Gay Waxing At Bangkok

improv around the skirt of this autumn holiday ...

Petite improvisation on this skirt Chloe is my real favorite this fall ... (sigh). The skirt is worn by Lydia wildly (at random, it's my character that makes the face ...), and more!

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Rene, Gabriel Marcel and

It is with some disappointment that I recently discovered that Special Issue devoted to the exhibition of the "Golden Section" (No. 1 and only appeared Oct. 9, 1912),

was far from proposing as many items as collaborators announced the first page. I waited because of an article René Blum (here billed as "collaborator" as author the preface to the catalog of the exhibition of the same name) and it was not. However, hindsight being echoed his article "Music Today" published in Les Soirées de Paris in March 1914,

Francis Picabia and Gabrielle Buffet circa 1910

Gabrielle Buffet's article entitled "Musical Impressionism" was a pleasant surprise. It should, ideally, comment and determine its place in the history of music criticism ... As with other Documents posted on the blog L'Oeil cacodylate, here I give these two articles to the state archive, and René Blum's preface to the catalog of the Section d'Or.

Once again, it is the library Kandinsky I have consulted one of the few chips issued by Pierre André Benoit. Published without title "printed 36 times in Ales by PAB on 1 October 1969", this homage to Marcel Duchamp, published one year after the disappearance of the latter four texts (Man Ray, Gabrielle Buffet, Pierre de Massot and Robert Lebel ), a collage of the publisher and etching end of the volume is not mentioned but probably made by Alexander Calder - which must also be burning adorning the cover of this booklet and composed only of letters of the name of the inventor of the readymade. The legend of the engraving is as follows:

Mr. Duchamp

Born like a light

Lived like a light Out like a

light

And That Was The delightful life of Marcel

Duchamp

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Impressionism Music

music is going through a period very similar to what was in the last century impressionism in painting.

On behalf of the natural laws of sound vibrations that escapes from the scholastic and musical rhetoric, and reacts against the arbitrary ideas of harmony codes and laws of composition. Thus

painting the laws of light vibration I have been starting point of theories Impressionists, and in both cases these theories lead to more research, objective reality as a creative effort.

The Impressionists and Neo-Impressionists tried to give the illusion of a painting of the atmosphere, light flickers through the use of complementary colors and division.

Very similar to this system is the perfect addition to remote harmonics of the fundamental agreement is found abundantly in all modern works and gives the illusion of sound moving in the atmosphere. The tone itself not more, by the simple ratio of third and fifth, but by a subtle amalgam of all the subdivisions of the fundamental, which our ear is barely tonal logic.

The musical idea is no longer an abstract discourse, measured, cut defined periods, a line which follows the detailed drawing, but a series of embryos of lines dependent harmonic work, and that little can be discerned in all combinations and subtle dissonances. The aesthetic impression we have is less a result of the logic followed by the notion that the sensory pleasure of this tangle of sound vibrations: less an "order" that the search for rare harmonies, whose value expression does not depend on a melodic idea guideline, but their mutual relations, their relativity.

In summary, we see a tremendous enrichment of the "raw" musical vitality of all natural resources music, but ... the music itself did benefited from these new resources?

we refer to works for us to form an opinion on this subject, and are asked to note the generally low, with few exceptions, production resulting from these trends, their inconsistency, their lack of depth, which, besides We also clearly appears in searches of Impressionist painting.

The proof is also unable to present live music by itself, without any literary canvas. Unlike the current painting that tries to freedom of expression more and more, music, despite the wealth of its new "equipment" does enough in itself, and works for must exist in fact reinforce a program which they claim to do the exact description.

The music becomes a kind of sound imaging. How not to understand the childishness of this research, plating and harmonies so new, so subtle they are, on a literary carcass without proper architecture, is not making music? ...

How not to conclude (strong as in the example we gave impressionism in painting), the impossibility of a great boom in contemporary music. And while

important for us to be out of harmonic codes, forms, molds old, if only to achieve a greater enslavement of the music itself, other processes, which may hinder, more yet its development?

Gabrielle Buffet in Special Issue devoted to the exhibition of the "Golden Section" , October 9, 1912. No. 1 and only appeared.

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Music Today

Current trends in music seem very indecisive and contradictory.

School Franck, rigorously scholastic has by force provoked a surge in violent art freer and more sensory, research-based sounds, harmonies, rhythms for themselves and not on the logic of a conventional musical code.

It was the flooding of all areas prohibited: removal of arbitrary boundaries of consonance and dissonance, the laws of tone and architecture; transformation of melodic phrase at regular intervals subject to a sentence syllogism tonal harmonic free no limit other than the shape of its rhythms. The flourishing

all the resources of the orchestra, the orgy of unknown combinations of sounds and tones, and finally, a considerable enrichment of the entire "matter" musical.

It is curious, and this is the contradiction which we have spoken, that despite the vigorous reaction, the musical of our time, has no great power or originality.

Or is the adaptation of ancient music and especially foreign habits A new sound, or is a search for precious and unexpected sounds, but empty of thought, whose ears and minds will soon tire of addiction coming. Having

rejected the old forms has not been enough to trigger a specific evolution. She remained superficial: a changing profession. The musical spirit was troubled without being renewed. The modern inspiration has not the strength to clear new road line, it remains timid and indecisive and is nevertheless a compromise between old traditions and new freedoms.

No doubt about the times when such art is better than other existing needs.

It does not seem, despite ln general extension of the music, the passion and certainly the most real understanding we had of this art we are in a period that we have of this art, we are a period of years in music.

Works ultra-modern we are proof. More tests of pure music, but Semi-dramatic, semi-musical, that is to say that the ideal architecture of ancient forms, sonatas, symphonies, etc.. Etc.. Is replaced by a pattern Literary which music and which is strictly subdue the carcass of the work itself: excessive development of the symphonic poem, the music program, with program more precise stage music, dance music, symphonic paintings and finally, the "latest style ', the descriptive parts where you can see the absorption of the musical element by element literature.

We will, for clarity, an example of the kind in question.

This is a small piano piece titled, I believe: The Chatterbox, very funny, but in its absurdity characterizes current trends.

A theme is exposed: it is the air known to all, "Do not talk, Rose, I beg you," which embodies the husband distraught by the gossip about his wife. Following a series of short rhythms whose explanation is provided by the literary text he wrote the score even above the musical text: it is nonsense that the stupid gossip: "The janitor broke a rib ... "" I want a hat made of solid mahogany ... "Etc.. Etc.. New husband's entreaties on the theme of Rose, new gossip. Finally, the theme of Rose returns again, but disfigured and darkened, and the text tells us that the poor man died exceeded.

It will be appreciated, by this analysis, the very limited role in the musical element. The author has not even taken the trouble to seek a personal theme, the popularity of the air to symbolize Rose sufficient for all, the character of his little drama. Musical quality there is no interest, and that's just what we are interested in this work (although we consider it more as a joke than a serious attempt).

It's just an understanding established between the work and the audience through a musical symbol of some sort.

It is innovation of a music representative of a music motif and legend. We are surprised that we had not yet sought to expand to larger works, to orchestral works, the kind in question. The reason is probably the difficulty for a public concert Symphony, anyone can have one partition, follow the literary explanation of the music. It would suffice to remedy this problem makes it impossible to achieve at the concert of works of this kind, to install in the room a cinema screen on which appear simultaneously with the music the literary text, and could thus be followed all seats. Perhaps it would be the starting point of an art form entirely new, which would more point of resemblance with what we have called so far, music and musical composition. But would a kind of sound symbolism. Even pushing all the extreme possibilities, one can hypothesize a musical art of becoming more representative.

With advanced mechanical and noisemakers, a reconstruction of life objectively sound would become possible. We would discover the form of sounds outside of musical convention, and this is, after all, as likely, to see the painting abandon the objective representation, to escape into the field of pure speculation.

Gabrielle Buffet, The Soirees de Paris, No. 22, March 1914, pp. 181-183.

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PREFACE

The few artists whose work can be found grouped here, exposed last year in a gallery space limitations interfered with their work. Today, presented in a more favorable sufficiently isolated, they are separately or together, their whole meaning.

Whatever the impression you will leave this tour, you will be hard not to rent the tenacious efforts of young artists, continuing the path they are drawn without regard to obstacles, without considering any objections or sneers a certain audience. They have no common trends, nor of them, deep affinity, but directs one thought: free the art of its tradition, its outdated links, release him, in a word for it is the release that enslave closely to the personality of the artist.

Stop in front of these colorful paintings, busts look at these bold shapes, and try to find an influence. Escaping from coercion, refusing any direction, exhibitors owe nothing but themselves. It is their sensitivity they receive education and inspiration.

These are not differences of school you will find here. You will not find that differences in sensitivity. And we must admit our artists as a susceptibility joins a new element: the imagination that allows all varieties, allows all the forces of art, promotes the most daring combinations, their most unexpected shocks, almost always creates a harmony of contrasts .

This collaboration can overcome the limits of the Impressionists. Monet's formula is no longer sufficient. The painter no longer cares for a moment or color, his brain has to offer visions of countless shades and shapes. Nature is more than suggestive element of his art.

These innovative, some were attracted by the same technique, it is not the place here to discuss it. This discipline is also the element that requires the most, it's not in it must see the main attraction of an art that is especially true for the assertion of personality.

This design is still new and efforts of our artists, although they marked a steady progress, the public are still refractory and sometimes hostile. If not to persuade or happiness does not collect directly the result of their initiative, at least, will they have the merit of having shown the way and to them that can return the honor of renovation.

Rene Blum. Preface to the Catalogue of the Exhibition of the Section d'Or in Paris (10-30 October 1912), Galerie la Boetie.

Is Fruit From Concentrate Good For You

The letter writer enamored

If the correspondence of Francis Picabia is now scattered and sometimes difficult to access (the letters preserved in the Bibliothèque Jacques Doucet can be consulted only with the permission of various beneficiaries), if not inaccessible when the letters in question belong to private collections (1), it is nevertheless possible to consult his Letters to Leonce Rosenberg 1929-1940

and the

Letters to Christine (Boumeester). Later, these were written between 1945 and 1951 and followed in the edition of John Gerard Levovici Sireuil Editions, a collection of essays highlights unsung Picabia, entitled Ennazus . Ennazus anagram of Suzanne (Roman), who Picabia wrote many love letters and Les Presses du Reel announced as one of their upcoming release:

Picabia with Nietzsche, Love Letters to Suzanne Romain (1944-1948). Edition This imposing volume of 432 pages is the brainchild of Carole Boulbès, author of Picabia, the holy hidden (Jean-Michel Place, 1998).

There is no doubt that this volume will occupy part of my fall.

Picabia he was an imitator of obsessive Nietzsche? What relationship do it with the German romanticism? Can be compared to Nietzsche and Picabia Suzanne Romain Lou Von Salome? Picabia, who practices "collage philosophical" since 1917, address from 1944 love letters to Suzanne Romain diverting the poems and aphorisms of Nietzsche. Gathering a selection of forty-eight unpublished letters reproduced in facsimile, but also drawings, paintings, photographs and miscellaneous documents, this book highlights the artist's relations to the philosopher through a thorough historical research, starting with a correspondence love to develop a philosophical and aesthetic on art, through Goethe, Schlegel, Hegel, Baudelaire. [Les Presses du Reel].

(1) As the 36 autograph letters addressed to Jean Van Heeckeren between 24 January 1949 and October 10, 1951, sold 52 800, - € in December 2006 in a sale organized by Paris Christie's, the catalog entry stating "76 manuscript pages including 50 with original drawings, most in full page (...)" The meeting with Jean Van Heeckeren Picabia began in the early 20s and will, one can imagine, a major for both men. Jean Van Heeckeren preface Chi-lo-sa (BAP, 1950) and is the author of a long unpublished essay entitled "Picabia's unpredictable." He is among the few authors who gathered after the death of Picabia show their attachment to him in In Memoriam, a tribute plaque published "under the sign of Orbs "(April 20, 1955) and fully devoted to the author of The Athlete undertaker.