#Capital L.S.

[lsdunesarchive]

L.S. Dunes at Corona Capital (Ciudad de México, México) on November 18, 2022 | 📸: Hayley Rippy

[untilmysubstack]

2025 music so far, pt 3

Listened to 8 more new albums, so I'm up to 20 for the year now.

Cowards by Squid sounds like something I should like, but I don't remember it, and that was only 3 weeks ago when I listened.

Violet by L.S. Dunes I remember liking, I saved 3 of its songs to my current playlist, including the title track, but I always seem to skip them when they come on shuffle.

$ome $exy $ongs 4 U by PARTYNEXTDOOR & Drake I enjoyed, but in the last couple weeks, I've only really gone back to "Nokia." And it's one of my favorite songs of the year so far. Drake is weird musician for me, he's got seemingly a thousand songs, most I don't like at all, but he's got like 6 or 8 I really like, so add this one to the list. I know this is the time of year we are all supposed to be fawning over Kendrick Lamar. And I saw a persuasive video explaining his side, about authenticity and LA and Compton and 2Pac and community, and I sort of concede Kendrick is correct. But his music isn't really for me, and I actually like those 7 or 9 Drake songs.

Heard Noises by Matt Berry I don't know what to make of. I liked "Canada Dry." I think this music is a throwback to the '60s maybe? Maybe I need to listen to it again.

Saint Motel & the Symphony in the Sky by Saint Motel I liked when I heard it the first time. I remember grooving. It was cool. I was like, who are these guys to put their band name into the name of their album? They seem to be prolific but I've never heard of them. I thought I often think, I am into music more than most people I know, but there's so much music I don't know. I only have such a short time on this planet to explore more of it. As I write this, I really haven't listened again. I'm listening to "Get It At Home" again because I remember liking it. I need to listen to this again too, maybe a double feature with Matt Berry, it'd only take an hour and a half, maybe while I'm working on a creative task at work this week.

Ghostholding by venturing I was blown away by the opening track, "Play My Guitar." But not in the way of a standalone song, more of the feel that it was the start of a whole vibe, like I'd have to love the entire album after hearing it. I listened to it walking around a soccer field during my younger son's tournament. I want to take a walk by myself around a some city and listen to this again and pretend it's the '90s.

Blindness by The Murder Capital I was so disappointed because I loved their last album so much. Two years later I'm still listening to that one. Maybe I'll find something to do that will take me just over 2 hours, the combined length of all 3 of their albums and listen to them all in a row. Maybe that will get me to enjoy this new one. Maybe a hike or a drive.

Constellations For The Lonely by Doves what can I say about Doves? I loved their 2002 second album so much. And their 1st and 3rd albums are good too. But that 2nd album, it is so good. Put "Catch the Sun" from their first album with the entirety of their 2nd album, that's like the peak of music for me. I was just out of college, didn't know much about life, listened to Doves over and over, should have listened to more closely the lyrics and acted upon them. I will listen to anything they put out. And this new album isn't too bad.

Any of these with a chance to make my favorite 5 or 10 of the year? I don't know, maybe all, maybe none. I think I've been too busy or preoccupied lately, I need to listen to all of these again to adequately assess. But they are all exist under the spectre of Hadestown, 2 hours of genius that I was introduced to 2 weeks ago, and is currently dominating the empty spaces after I do my album per day thing.

[ag-updates-and-archives]

“There Are No Rules” L.S. Dunes Interviewed

The post-hardcore group on their seismic new album...

There’s a certain mystical nature to frontman Anthony Green as he expresses the feeling of magic he experiences in Ireland, as guitarist Frank Iero watches one of his closest friends with a bemused fondness, popping in with observations of his own. But, Iero laughs quietly, in a knowing way, as Green’s mind begins to wander, “Ireland has a magical, mystical thing going on. There are fairies here. There’s fucking legit magical shit. Traditional Irish music has some of the craziest storytelling, craziest melodies and songs like he said, there’s songs where the story is linear, you know, and the music here is rich with majesty,” despite warnings to not “talk about ghosts in these old Irish buildings, [because he] might summon something.”

Green’s eloquence and ability to convey his fascination with the magic that lies not only within Ireland, but within music, stretches far beyond what is presented on L.S. Dunes’ newest record, ‘Violet’. And with five of the most powerful minds in post-hardcore at the helm of this newest record – Frank Iero and Travis Stever on guitar, Tim Payne on bass, Tucker Rule on drums and Anthony Green fronting the band – the band’s exploration of genres, sounds and structures pushes the very boundaries their other projects have started, as pioneers of post-hardcore. Honed in on a fine line of post-rock and post-punk, tracks feel environmental and all-encompassing, a swirl of technique that only some of the most innovative minds in the alternative scene can create.

—

—

Eccentric, indomitable, insightful, L.S. Dunes newest venture with ‘Violet’ can be perceived as a vastly different record to their first, ‘Past Lives’, but in truth, contains the same sentiments the band founded themselves on. An exploration of the human consciousness and its relationship with creativity in all of its forms, they push music to its limits, even though to L.S. Dunes, there are none; “There are no rules. Like the fact that there is no right, there is no wrong, it’s just what makes you feel something. Or what sounds good to you. And it’s very subjective, you know? 
The thing that I dig will not be the thing that you dig all this time. And the reason I do it, and the reason that I want to continue to make stuff is because I need to for my own soul and it’s for nothing else. It’s not a tangible thing,” Iero begins. Whether that creativity springs from something tangible or just sensational, it creates a kind of magic, “It’s like you breathe, you walk, you make things, you make songs,” Green hums in agreement. 

Sitting in a dimly lit room at the top of the 3Olympia in Ireland’s capital, Anthony Green and Frank Iero huddle closely, starting off quickly with proclamations of adoration for the country sprinkled amidst the buzz of their first night on tour. Opening for Rise Against on their UK and EU tour, the tour kicked off in Ireland, allowing for Green and Iero to explore the day before, Green’s mind was occupied by the sorcerous atmosphere of the country. And the fact that Green was able to tap into a part of Ireland many people fail to acknowledge, it’s easy to see how ‘Violet’ formed in the way it did, “There’s so much magic in music when it comes to connecting, what draws you out of your comfort zone, and what happens when you’re in a moment in the flow state.”

Through a flow-state that allows for the sorcery  spilling out and morphing into the shape of what is now, ‘Violet’, there are specks of mystery, skepticism, query, and hope perceived throughout the entirety of the record. Fascinating in the way that the instrumentals quite literally convey and encapsulate the essence of how the lyrics make one feel, Green can only describe the experience of writing the record as “touchdown after touchdown – I don’t know sports – but from the very first second I started working on the record… It’s like a joy every time. It’s like when you write something and you’re like, ‘I fucking nailed it, I fucking nailed it! I can’t wait for my parents to read this! I want everybody I went to school with to see this!’ That’s how I felt literally every day leaving the studio, even when something wasn’t hundred percent there, I knew that this group was going to make it better than it could ever have been if I didn’t have this.”

—

—

Green elaborates, “As an artist, as somebody who loves making stuff, there’s only so much I can do when I’m like in my own head, and I can make a cool, whatever, but when you get somebody around you who’s really good and they’re playing, you’re inspired to do more than what you would do on your own… You have four people around you who are inspiring you, who are great, who you admire – so, your output is going to match differently than you just sitting in your room imagining things. And for me, I’ve been searching my whole life for different people to make music with. 
And I’ve had the opportunity to make music with so many great artists, but this situation was one of those fall in love at first sight types.”

With the band originating from their respective, but separate, states of the US amongst the pandemic, the band found a rhythm with starting ideas alone for ‘Past Lives’. But now, with the new record, new paths were foraged both physically and sonically. They “lived in a house down the street from the studio and did the record that way,” Iero explains. Far from what would be considered normal for L.S. Dunes due to “everybody [having] families and other obligations,” and previously made obligations to bands like Thursday, Coheed & Cambria, My Chemical Romance alongside previous excursions with Saosin and Circa Survive. Considering L.S. Dunes only to be a labour of love and dedication is disservice to the mountains they must move in order to find each other in the valley – “And at some point, you’ve got to see a doctor, too.” Forget the dentist, “You got a branch in Vienna?” Iero jests. 

“There’s shit that is happening right now ‘cause I don’t got the fucking time!” Iero exclaims.

—

—

In all seriousness, it “certainly makes this cool thing though – when we do get together, it is kind of like seeing that friend that you don’t get to see very much, but you only have a good time with.” While their friendship is first and foremost, and without it, the band would have never formed, or been as internally successful as it is, they collectively understood that making their first record and doing their first shows was them testing the waters of being a band. “Not just can [we] hang together and make each other comfortable and all that stuff, but like can [we] work out a creative difference? Can [we] compromise on a creative difference so that [we] make it even better than the desired effect from either party? 
Can you live with each other, in close quarters, making music together? All that stuff is the stuff that will make a band like able to make good music.”

Falling in love with the inner workings of the band and the environment it gives each artist in the group – and having it work as harmoniously as it has – allows for the band to blossom and bloom in a way that may not have been possible if pursued any sooner than it had been. When considering the formation of the band its occurrence, Iero wondered aloud whether or not the group could be what it is, had it formed 10, 15 years ago, “I think everything happens for a reason in a certain part of life. I truly feel like the universe kind of tells you where you need to be if you listen to the signs.” And when the signs arrived in the form of voice memos and texts being exchanged in group chats during COVID, they jumped on it. However, it wasn’t without consideration of who they were as individuals and artists, “I know for myself that I could not have handled this type of relationship with people, I don’t think I was ready to be as open as I needed to be in my life until the moment that it made itself available to me. The version of myself that I’m able to move into now at this stage of my life, is because of this band. I don’t know if I could have handled the type of internal pressure,” Green admits.

Screaming about that pressure on ‘I Can See It Now…’ on the newest instalment of L.S. Dunes’ discography, the new album’s ten tracks push and pull, break and crash, sprawling over different sounds and techniques as questions as to our role as people in our environment, the inner workings of human, and questioning the nature of hope, and the magic that lies within freeing yourself from something that doesn’t necessarily serve you swirl in the air: “The idea of being let down by hope, that’s really your preconception and what your expectations are of that. That’s like having a conversation with yourself before you have it. It’s a dangerous game.” Yet Green coincides with Iero that he believes he “found a sense of hope” while “working with the band on Past Lives. Ultimately, the lingering themes of hope that thread through the record showcase a natural occurrence for Green, “I think that just naturally came out because this band makes me feel hopeful.” 

Despite the “inevitable” stress that comes along “when trying to make anything,” which Green considers to be a good kind of stress and pressure – because it means that you see it as “important, and that it means something to you” – the band’s ability to turn inward and reflect was because they were in an environment that made them feel safe. “We put each other first and I think that that helps create an atmosphere where we feel safe, like we’re not gonna work ourselves into the ground for, you know, what? A chance at the big time?” Green jokes.

—

While some may – somewhat dismissively – call it a passion project due to its members’ notoriety, it’s more than that. Passion project implies that it’s to the side, only really worked on when convenient. However, nothing about L.S. Dunes and their lives are convenient. That drive, that desire to create a project that is more than just something they work on occasion. No, this project is each member at their most authentic, at their truest ‘creative spirit’: “Much to other people’s chagrin, like labels and managements and all that stuff, like – if it doesn’t feel natural to us, we don’t fucking do it,” Iero shrugs with a bit of a chuckle. “It’s sort of like you have to be selfish so that you can be selfless, you know?” Green adds. 

The authenticity found within L.S. Dunes is evident as members look both to their foundations and what that can be transformed into, pushing themselves beyond who they are at their roots. “I think it’s hard sometimes to get away from the things that are innate to you as an artist, you know? There’re certain places where you will naturally go to or things that you shine within. Whether it’s a riff here, or a melody shift or even like a mannerism within your vocals. We’re all an amalgamation of different ticks that we’ve picked up along away from different people, right?” Iero explains. “You’re gonna have a word that you like to use or a chord change that you like to use. So that stuff, I think keeps you grounded to where you came from, but I think the progression forward is to be aware of that stuff and also try to push yourself outside of those boundaries and push yourself into a place that you don’t feel as comfortable.”

And when you challenge yourself and push your boundaries successfully, it can transform you as an artist. Anthony Green is a glowing example of that, “I don’t know if I’ve ever felt further away from where my roots are than anything ever, and I don’t think it’s a bad thing. I never want to go back to that… I didn’t have a really good relationship with the creative spirit, and it felt like everything I made was almost in spite of my shitty relationship with my creative spirit and with my own self and my body and my ability to connect with my band. So, I feel like this is all new for me.”

A new start, questioning all that has been and all that is, turning pages on times they no longer felt connected to, ‘Violet’ bleeds with deep internal reflections and explorations as they change and morph as a sunrise would, turning the sky violet. And the success of this record to them won’t come from how the record is received by critics, but rather from themselves: “Our victory and our trophy comes when we like the record. Whatever happens after it comes out, kind of just happens – it has nothing to do with us. Like we can make a good record that we like and then be happy to put that out there and that’s where we end,” Green elaborates. Because at the end of the day, Iero acknowledges the “weird connotation with the way that certain people interpret [success].” And he’s right – success has been quantified instead of qualitative. Instead of a release being successful because it was an objectively good record, the quantity in which the record is awarded and perceived by others determines its success.

—

—

Instead, the core of why ‘Violet’ is objectively successful in their terms is because of who the group are at their core, and the creative environment that manifests from their personal identities and reflections: “Our victory and our trophy comes when we like the record. Whatever happens after it comes out, kind of just happens – it has nothing to do with us. Like we can make a good record that we like and then be happy to put that out there and that’s where we end,” Green elaborates.

And the fact that the project is able to be created without restraints, the art truly the only focus, Green and Iero acknowledge their position in the creativity community, “It’s not often that people get the luxury of being able to make something with people who aren’t sweating on you to pay their bills. Like, even if it’s just the tiniest bit of quantum level sweat. When somebody just is like, ‘hey, you do your thing so good. I just love you and I want you to do your best and it’s always you’re happy, we’re gonna be happy, and we’re gonna make a steam roller out of this.’ This is an art project, like that’s such a gift. As an artist it’s made me better, and it’s made me able to work with people better and I think it makes my mission of just wanting to make good music with my friends stronger.”

“To be in a situation where that’s not why we do this – like we would actually probably make more money if we didn’t do this band,” Iero all but shouts in amusement.

A situation so untainted gave way to an objectively good record that tests the boundaries L.S. Dunes view as nonexistent – ‘Violet’ is a testament to the strength and courage of the human spirit in pursuit of creativity and connection, and the magic that is inherently created from such a love for what they do. Indeed, with combined experience of decades in the industry, one would expect a polished piece of work from five post-hardcore pioneers. However, no one can expect the band to reveal themselves and expose their minds and souls to the level of humanity and authenticity this record encapsulates. Untarnished of any restrictions, ‘Violet’ is L.S. Dunes at their most curious, genuine selves. 

—

—

‘Violet’ is out now. For all L.S. Dunes live information visit their site.

Words: Isabella Ambrosio Photography: Shervin Laine

[burningchandelier]

L.S. Dunes, AI, and how we are missing the bigger picture:

After a day of heightened emotions due to the announcement of the Old Wounds music video, this is what I can offer. I have given this response a great deal of consideration and I submit these words respectfully. I'm not hiding the ball about where I stand: I do not support AI as it exists, however I do support L.S. Dunes's use of it.

There has been debate about whether or not engaging an artist who utilizes generative imaging is worth discussing at all, or if it is symptomatic of a broader problem. Something that I have not seen any widespread discussion of is the bands much greater history with AI. The truth is that without AI, L.S. Dunes would not exist.

Do I think AI is awesome? Absolutely not.

Do I think AI is a signature part of the artistic landscape of this era and something that we should acknowledge as a reality, like it or not? Yes, I do.

Beyond that, I believe that this is exactly the kind of thing that can produce provocative and interesting art when utilized in creative ways. I believe that it this is what art should do-- it should inspire outrage, fury, laughter, discussion, and challenge the context within which it was made. This is the burden and responsibility of art. It must make us question and engage with our world.

If the art that you embrace only ever leaves you feeling comforted, then you are not consuming art, you are hanging out in an echo chamber. You might as well go to a grocery store for the ambiance.

So, is it the responsibility of a rock band to eschew a problematic tool in the creation of their work? That is not for me to say. Personally, I view misogyny, racism, classism, the proliferation of drugs, and the promotion of neoliberal politics as problematic tools for the creation of art, and all of these things have been used for decades in rock music and videos.

Am I honor-bound to condemn every artist who has ever utilized any of these things? I would be hard-pressed to find a band or musician I could support.

Is it the responsibility of artists to make morally pure, ethically unquestionable material, or is it our responsibility as an audience, to decide for ourselves what we are and are not comfortable with and to act accordingly? This appears to be the dilemma and divide of the decade, if not the generation.

In the specific case of L.S. Dunes, the question of AI is baked into the foundation of the band itself. There would be no L.S. Dunes without AI. The band was started by Tucker Rule during the quarantine, when tours were cancelled.

During this time, the Rules were supported by Tucker's wife who is the chief of staff of an AI company.* Without her support, Tucker would not have had the creative freedom to form the band. L.S. Dunes would not have written or recorded any of their music. They would not have toured. Any of the positive experiences that their fans have had would not have happened.

Is it disingenuous to accept a band that benefited directly from the profits of AI, but to publicly decry their work when they experiment with it as a means of artistic expression? I do not believe that you can have your cake and eat it, too. I feel that you must either accept the band as a whole or not, but do so honestly and by making a conscious decision.

As AI continues to encroach into spaces both public and private, creative and commercial, we will continue to find ourselves with more questions to ask and answer. These questions will have greater consequences than how we engage with a rock band, but the ultimately core of these questions will remain the same:

What matters more: how we respond to an algorithm, or how we treat our fellow human beings?

*This is not an invitation to harass the Rule family. Tucker's wife works with human beings in her role at her office. We all have to work to survive capitalism and sometimes those jobs are not ideal. She has a family. Leave her alone, for the love of all that is good in the world.

[tyforthevnm]

conciertos_mx: L.S Dunes en Festival Corona Capital | 📸 x @carloosoliva

[November 18, 2022]

[childrenandtechnology-blog2]

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Bonsignore, E., Hansen, D., Kraus, K., Visconti, A., Ahn, J. and Druin, A., 2013. Playing for Real: Designing Alternate Reality Games for Teenagers in Learning Contexts. Interaction design and children, 12.

Boostrom, R., 1991. The Nature and Functions of Classroom Rules. Curriculum Inquiry, 21(2), p.193.

Booth, P., 2010. Digital fandom: New media studies. 1st ed. New York: Peter Lang, p.2.

Brown, G., 2013. The Serious Business of Play. Science, 342(6159), pp.694-694.

Bruffee, K. (1999). Collaborative learning. Baltimore, Md.: Johns Hopkins University Press.

Cameron, D. (2013). An examination of teacher-student interactions in inclusive classrooms: teacher interviews and classroom observations. Journal Of Research In Special Educational Needs, 14(4), 264-273. doi: 10.1111/1471-3802.12021

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Csikszentmihalyi, M. (2008). Flow: The psychology of optimal experience. 1st ed. New York, NY: HarperCollins Publishers.

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[lsdunesarchive]

lsdunes: Thank you, Mexico 🇲🇽🦂 📸: Carlos Oliva lsdunes: On the electric guitar Mr Travis Stever 📸: Ale Correa

(Twitter | November 21, 2022)

[phoenixia94]

"Tú siempre serás mi mayor pecado capital".

L.S Quintero

[propertiesupdates]

M3M Antalya Hills Gurgaon: The door reveals a comfy living

Gurgaon is a planned city in Haryana, India, and is part of the Delhi NCR (National Capital Region of Delhi, India). In recent years, this city has elevated itself to one of the most livable in the entire capital region of the nation. It is a popular choice of residence for families, individuals, and working professionals. It is now regarded as one of the most significant cities in the nation, with thriving sectors for retail, manufacturing, and business.

Making the best choice for your family

Modern technology and nature are blended in M3M Antalya Hills Gurgaon, which is motivated by enduring achievements and transcendental upheaval. The residential apartments in this township have 2.5 and 3.5 bedrooms, and each building has ten floors. It has residential units spread out over a sizable area, with carpet areas ranging from 1193 square feet to 1534 square feet. M3M Antalya Hills Price ranges between Rs. 1.13 crores to Rs. 1.50 crores.

A solitude you deserve

An RCC-framed structure constructed to meet seismic requirements, a sky garden on the rooftop, and an entrance lobby with a premium/five-star ambiance all adds to the appeal of this development. The building has a lot of parking space, quick elevators, and sports and community facilities like jogging paths, multipurpose rooms, tennis courts, swimming pools, children’s play areas, and basketball courts. One of the many first-rate amenities and services offered by the development is a sophisticated safety set up with a fire protection system that embodies sophistication, class, and functionality.

Settle in Paradise

The creation of space that promotes an environment of inclusivity and liberation is the core value of this housing complex. The residential areas offer first-rate amenities and contemporary conveniences that boost their market presence. For comfortable living, there are provisions for a rainwater collection system, a sewage treatment facility, constant access to water, and a three-tier security system with an indoor intercom facility to ensure the safety of the residents.

Redefining your urban life

M3M Antalya Hills Sector 79 is a development that has been strategically built close to renowned educational institutions, and several reputable healthcare facilities with qualified medical personnel. The KMP Expressway and IGI Airport, L.S. Convent School, Navyug Little Pride, UCSKM Public School, Ryan International School, The Plenum School, Jai Bharti Sr. Secondary School, and Matri Kiran, are all close to this project. This construction is well-planned and meets all standards for a gated community. It is an architectural marvel that skillfully blends elegance, practicality, and comfort to produce ideal surroundings.

[burningchandelier]

Wanted to make a

"you look good baby boy"

post but was afraid the kink blogs would find it and not realize I am talking about Anthony Green saying this to Frank Iero during L.S Dunes' set on November 18th, 2022 at Corona Capital in Mexico City, Mexico.

[viralafeed]

Therapist Explains The Sad Reality Of Capitalism And How Greatly It Affects Your Mental Health

Therapist Explains The Sad Reality Of Capitalism And How Greatly It Affects Your Mental Health

Ever catch yourself feeling anxious and burned out—like there’s no good left in this world? Well, you’re definitely not alone. It can be hard to grasp the cause behind all this but thanks to TikTok user pearcetherapy, we can learn about one possible explanation—capitalism. Therapist, writer, and educator L.S. Pearce went viral after creating part 2 of her “Capitalism Is Bad For Mental Health”…

[serenac134]

To what extent does Class in the art industry differ overtime? And how has this changed the future of art?

In this text I will be discussing class and the struggles the art has had over the years depicting class. I will be reviewing texts and discussing differences in the past and present and how they’ve differed- for the better in some cases. I’ve chosen this topic as it’s the most interesting to me and the research I have found is particularly intriguing to compare against present day.

Woods, 2001 views many different topics on the changes in art and class struggles- however the main idea I will be focusing on is the change in slavery in art. Slavery is an abomination that began many years ago- not only was slavery depicted in life but also encouraged through art, many different artists never named their pieces from older times due to the ideas of art “being collective and social rather than individual (Woods, 2001:1)  a piece that came to mind was ‘ A Slave Sale in Charleston, South Carolina (Eyre Crowe, 1854) this oil painting clearly is accentuating the disgusting resale of people to be used as slaves for the rich. The chapter of the texts outlines that slavery in art is also linked heavily to religion therefore making it highly conservative, the text takes an outlook on many forms of slavery in different times from the Romans, to Egyptians and from War. Slavery in general has been abolished over decades due to racism being exposed in the media and more people giving equal rights etc. The chapter also highlights the idea that human society had a very slow and painful start to racism however now widely understood and recognised, for the better. The text gives knowledge on the past of slavery and its culture it doesn’t focus too much on art however there are underlying links like “The history of art does not - and cannot - exactly reflect the development of human history. That is an erroneous conception which has nothing to do with Marxism. For example it does not necessarily follow that because the productive forces increase, art will necessarily experience a revival (as the history of the past half century shows only too well) nor does it follow that a period of crisis and economic downswing cannot produce great art (Woods, 2001:1)” I think this particularly intrigued me because many different speakers and text often imply the idea that art has a massive impact in the present day because of things that occurred in the past however this writer outlines that it cannot reflect the development. Other texts I studied focus mainly on class and the differences between bourgeoisie and the proletariat however this focuses on the journey through slavery and how it differs slightly in different times and cultures- I think this article is interesting to compare as it hardly focuses on art as the subject but more so the issues at hand like slavery and class rather than how this was depicted in art. The idea that the past doesn’t change the development of the future for humans is very interesting to look at because it clearly outlines that the past can’t determine the future and that you can’t change it even if you try and avoid similar things that have happened in the past. Also, the article reads “And Trotsky explained that the proletariat cannot create its own culture before the revolution because of the conditions of its life under capitalism. On the other hand, after the socialist revolution there will not be a workers' culture, but a genuinely human, socialist culture (Woods, 2001:1)” I thought this was also particularly interesting that Trotsky accentuates people who are in the category of proletariats cannot create their own culture but can only follow others like the bourgeoisie so essentially they have to copy. I think this allows you to think deeper into why this is the case and why people are still under pressures by the bourgeoisie not just financially.

Attfield, 2016 speaks from personal experience in the art industry- she writes in detail how she believes people in the upper middle class are the ones who tend to buy paintings as art is so highly priced and therefore people create art for the middle class so they more chance of sale. This seem particularly evident throughout many years, looking back decades wealthier individuals paid for portraits to be painted of them and wealthier people are the people who tend to go to auctions and gallery sales. “There were the classic paintings and sculptures of rich and important people, still life scenes of opulent objects and interiors, and contemporary figurative art that showed people I didn’t know in fancy looking homes or lounging about doing nothing and looking mysterious (sometimes in the nude) (Attfield, 2016:1)” This accentuates the rich life that these individuals were living and some still are, for example usually people in royalty would be able to afford for these kinds of paintings to be made. This implies that the divide in class is very evident throughout the art industry especially in past years as having painted portraits of families and important individuals was the only way to document them physically as there was not the ability to print taken images on cameras till 1888 when George Eastman created manufacturing paper film. Before this royalty and many other upper-middle class people had portraits painted an example may be Henry VIII who would then get the artist to change parts of him just like you would in this day and age with editing. He would get the artist to make him look wider and have broader shoulders to ensure people knew his wealth as that depicted you ate well and could afford it. The article outlines that “Regardless of the economic value of art in a capitalist system, people attend galleries and art exhibitions because they find something moving, beautiful, challenging, and thought provoking in the works displayed (Attfield, 2016:1)” this accentuates that no matter what financial situation you are in this never depicts how you can learn and react to art itself, whether you’re in the working class you may find pieces that relate to you just as well as it may relate to someone in the upper middle class it all depends on the piece of art itself and how you interpret it.

Taste in art, historically was based on class although some may argue this. Many other factors should be taken into consideration like feminism, gender and many more. Brook et al., 2018 explain how there are many factors that all link together to create dents in the creative industry that may disadvantage people. It explains how people from the upper class are over-represented, this may be simply because they are on the wealthier side so people may just assume and place them in a category in which those in the low minority ethnic backgrounds may not be placed in due to them being in the lower background and also being female. Brook et al., 2018 articulate that “I wouldn’t care so much if it was a systemic and hiring issue in banking, but I care because it’s in the arts” (Brook et al., 2018:11) this may be why the working class may be excluded from creative industries and is clearly outlining the frustration Brook et al., 2018 conducted interviews, one in which said “we also show a longstanding problem, there was no ‘golden age’ for social mobility and equality in cultural occupations” (Brook et al., 2018:11) in which implies that there is no peak of social mobility and equality showing that it was an imaginary time to some people because it never happened which may be because of the struggle that working class individuals may have had trying compete for better pay and therefore resulting in making it in cultural occupations. The traditional working-class jobs decreased dramatically over the years and perhaps due to the media exposure on these topics and also the rise in feminism. The text goes onto explain how people form the working-class background have a higher difficulty trying to get past substantial barriers to gain creative jobs just due to their class background. Also, the chances of young people getting into cultural work according to their social origin had not changed substantially overtime whereas over the past 40 years population from the upper-middle class professional and managerial origins has increased substantially. This clearly shows that although some things may have changed in art overtime some areas still need development in the future which could perhaps come from more media exposure or rise in movements.

Throughout my research for this assignment I have come across many different pieces of art that back up my views and opinions that I’ve analysed within this literature review however one artist particularly stands out to me when researching has been L.S.Lowry an artist who doesn’t necessarily focus on class and its struggles but he does creates pieces of art which reflects some atmospheres and scenarios of class struggle. Lowry created many scenes depict poverty and gloom in Salford and Manchester in the 1900s- one in particular I will discuss is The Fever Van ( L.S Lowry, 1972) which is showing people gathered around an ambulance with a patient probably suffering from illness, the sombre tones of the painting almost tell its own story but with all the heads turned gives you the impression the viewer knows what is about to happen to the individual who is inside the ambulance. The scene reflects a fever inflicted victim in the ambulance but also shows the whole community coming together- more than likely this painting is  based in a more urban rural area as the wealthier people at this time wouldn’t live in areas like this and also would have had their own doctors and nurses to guide them if they ever fell ill. This painting is extremely intriguing to me as its very dark and sombre and clearly reflects the mood of these individuals at this stressing time where getting an infectious disease was normal for people in poorer areas- some areas in this image almost reflect panic especially the people walking at the front as they’re still wanting to know what is going on but clearly don’t want to be involved or are rushed enough to stay away from the patient. The small terraced houses also depict the area of the painting as people who were wealthier lived in detached houses. It’s also interesting to think whether Lowry’s emotions played roles into his paintings through the colours rather than ju7st landscape pieces. His mother was a huge influence of his work and could have perhaps been exemplified through his paintings as a way of grief or depicting illness. This painting has had many of articles wrote from individuals, one that goes into great detail is by Sarginson & Guppy, 2003. They clearly outline each segment of the painting and their views and opinions. The writers also go into detail about the area of Manchester and Salford how these areas were labour working areas which Lowry would depict in his paintings all the time. Looking at this piece closely it makes me think in more detail about class struggles in many different ways and how they’ve different to now which is reflecting my argument throughout my writing- it accentuates how many things have changed over decades with class which is depicted from peoples jobs and housing etc. I think it’s interesting to include this within my piece as it shows the poorer laboured people in these times and helps understand the difference between then and now, it also helps us reflect on how things have changed.

To conclude, class has differed dramatically over the decades and mainly for the better- this has allowed class discrimination to decrease. Also, it has helped other movements and factors come into play like feminism and racism in which it allows people to express themselves no matter what. Throughout my research it’s been particularly interesting to see the change in class and also how it’s been depicted through art beginning from slavery being shown and displayed in houses. I believe that the growth of class and its struggles has allowed artists to not have to focus on class as much which is why it’s not showed in the present day however it’s good to see the growth humans have made from the past and being able to look back on artists work which depicted class challenges. I don’t think the future of art will ever forget about class struggles due to the amazing art that has been created however I do believe it’s not as prominent at this moment and hasn’t changed the way people produce art.

[wallpaperpainter]

25 Mind-Blowing Reasons Why Famous Watercolor Paintings Is Using This Technique For Exposure | Famous Watercolor Paintings

By Khristi Zimmeth, Special to The Detroit News Published 6:18 p.m. ET May 28, 2020

Detroit’s continued and alluring history is both alarming and intriguing, so Adelia Strong Macker’s email appeal acquisitive to acquisition out added about her best items fell on acceptant ears.  

“We ambition to accompany two watercolor paintings and one pen and ink cartoon done by my abundant grandfathering and grandfathering Mr. Charles Strong and Lawrence Strong,” she wrote. “They had a academy on Griswold Ave. in Detroit from the aboriginal 1900s until 1930, aback the Depression affected them to abutting their doors. My grandfathering went on to assignment for the capital advertisers for Ford Motor Company, Nelsons, until the mid-1970s. We appetite to accord these either to the DIA or the actual building in Detroit.  But we appetite aboriginal to apperceive if they accept any value.”

A candied adherence on the aback of one of the items closed the deal: “To My Grandchild, Adelia Strong, In afterthought of your abundant grandfathering Charles J. Strong and your grandfathering Lawrence S. Strong With Love and Affection.” It is active L.S. Strong, Dec. 10, 1960.

Adelia Strong Macker with an ink-pen cartoon from 1950, left, and two water-color paintings, centermost and right. (Photo: Todd McInturf, The Detroit News)

An internet chase led to abounding references to the firm, including one from gumroad.com that was alms a best book for bargain and listed some background (some of which differed from the family’s information) of the aggregation and founder. “The Detroit

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L.S. Dunes at Corona Capital 2022 | 📸: Mario Ayanami for Pólvora

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“Anarchy - Absence of Government, NOT Chaos”

“People shouldn't be afraid of their government. Governments should be afraid of their people.”

― Alan Moore, V for Vendetta

It is only fear from the government, that makes the citizens of the state keep order and obey the law. Their actions are derived merely from fear of the circumstances. To this I say, order which is derived from fear is a shame for the human kind. There is no need for government, people are intelligent enough to govern themselves. The philosophy that supports this statement is Anarchism. There are two kinds of people, people who know what Anarchy is and the rest. The latter always say “Oh no! Without government it’ll be chaos, it’ll be Anarchy”, they say this as if Anarchy and no government are evil things. Anarchism is a political theory which aims to create a society within which individuals freely co-operate together as equals. The popular understanding of Anarchism is of a violent, anti-State movement. While, Anarchism is a more subtle and nuanced tradition rather than a simple opposition to government power (L.S. Brown, 1993).

Above all, government is an unnatural man made notion. When we are born, we are  not given a chance to choose between governments. Afterwards, we are forced to obey the government we never consented to. Subsequently, the government we are born upon imposes several duties on us. Duties imposed as obligations or ideals, such as patriotism, duty to the State, worship of God, submission to higher classes or authorities, respect for inherited privileges. These are all lies. Each person born on the world is heir to all the preceding generations. Our rights are absolute.The whole world is ours by right of birth alone  (A. Meltzer 1996). We come to this world as autonomous beings that if not put into abnormal governmental borders are naturally designed to take care of themselves, their peers without any oppressive forces. 

Anarchist themes can be found earliest in the 6th century BC, among the works of Taoist philosophers. Taoism is a Chinese philosophy based on the writings of Lao-Tzu, advocating humility. Taoism teaches a person to flow with life, live to their heart, not to fear authority, trust your instincts, follow your heart. How could such a peaceful philosophy teach something as “EVIL” as Anarchy? There are no overpowering or ruling forces in Taoism, the same in Anarchy. As it is stated in "The Political Philosophy of Bakunin" we want to make it impossible for anyone to oppress his fellow-men. If so, we have to make sure that no one shall possess power. These two schools of thought (Anarchism and Taoism) come together for one simple purpose - a self reliant, intelligent, autonomous human being, who does not obey an overpowering force.

In the world of the horrible tyranny of the majority equality is one of the most overused concepts. Democracy preaches equality as an essential base of its ideology, nevertheless it is Anarchy that practices it. Here, there are no superior powers, everyone follows their, common sense,  intelligence and conscience. In his essay “Civil Disobedience” David Thoreau says that men should never resign their conscience to the legislator, because we then become merely subjects. By being subjects in the hands of  the overpowering class (these are politicians, white men, capitalists) Democracy becomes a horrifying tool against those belonging to minority groups. Amongst these imperfect countries which have subdued the minority groups are The United States of America, France, Denmark, etc. These are the countries that are famous for their Democratic order. Nevertheless, all of these countries got caught in the vortex of capitalism where oppression and exploitation rule.

As any other political system Anarchism is sought to be practiced. Those who doubt Anarchism demand a proof and an existing example of an Anarchist state.There are indeed a few, let’s say no modern examples of Anarchies. This could possibly mean that Anarchy is an outdated form of political ideology and it can not be practiced in the 21st century. However, two centuries ago, when courageous men were spreading awareness about such a utopia as Democracy, everybody had the same thought. Monarchs ruled the world and the idea of a state which was ought to be governed by the citizens, was seen as pure nonsense. Years have passed. We can say that, those who had opposed monarchy without any evidence of the existence of Democracy, have succeeded.

In conclusion, before making any rushing decisions about Anarchy and Anarchism, consider these 3 arguments. First of all, that there is no need for government, because it is an abnormal, man made thing.This thing keeps taking away our inevitable right of freedom by imposing duties on us that we did not consent to. Secondly, the first mentioning about a government-free society in Taoist Philosophy, dating back to 6th century BC. Taoism is one of the least violent spiritual teachings one could have ever encountered. This philosophy can not preach an evil ideology. And thirdly, the argument against Democracy in practice. If we want a government who treats us justly and equally Democracy is not the road we want to take. Only through stateless order can we practice equality and justice.

We can say with certainty, that our kind has lived up to being wise and self reliant, not to be in need of a superior power always watching over its head. Once again there is no need for government, people are intelligent enough to govern themselves.

Lucy Bichakhchyan, founder of “anstoragir” Media Production

[bethannee]

Dissertation ARTISTS

ANTONY GORMLEY

http://www.antonygormley.com/show/solo

http://www.antonygormley.com/resources/essay-item/id/121

http://www.antonygormley.com/projects/item-view/id/256

https://www.theguardian.com/artanddesign/2010/feb/13/antony-gormley-climate-change-art

https://capefarewell.com/who-we-are/creatives/58-antony-gormley.html

for climate march 2015 https://www.theguardian.com/environment/2015/mar/06/gormley-climate-change-artwork-connection-shown-for-first-time-in-guardian

“connection “  accompanies an extract from Naomi Klein’s book on climate change to raise awareness. Shared out in March 2019 at climate protest. Gormley was minded to share the image because of the concerns he shares with the marchers about the irreparable damage we are doing to the planet. “We are sleepwalking into a massive human disaster.”

“evening” 2003

“evening IV” 

He said he despaired of politicians who thought no further forward than the next five years – “they are just not capable of long-term thinking.” Gormley has also shared an art work with the Guardian not seen in public before, called Evening IV, made with carbon, casein and Indian ink on paper. It accompanies the extract from Klein’s book, This Changes Everything – Capitalism vs Climate.

https://whitecube.com/exhibitions/exhibition/antony_gormley_masons_yard_2019

3 November 2019 – 18 January 2020 White Cube is pleased to present ‘In Formation’ by Antony Gormley, an exhibition of new cast iron work that questions to what extent we are the product of our environment, and to what extent we are makers of it.

OLAF ELLIASON

https://www.olafureliasson.net/

“In Real Life”

https://www.tate.org.uk/whats-on/tate-modern/exhibition/olafur-eliasson

https://www.theguardian.com/artanddesign/2019/jul/14/olafur-eliasson-in-real-life-takis-review

“your future is now” 

https://www.bmiaa.com/olafur-eliasson-y-our-future-is-now-at-serralves-museum/

https://olafureliasson.net/archive/exhibition/EXH102540/your-future-is-now#slideshow

L.S LOWRY

https://www.tate.org.uk/art/artworks/lowry-industrial-landscape-t00111

https://theculturetrip.com/europe/united-kingdom/england/articles/ls-lowry-the-strange-beauty-in-poverty-and-gloom/

https://www.theguardian.com/artanddesign/2013/jun/24/ls-lowry-tate-britain