incomplete)
"Video unavailable"
Café Muller Amsterdam 1995 (3 parts)
"Video unavailable"
Barbe Bleue (12 parts)
http://youtube.com/watch?v=J15mFLT-pP4
http://youtube.com/watch?v=EFhzMdHlej4
(...) see Related Videos box at right
Un Jour Pina a demandé (6 parts)
"Video unavailable"
Mazurca Fogo:
http://www.youtube.com/watch?v=tJFOp-D8fQ0
http://prelectur.stanford.edu/lecturers/bausch/index.html
https://www.youtube.com/watch?v=LA65HrIMrjs
https://www.youtube.com/watch?v=6TLJ-TcY5BQ
Le Sacre du Printemps:
http://youtube.com/watch?v=KXVuVQuMvgA
Die Klage der Kaiserin (8 parts, incomplete)
"Video unavailable"
Café Muller Amsterdam 1995 (3 parts)
"Video unavailable"
Barbe Bleue (12 parts)
http://youtube.com/watch?v=J15mFLT-pP4
http://youtube.com/watch?v=EFhzMdHlej4
(...) see Related Videos box at right
Un Jour Pina a demandé (6 parts)
"Video unavailable"
Mazurca Fogo:
http://www.youtube.com/watch?v=tJFOp-D8fQ0
http://prelectur.stanford.edu/lecturers/bausch/index.html
Duchamp's 3 Stoppages Étalon
"Many of the stories he tells just don't line up," Shearer says. Consider Three Standard Stoppages, in the collection of the Museum of Modern Art, a key early work. Toward the end of 1913, Duchamp said, in his Paris studio, he cut three lengths of thread, each just under one meter long, dropped them from a height of one meter, and affixed the results on three separate canvases---a new standard of measure, incorporating chance and randomness, for the new art of this century.
"Why is it that John Cage and the artist William Anastasi tried replicating this experiment many times and couldn't come up with anything like it?" Shearer asks. "I tried with every imaginable type of thread---silk, cotton, waxed, unwaxed. I haven't been able to come close to what he presented. What I think is that Duchamp did this over and over again. He gives us the notes, the protocol, and the results don't match. When you put them together, you have the opportunity to be the discoverer."
http://asrlab.org/press/artnews.php
~ ~ ~
Many people -- perhaps, for the fun of it, or to feel some affinity with Duchamp, rather than from any suspicion about the master's standard protocol -- have tried dropping strings of the same apparent composition following Duchamp's method: regular tailor's thread, one meter long, dropped from a height of one meter. And, to put the matter succinctly, no one (at least anecdotally) has presented evidence that they have been able to replicate any of Duchamp's gentle patterns, even once. Light string just will not fall into such a regular pattern when dropped from such a height. Try as many times as one may, the actual results always produce a pathway far more jerky and wiggly than anything obtained by Duchamp in any of his three stated attempts.
For example, a well known and oft repeated story states that Duchamp's friends, composer John Cage, and artist William Anastasi each tried to drop string numerous times following Duchamp's protocol, and never could match any of his patterns closely because the actual drops always exceeded the pathways of the stoppages in degrees of irregular wiggling. We do know that when Walter Hopps and Arturo Schwarz both asked Duchamp how they should make the pathways of the strings for their reproductions of the stoppages (they were having trouble replicating the pathways even by trying to lay out the string in the "right" patterns by hand because the string always jumped and wriggled in other parts as they tried to lay out one part in Duchamp's gentle arrangement) -- Duchamp advised them simply to lay out the string along and against the path of the wooden templates (residing in MOMA).(3)
Yet Duchamp continued to insist, vehemently and even when questioned closely (and perhaps in the light of such suspicions), that he had followed the stated protocol of dropping each string -- "exactly" one meter in length -- just once, and gluing it where it had landed "à son gré" (by its own will). For example, in an interview with the young Carroll Janis (who has told us that he pressed the point because he had developed similar doubts and puzzlement): (4)
Marcel: It could be done only once. Also I like that it could only be done once and no more. That's like an experiment or something. I liked it very much ...
Marcel: It could be done only once. Also I like that it could only be done once and no more. That's like an experiment or something. I liked it very much ...
Carroll: I wanted to ask you about the lines. Were they dropped according to the laws of chance, and the first position they fell, they were? In other words, it was strictly that one drop and it wasn't any drop until you felt you had achieved this sort of effect?
Marcel: No, there were three drops.
Carroll: Yes, I know there were three separate drops, but each was one drop?
Marcel: Absolutely. Also, that's the point...
Carroll: Marcel, did you drop each one just once, or did you keep on dropping them?
Marcel: Just once, just once. Don't recall there was any mishap.
http://www.toutfait.com/issues/issue_1/News/stoppages.html
"Why is it that John Cage and the artist William Anastasi tried replicating this experiment many times and couldn't come up with anything like it?" Shearer asks. "I tried with every imaginable type of thread---silk, cotton, waxed, unwaxed. I haven't been able to come close to what he presented. What I think is that Duchamp did this over and over again. He gives us the notes, the protocol, and the results don't match. When you put them together, you have the opportunity to be the discoverer."
http://asrlab.org/press/artnews.php
~ ~ ~
Many people -- perhaps, for the fun of it, or to feel some affinity with Duchamp, rather than from any suspicion about the master's standard protocol -- have tried dropping strings of the same apparent composition following Duchamp's method: regular tailor's thread, one meter long, dropped from a height of one meter. And, to put the matter succinctly, no one (at least anecdotally) has presented evidence that they have been able to replicate any of Duchamp's gentle patterns, even once. Light string just will not fall into such a regular pattern when dropped from such a height. Try as many times as one may, the actual results always produce a pathway far more jerky and wiggly than anything obtained by Duchamp in any of his three stated attempts.
For example, a well known and oft repeated story states that Duchamp's friends, composer John Cage, and artist William Anastasi each tried to drop string numerous times following Duchamp's protocol, and never could match any of his patterns closely because the actual drops always exceeded the pathways of the stoppages in degrees of irregular wiggling. We do know that when Walter Hopps and Arturo Schwarz both asked Duchamp how they should make the pathways of the strings for their reproductions of the stoppages (they were having trouble replicating the pathways even by trying to lay out the string in the "right" patterns by hand because the string always jumped and wriggled in other parts as they tried to lay out one part in Duchamp's gentle arrangement) -- Duchamp advised them simply to lay out the string along and against the path of the wooden templates (residing in MOMA).(3)
Yet Duchamp continued to insist, vehemently and even when questioned closely (and perhaps in the light of such suspicions), that he had followed the stated protocol of dropping each string -- "exactly" one meter in length -- just once, and gluing it where it had landed "à son gré" (by its own will). For example, in an interview with the young Carroll Janis (who has told us that he pressed the point because he had developed similar doubts and puzzlement): (4)
Marcel: It could be done only once. Also I like that it could only be done once and no more. That's like an experiment or something. I liked it very much ...
Marcel: It could be done only once. Also I like that it could only be done once and no more. That's like an experiment or something. I liked it very much ...
Carroll: I wanted to ask you about the lines. Were they dropped according to the laws of chance, and the first position they fell, they were? In other words, it was strictly that one drop and it wasn't any drop until you felt you had achieved this sort of effect?
Marcel: No, there were three drops.
Carroll: Yes, I know there were three separate drops, but each was one drop?
Marcel: Absolutely. Also, that's the point...
Carroll: Marcel, did you drop each one just once, or did you keep on dropping them?
Marcel: Just once, just once. Don't recall there was any mishap.
http://www.toutfait.com/issues/issue_1/News/stoppages.html
Intended for any intelligent extraterrestrial life form
The Voyager Golden Record is a phonograph record included in the two Voyager spacecraft launched in 1977. It contains sounds and images selected to portray the diversity of life and culture on Earth. It is intended for any intelligent extraterrestrial life form, or far future humans, that may find it. The Voyager spacecraft will take about 40,000 years to come near another star, 'near' meaning in this case within around 1.7 light-years' distance; hence, if other beings do not come in the direction of the spacecraft to meet them, it will take at least that long for the Golden Record to be found.
Sagan had originally asked for permission to include "Here Comes the Sun" from the Beatles' album Abbey Road. While the Beatles favoured it, EMI opposed it and the song was not included.
http://en.wikipedia.org/wiki/Voyager_Golden_Disc
Sagan had originally asked for permission to include "Here Comes the Sun" from the Beatles' album Abbey Road. While the Beatles favoured it, EMI opposed it and the song was not included.
http://en.wikipedia.org/wiki/Voyager_Golden_Disc
Paper makes the sounds. People make the music.
"Paper Music is the making of music from paper sound sources. That is: all the
sounds originate from paper. In its purest form, Paper Music does not attempt to
replicate the sounds of conventional musical instruments, but explores the
potential of paper as an accoustic medium."
http://www.papersonics.com/define.htm
sounds originate from paper. In its purest form, Paper Music does not attempt to
replicate the sounds of conventional musical instruments, but explores the
potential of paper as an accoustic medium."
http://www.papersonics.com/define.htm
Marooning
Marooning is leaving someone behind on purpose in an uninhabited area, such as a uninhabited island. The word appears in writing approximately 1709, and is derived from maroon, a fugitive slave. It could be a corruption of Spanish cimarrón, meaning "wild". The practice was a penalty for crewmen, or for captains at the hands of a crew. A marooned man was set on a deserted island, often no more than a sand bar. He would be given some food, a container of water, and a loaded pistol so he could commit suicide if he desired. The outcome of marooning was usually fatal, but William Greenaway and some men loyal to him survived being marooned, as did pirate captain Edward England.
The chief practitioners of marooning were 17th and 18th century pirates, to such a degree that they were frequently referred to as "marooners." The pirate articles of captains Bartholomew Roberts and John Phillips specify marooning as a punishment for cheating one's fellow pirates or other offenses. In this context, to be marooned is euphemistically to be "made governor of an island," a phrase later popularized by the Disney movie trilogy Pirates of the Caribbean.
During the late 18th century in the American South, "marooning" took on a humorous additional meaning describing an extended camping-out picnic over a period of several days (Oxford English Dictionary).
http://www.artandpopularculture.com/Marooning
http://www.heritagepress.polperro.org/marooned.html
http://www.geocities.com/cptblood_1999/page17.html#Marooning
See also The Solitude of Alexander Selkirk:
http://www.damninteresting.com/?p=912
The chief practitioners of marooning were 17th and 18th century pirates, to such a degree that they were frequently referred to as "marooners." The pirate articles of captains Bartholomew Roberts and John Phillips specify marooning as a punishment for cheating one's fellow pirates or other offenses. In this context, to be marooned is euphemistically to be "made governor of an island," a phrase later popularized by the Disney movie trilogy Pirates of the Caribbean.
During the late 18th century in the American South, "marooning" took on a humorous additional meaning describing an extended camping-out picnic over a period of several days (Oxford English Dictionary).
http://www.artandpopularculture.com/Marooning
http://www.heritagepress.polperro.org/marooned.html
http://www.geocities.com/cptblood_1999/page17.html#Marooning
See also The Solitude of Alexander Selkirk:
http://www.damninteresting.com/?p=912
The bird mistook the plastics for food
http://www.mindfully.org/Plastic/Ocean/Moore-Trashed-PacificNov03.htm
http://www.mindfully.org/Plastic/Ocean/Moore-Trashed-PacificNov03a.jpg
"Bottle caps and other plastic objects are visible inside the decomposed carcass of this Laysan albatross on Kure Atoll, which lies in a remote and virtually uninhabited region of the North Pacific. The bird probably mistook the plastics for food and ingested them while foraging for prey."
http://www.mindfully.org/Plastic/Ocean/Moore-Trashed-PacificNov03a.jpg
"Bottle caps and other plastic objects are visible inside the decomposed carcass of this Laysan albatross on Kure Atoll, which lies in a remote and virtually uninhabited region of the North Pacific. The bird probably mistook the plastics for food and ingested them while foraging for prey."
Alison Carey
Organic Remains of a Former World
Alison Carey, Photography & Mixed Media
http://www.alisoncarey.com/
http://www.alisoncarey.com/OrganicRemains.html
http://www.alisoncarey.com/ambrotypes20012004.pdf
http://www.alisoncarey.com/website%20paleozoic%20pdf.pdf
Alison Carey, Photography & Mixed Media
http://www.alisoncarey.com/
http://www.alisoncarey.com/OrganicRemains.html
http://www.alisoncarey.com/ambrotypes20012004.pdf
http://www.alisoncarey.com/website%20paleozoic%20pdf.pdf
W.G. Sebald
Austerlitz:
Only at Liverpool Street station, where he waited with me in MacDonald's until my train left, and after a casual remark about the glaring light which, so he said, allowed not a hint of a shadow and perpetuated the momentary terror of a lightning flash - only at Liverpool Street did he resume his story.
From "The Emergence of Memory, conversations with W. G. Sebald":
WGS: Well, yes, writing, as I said before ... you make something out of nothing. It is a con trick.
JC: But there seems to be quite a preoccupation with making what is written true.
WGS: That's the paradox. You have this string of lies, and by this detour you arrive at a form of truth which is more precise, one hopes, than something which is strictly provable. That's the challenge.
"I think how little we can hold in mind," he writes after a visit to a Belgian prison used by the Nazis, "how everything is constantly lapsing into oblivion with every extinguished life, how the world is, as it were, draining itself, in that the history of countless places and objects which themselves have no power of memory is never heard, never described or passed on."
I am reminded of Sebald's account of an experiment that intrigued him: "They put a rat in a cylinder that is full of water and the rat swims around for about a minute until it sees that it can't get out and then it dies of cardiac arrest," he told me. A second rat is placed in a similar cylinder, except that this cylinder has a ladder, which enables the rat to climb out. "Then, if you put this rat in another cylinder and don't offer him a ladder, it will keep swimming until it dies of exhaustion," he explained. "You're given something - a holiday to Tenerife or you meet a nice person - and so you carry on, even though it's quite hopeless. That may tell you everything you need to know."
http://en.wikipedia.org/wiki/W._G._Sebald
Only at Liverpool Street station, where he waited with me in MacDonald's until my train left, and after a casual remark about the glaring light which, so he said, allowed not a hint of a shadow and perpetuated the momentary terror of a lightning flash - only at Liverpool Street did he resume his story.
From "The Emergence of Memory, conversations with W. G. Sebald":
WGS: Well, yes, writing, as I said before ... you make something out of nothing. It is a con trick.
JC: But there seems to be quite a preoccupation with making what is written true.
WGS: That's the paradox. You have this string of lies, and by this detour you arrive at a form of truth which is more precise, one hopes, than something which is strictly provable. That's the challenge.
"I think how little we can hold in mind," he writes after a visit to a Belgian prison used by the Nazis, "how everything is constantly lapsing into oblivion with every extinguished life, how the world is, as it were, draining itself, in that the history of countless places and objects which themselves have no power of memory is never heard, never described or passed on."
I am reminded of Sebald's account of an experiment that intrigued him: "They put a rat in a cylinder that is full of water and the rat swims around for about a minute until it sees that it can't get out and then it dies of cardiac arrest," he told me. A second rat is placed in a similar cylinder, except that this cylinder has a ladder, which enables the rat to climb out. "Then, if you put this rat in another cylinder and don't offer him a ladder, it will keep swimming until it dies of exhaustion," he explained. "You're given something - a holiday to Tenerife or you meet a nice person - and so you carry on, even though it's quite hopeless. That may tell you everything you need to know."
http://en.wikipedia.org/wiki/W._G._Sebald
The Back-Up
http://www.the-backup.com/buy/commercial.php
- What is The Back Up?
The Back Up is a rack that allows you to keep you shotgun or other defense weapon in easy reach. A number of people keeps their guns on a bed stand, under the bed, in the closet or standing in the corner. This is neither safe nor gives you easy access to your defensive tool when you really need it. Protection is effective only when it is easily available and easy to use. The Back Up unique patented design, gives you the quick and easy access to your protective device, while not getting in the way when getting in and out of bed.
- Why would I use back up with a shotgun rather than a handgun.
There are several reasons why a shotgun is better than a handgun.
A. For one it is safer for people in an adjoining room. You miss you shot with a handgun, the bullet goes though the wall. Since a shotgun using ?shot? which stop any intruder, but not penetrate completely through a wall.
B. A shotgun is visible and intimidating. You may be able to scare off an intruder without firing a shot.
C. A shot gun has a spread pattern. A handgun uses a single bullet. You are less like to miss your target with a shotgun when you are under the stress of a home intruder.
- I sleep on the right side of the bed. Can I use it there?
Because of the Back Ups unique patented design, you can adjust to fit on either side of the bed and place it where it is handy for you. If fact we suggest you have Back Ups on both sides of the bed.
http://www.home-backup-protection.com/buy/faq.php
- What is The Back Up?
The Back Up is a rack that allows you to keep you shotgun or other defense weapon in easy reach. A number of people keeps their guns on a bed stand, under the bed, in the closet or standing in the corner. This is neither safe nor gives you easy access to your defensive tool when you really need it. Protection is effective only when it is easily available and easy to use. The Back Up unique patented design, gives you the quick and easy access to your protective device, while not getting in the way when getting in and out of bed.
- Why would I use back up with a shotgun rather than a handgun.
There are several reasons why a shotgun is better than a handgun.
A. For one it is safer for people in an adjoining room. You miss you shot with a handgun, the bullet goes though the wall. Since a shotgun using ?shot? which stop any intruder, but not penetrate completely through a wall.
B. A shotgun is visible and intimidating. You may be able to scare off an intruder without firing a shot.
C. A shot gun has a spread pattern. A handgun uses a single bullet. You are less like to miss your target with a shotgun when you are under the stress of a home intruder.
- I sleep on the right side of the bed. Can I use it there?
Because of the Back Ups unique patented design, you can adjust to fit on either side of the bed and place it where it is handy for you. If fact we suggest you have Back Ups on both sides of the bed.
http://www.home-backup-protection.com/buy/faq.php
Fallen Astronaut
"Fallen Astronaut is an 8.5cm (slightly over 3 inches) aluminium sculpture of an astronaut in a spacesuit. It is currently at Hadley Rille on the Moon, having been placed there by the crew of Apollo 15."
http://en.wikipedia.org/wiki/Fallen_Astronaut
http://en.wikipedia.org/wiki/Fallen_Astronaut
Which so moved her judges that they acquitted her
From Phryné before the Areopagus:
Phryne (Φρύνη) was a famous hetaera (courtesan) of Ancient Greece (4th century BC) who adjusted her prices for customers depending upon how she felt about them emotionally. As accounts portray her, she always had her price, and if the customer met it, she would uphold her end of the bargain.
When accused of profaning the Eleusinian mysteries, she was defended by the orator Hypereides, one of her lovers. When it seemed as if the verdict would be unfavourable, he tore open her robe and displayed her breasts, which so moved her judges that they acquitted her. According to others, she herself removed her clothing. The judges' change of heart was not simply because they were overcome by the beauty of her nude body, but because physical beauty was often seen as a facet of divinity or a mark of divine favor during those times.
The scene was depicted Phryne before the Areopagus, a 1861 painting by Jean-Léon Gérôme:
http://upload.wikimedia.org/wikipedia/commons/d/d0/Fryne_przed_areopagiem.jpg
Phryne (Φρύνη) was a famous hetaera (courtesan) of Ancient Greece (4th century BC) who adjusted her prices for customers depending upon how she felt about them emotionally. As accounts portray her, she always had her price, and if the customer met it, she would uphold her end of the bargain.
When accused of profaning the Eleusinian mysteries, she was defended by the orator Hypereides, one of her lovers. When it seemed as if the verdict would be unfavourable, he tore open her robe and displayed her breasts, which so moved her judges that they acquitted her. According to others, she herself removed her clothing. The judges' change of heart was not simply because they were overcome by the beauty of her nude body, but because physical beauty was often seen as a facet of divinity or a mark of divine favor during those times.
The scene was depicted Phryne before the Areopagus, a 1861 painting by Jean-Léon Gérôme:
http://upload.wikimedia.org/wikipedia/commons/d/d0/Fryne_przed_areopagiem.jpg
We'll be prepared for anything that happens.
http://www.tgdaily.com/content/view/34362/113/
Exeter (NH) - Space aliens beware because Rudy Giuliani will be prepared for your attack. At a town hall meeting in Exeter, New Hampshire over the weekend the presidential candidate answered a rather strange question from a young boy, “If something living on another planet and it's bad and it comes over here, what would you do?” After the laughter settled down in the audience, Giuliani came up with a seemingly serious answer.
The former New York mayor who led the city through the September 11 terrorist attacks grinned and said that was the first time he’s ever been asked about an alien attack and added, “Of all the things that can happen in this world, we'll be prepared for that, yes we will. We'll be prepared for anything that happens.”
Afterwards, Giuliani complemented the boy saying, “This could be the new Steven Spielberg.” He also asked if he wanted to be a science fiction writer or a scientist when he grows up.”
But the boy got the last laugh by saying he wanted to be a sculptor.
Exeter (NH) - Space aliens beware because Rudy Giuliani will be prepared for your attack. At a town hall meeting in Exeter, New Hampshire over the weekend the presidential candidate answered a rather strange question from a young boy, “If something living on another planet and it's bad and it comes over here, what would you do?” After the laughter settled down in the audience, Giuliani came up with a seemingly serious answer.
The former New York mayor who led the city through the September 11 terrorist attacks grinned and said that was the first time he’s ever been asked about an alien attack and added, “Of all the things that can happen in this world, we'll be prepared for that, yes we will. We'll be prepared for anything that happens.”
Afterwards, Giuliani complemented the boy saying, “This could be the new Steven Spielberg.” He also asked if he wanted to be a science fiction writer or a scientist when he grows up.”
But the boy got the last laugh by saying he wanted to be a sculptor.
There is a part of my life that is so repulsive and dark...
But on November 5, in a statement Haggard said, "I am a deceiver and a liar. The fact is I am guilty of sexual immorality...There is a part of my life that is so repulsive and dark that I've been warring against it all of my adult life. ... Please forgive my accuser ... actually thank God for him. He didn't violate you; I did."
http://en.wikipedia.org/wiki/Ted_Haggard
http://en.wikipedia.org/wiki/Ted_Haggard
Carte de Tendre
"Tendre est le nom du pays ainsi que de ses trois villes capitales. Tendre a un fleuve, Inclination, rejoint à son embouchure par deux rivières, Estime et Reconnaissance. Les trois villes de Tendre, Tendre-sur-Inclination, Tendre-sur-Estime et Tendre-sur-Reconnaissance sont situées sur ces trois cours d’eau différents. Pour aller de Nouvelle-Amitié à Tendre-sur-Estime, il faut passer par le lieu de Grand-Esprit auquel succèdent les agréables villages de Jolis-vers, Billet-galant et Billet-doux. Dans cette sorte de géographie amoureuse, le fleuve Inclination coule tranquillement car il est domestiqué tandis que la Mer est dangereuse car elle représente les passions. La seule Passion positive est celle qui la source de nobles sentiments que l’homme peut éprouver. Le lac d’Indifférence représente l’ennui."
http://jahsonic.tumblr.com/post/330351569/carte-du-tendre-the-carte-de-tendre-map-of
http://fr.wikipedia.org/wiki/Carte_de_Tendre
http://jahsonic.tumblr.com/post/330351569/carte-du-tendre-the-carte-de-tendre-map-of
http://fr.wikipedia.org/wiki/Carte_de_Tendre
Fantastic Planet (1973)
http://www.youtube.com/watch?v=SgCxCZNkQ9E
By Roland Topor et al. - Part 1 of 8...
http://www.youtube.com/watch?v=ys8AkwMRvgo&feature=related
By Roland Topor et al. - Part 1 of 8...
http://www.youtube.com/watch?v=ys8AkwMRvgo&feature=related
ART OF MONEY GETTING by P. T. Barnum
The grandfather of all Get-Rich books:
http://www.fourmilab.ch/etexts/www/barnum/moneygetting/moneygetting.html
http://www.fourmilab.ch/etexts/www/barnum/moneygetting/moneygetting.html
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