#Daníel Bjarnason

[catnippackets]

Idk if you've answered something like this before but do you have any recommendations for music to listen to while reading The Backmaker? I have trouble focusing on reading digital comics without something to listen to as I read, and I don't think my go-to lofi would be thematically appropriate for a horror comic lol!

I had similar questions which lead to me deciding to start making a whole album of instrumental music so ppl could have mood music while reading but since that's not done yet, here's some songs that contribute to the general vibe of things (curated from my three whole TBM playlists I've made in stages as I was figuring out what the story was gonna be)

It's Showtime! (Score) - The Devil's Carnival

Dream - Tally Hall

Bad Dream - Sóley

Taking Tea in Dreamland - American McGee's Alice

Rutinas - The Platform

bury a friend - Billie Eilish

The Evil Theme - Henry Mancini

Tili Tili Bom - James Smith

Ramalama (Bang Bang) - Róisín Murphy

Theatre Island - Sóley

Kill the Clown - Sóley

Monsters - Lenka

Tokka - Agnes Obel

Wisdom Cries - AURORA

I'm Not Edible - American McGee's Alice

Snow - Ben Frost & Daníel Bjarnason

The Curse - Agnes Obel

What's He Building? - Tom Waits

Old Toys - Cirque du Soleil

Out of Her Head - Possibly in Michigan

[theretirementhome]

Iceland Symphony Orchestra & Daníel Bjarnason - Mazzoli: Sinfonia (for Orbiting Spheres)

[oobwordy]

poem: but just to

song: Suite from The Theory of Everything - IV. Forces of Attraction · Iceland Symphony Orchestra · Daníel Bjarnason · Jóhann Jóhannsson

admire me,

but just to see me.

touch me,

but just to hold me.

kiss me,

but just to love me.

knowing these things–

admiring, touching, kissing.

that’s all i’ll ever be

for people who were

built to want need more.

(illustrations on insta)

[twoblackcats-com-blog]

solitude iv by Dave Binyon Via Flickr: Music : Right Click and select "Open link in new tab" www.youtube.com/watch?v=behw57tp6oI Solitudes IV. Selge Ruh - Daníel Bjarnason

[naysayergodslayer]

You Mean More to Me Than Any Scientific Truth

-Ben Frost, Daníel Bjarnason (Sólaris, 2011)

[nofatclips]

Sigur Rós live from the Walt Disney Concert Hall

[bedroomcommunity]

Daníel Bjarnason Processions Review

“ When considering this album’s tendency toward beautiful chaos, it is important to remember the label that released it. Bedroom Community, owned by Icelandic übergenius Valgeir Sigurðsson, releases artists who do similar work that makes listeners define and redefine their ideas of classical music. Nico Muhly and Ben Frost are two other artists found on this label, and both share Bjarnason’s sense of flawed, beautiful drama.” ERIN LYNDAL MARTIN 17th February 2010 http://www.popmatters.com/review/120041-daniel-bjarnason-processions/

[jgthirlwell]

playlist 07.02.17

Gojira Magma (Roadrunner) JLIn Black Origami (Planet Mu) Sarah Angliss Ealing Feeder (Bandcamp) Tigran Shadow Theater (Universal) Ben Frost & Daníel Bjarnason Solaris (Bedroom Community) Fred Frith Gravity (RER) Joe Grimm Brain Cloud (KK) Delia Gonzales Horse Follows Darkness (DFA) Ennio Morricone Hateful 8 OST (Decca) Dominic Frontiere Hammersmith Is Out OST (Capitol) Schnittke Cello Concerto (Naxos) Vertical Scratchers Daughter of Everything (Merge) Chino Amobi Paradiso (Uno NYC / Non) Cafe Kaput  Applied Music Vol 1 - Science & Nature (Cafe Kaput) Jon Brooks Shapwick (Cafe Kaput)

[elmartillosinmetre]

“Soy un músico de emociones”

[Andrei Ionita (Budapest, 1994), Juan Pérez Floristán (Sevilla, 1993) y Pablo Barragán (Marchena, 1987). La foto es de Mario Marzo]

El clarinetista sevillano Pablo Barragán graba para el sello IBS Classical las dos Sonatas y el Trío de clarinete de Brahms junto al pianista Juan Pérez Floristán y el cellista Andrei Ionita

El clarinetista Pablo Barragán Hernández (Marchena, 1987) es uno más de esa nómina de jóvenes músicos andaluces que han roto definitivamente todos los complejos que gravitaron durante decenios sobre la música española y triunfa hoy en el centro mismo de Europa. Lo ha hecho, como el resto, gracias a su talento, pero también (no debe olvidarse esto) al esfuerzo de una sociedad que les ha dado los medios (y sobre todo, las posibilidades de formación) que no tuvieron sus mayores. “El trabajo que se ha hecho en España en los últimos 20 o 30 años es increíble”, comenta. “Yo empecé en la banda de mi pueblo, pero es que en las bandas se está haciendo ahora mismo una labor extraordinaria. Cuando vengo y escucho una banda en una procesión o un concierto, oigo conjuntos que tienen un sonido cohesionado, coherente, con una cuerda de clarinetes soberbia. Luego yo estudié en el Superior de Sevilla con Antonio Salguero, un gran profesor, y tuve la suerte de estudiar también en la Academia Barenboim-Said, de formar parte de la OJA y de la Orquesta del Diwan”.

–En 2009 se fue a Suiza para dos años... y no ha vuelto. ¿Notó diferencias  al principio? –Mi formación era muy buena, pero en Basilea el nivel era un puntito más alto. Lo que más noté fue la forma de trabajar y los medios. Cuando llegué me dijeron que me podía apuntar a los grupos de cámara que quisiera, dar clase con quien quisiera. El primer año tenía doce grupos de cámara. Yo salía de mi casa a las 8 de la mañana y volvía a las 11 de la noche. Eso era increíble. Pianos de cola por todos lados, aulas de estudio, repertorios nuevos... Descubrí un mundo por completo novedoso para mí. Terminé mis dos años de Diploma Orquestal y mi profesor me dijo que me veía con carácter y personalidad para hacer el Diploma de Solista. Así que lo hice. Ahí empecé a hacer cositas, a establecer contactos. A veces son meras casualidades: alguien con quien has dado clase que te invita a un concierto. Funciona mucho el boca a boca. Si eres profesional, muestras interés, pones pasión, eso se transmite. Y luego también cuenta la suerte: estar en el sitio correcto en el momento adecuado.

–¿Qué supuso el triunfo en el Prix Credit Suisse Jeunes Solistes en 2013? –Fue un empujón. Empecé a hacer otro nivel de conciertos. Apareció un agente interesado. Seguía haciendo alguna cosa de orquesta, pero me enfoqué ya con claridad hacia la carrera de solista y la música de cámara que es donde realmente me siento libre.

–Y pese a ese ambiente tan favorable en Suiza hace algo más de un año  se trasladó a Berlín. ¿Por qué? –Me había quedado en una zona de confort, todo muy tranquilo y muy organizado, pero necesitaba algo más de dinamismo. En Berlín tenía muchos amigos, y es una ciudad de una vida cultural y creativa riquísima. En Alemania he entrado en una agencia importante. Me están cuidando; qué repertorio quiero hacer, con quién y dónde toco. Me han liberado de cualquier trámite burocrático. Esto me ha dado mucha paz mental. Estoy empezando a crecer. Me siento con ganas. Hay tanto por hacer y por descubrir. No me gusta hacer planes a largo plazo. Crearme expectativas en este mundo sería meterme demasiada presión, y no quiero eso.

–¿Cuándo surge la idea de este disco dedicado a Brahms? –El padre de Juan [Pérez Floristán] fue mi profesor de Música de Cámara, y ya me hablaba de que tenía que tocar con su hijo. Tocamos por primera vez juntos en un Encuentro de Cámara en Santander en 2011. Luego él me acompañó en el recital que di en la Sala Manuel García del Maestranza. Ahí hablamos de Brahms, pero lo veíamos como algo a largo plazo. Luego coincidí con Paco Moya en una grabación que hice con la Orchestre Musique des Lumières y me habló de que quería grabar conmigo y con Juan las Sonatas de Brahms, pero como el minutaje se iba a quedar corto quería completarlo con el Trío. Yo conocía a Andrei Ionita de un proyecto junto que habíamos hecho hacía 5 o 6 años, cuando grabamos una sinfonía de Mahler en versión reducida. Entre medias él había ganado el Premio Chaikovski. Estaba lanzado, pero aceptó la idea. Todo surgió de forma muy natural y espontánea.

–¿De dónde viene su relación con estas Sonatas de Brahms? –Se las escuché por primera vez a mi profesor Antonio Salguero. De hecho, cuando le escuché la Sonata nº2, que él toca con mucha flexibilidad y muchísimos detalles, fue cuando me enamoré del clarinete y de las posibilidades del clarinete como instrumento de cámara. La toqué por primera vez con Juan en ese encuentro de Santander.

–En diciembre se presentan en el Maestranza con el Trío de Brahms y obras de  Schumann en la primera parte. ¿Cómo es su relación profesional? –Tenemos una química extraordinaria. Ellos tienen un componente cerebral muy importante, pero son increíblemente emocionales, que es algo que yo necesito para conectar. Hicimos el programa del disco ya en Berlín, en un espacio alternativo, el Piano Salon Cristophori. Luego lo hemos hecho en Venecia y en Úbeda, hace sólo unas semanas, y cada vez nos encontramos mejor juntos. Hay ya proyectos para Bolonia y para Bucarest.

–Ese disco grabado en Suiza junto a Facundo Agudín incluye el Concierto de Mozart y obras de dos autores actuales. ¿Le interesa la música contemporánea? –Mucho. No soy un especialista ni quiero serlo, pero los músicos tenemos que comprometernos con la evolución del lenguaje.

–¿Y qué estética contemporánea le interesa más? –Soy un músico de emociones, de dejarse llevar, de transmitir. Me gusta salir al escenario y sentir la energía de la gente. Me atrae un lenguaje que tenga esa pasión interna. Intento trabajar la parte conceptual e intelectual de la música, que creo que es mi punto más débil, pero me gusta aquello que te toca, que es lo que hace que la gente quiera ir a escuchar música, sentirse identificada con ella. Pasa con cualquier arte. Una de las obras de ese disco del que me hablaba es de Marco Antonio Pérez Ramírez, un músico chileno, y es una obra muy potente, de algo que se rompe, se desgarra. No es música placentera ni bonita, pero tiene ese punto de emoción que yo necesito.

–¿Quién le gustaría que compusiera un concierto para usted? –Estoy oyendo muchos compositores nórdicos. Me encanta uno islandés, Daníel Bjarnason: usa recursos electrónicos, pero trabaja también mucho con el color, con las texturas de la orquesta. Acaba de escribir un Trío para clarinete, cello y piano. Le escribí y tengo pendiente conocerlo personalmente. Lindberg tiene un Concierto brutal. Hillborg ha escrito cosas alucinantes para Martin Frost. Me gustan también Kalevi Aho o Kaija Saariaho.

[Diario de Sevilla. 1-07-2018]

EL CD EN SPOTIFY

[mantaypeli]

Undir trénu

Pese a que por sus minutos iniciales uno podría pensar que se encuentra ante una sátira social ambientada en Islandia, Undir trénu (Bajo el árbol)es una honda reflexión sobre la condición humana. Un drama universal ante el que el espectador no puede sino dejar escapar una risa nerviosa durante alguno de sus momentos más incómodos. Es eso o enmudecer. Asistir en un prudente silencio a lo que…

[architectnews]

Rolf Schock Prize in Visual Arts 2022: Rem Koolhaas

Rolf Schock Prize in Visual Arts 2022 Winner, Rem Koolhaas Prize News, OMA Architects

Rolf Schock Prize in Visual Arts 2022 Winner: Architect Rem Koolhaas

28 March 2022

Dutch architect Rem Koolhaas of OMA, Rotterdam, NL: photo Courtesy of OMA / Photography by Fred Ernst

The Rolf Schock Prize in Visual Arts 2022 is awarded to Rem Koolhaas

This year’s Rolf Schock Laureates are the architect Rem Koolhaas, pianist Víkingur Ólafsson, philosopher David Kaplan, and the mathematician Jonathan Pila. The Rolf Schock Prizes are awarded every other year and span areas as varied as science, the visual arts and music. The four laureates will share 2 million Swedish kronor.

Rolf Schock was a vibrant person who, throughout his life, was interested in logic and philosophy, as well as the visual arts and music. On his death, he bequeathed his money to a foundation which, since then, has awarded the Rolf Schock Prizes. The laureates are selected by three Swedish academies: the Royal Swedish Academy of Fine Arts, the Royal Swedish Academy of Music and the Royal Swedish Academy of Sciences,

The Schock Prizes are unusual because they recognise people who work in the sciences, as well as practitioners of the visual arts and music. People such as Rolf Schock are fascinating, individuals who have the breadth and ability to see the interrelationships between such apparently different areas. We are very proud of this year’s laureates, who have been proposed by the three different academies.

Hans Ellegren, Secretary General of the Royal Swedish Academy of Sciences and chair of the Schock Foundation.

Visual arts

The 2022 Rolf Schock Prize in Visual Arts is awarded to Rem Koolhaas, a Dutch Architect

for his long commitment and unique breadth as a theoretician and polemicist on the subject of the relationship of architecture and urbanism to, and their possibilities in, a global political context. The prize is specifically awarded for Koolhaas’ ability to combine a theoretical and architectural practice in which each designed building, of a high and individual quality, expresses an overarching idea in terms of urban development, culture and politics.

Rem Koolhaas, who was born in 1944, is a Dutch architect, theoretician, polemicist and provocateur. Since the early 1970s, he has occupied a central position in architecture and urban planning, and seemingly tirelessly produced works and writing that provide social commentary. He began his career as a journalist and script writer, which has influenced his architecture in which each project, each building, is an expression of a larger urbanistic cultural and political context.

Rem Koolhaas’ most significant works include KunstHal Rotterdam, 1993, the widely appreciated Seattle Public Library from 2004, and his often criticised CCTV headquarters in Beijing, completed in 2012. In 1975, Koolhaas co-founded the Office for Metropolitan Architecture (OMA) with Madelon Vriesendorp, Elia Zenghelis and Zoe Zenghelis.

Read more about the Rolf Schock Prize in Visual Arts

Musical arts

The 2022 Rolf Schock Prize in Musical Arts is awarded to the Icelandic pianist Víkingur Ólafsson

for his pioneering and successful work in developing and strengthening classical music. Ólafsson is one of the most creative and innovative musicians of our time. With each piece of music, he creates a new world, conveying both depth and brilliance, leaving a unique impression on the listener.

Icelandic pianist, Víkingur Ólafsson, was born on February 14, 1984. He studied at the Juilliard School in New York under Jerome Lowenthal and Robert MacDonald and also took lessons with Ann Schein.

Ólafsson has been awarded many prestigious prizes for his recordings, including BBC Music Magazine’s Recording of the Year, and has collaborated with composers such as Philip Glass and Daníel Bjarnason. He has performed with leading orchestras, including the Los Angeles Philharmonics and Swedish Radio Symphony Orchestra and appeared as Artist in Residence at Konzerthaus Berlin among others.

As a host in television and radio, as well as his creative collaborations with artists in other genres, such as Björk, Ólafsson has made an impact with his music that goes beyond the ordinary, successfully bringing classical music to wider audiences.

Logic and philosophy

The 2022 Rolf Schock Prize in Logic and Philosophy 2022 is awarded to David Kaplan, University of California, Los Angeles, USA

for his contributions to the understanding of the role played by the extra-linguistic context for the semantics of natural language, for the logic of natural language sentences, and for the nature of belief.

David Kaplan is the Hans Reichenbach Professor of Scientific Philosophy at the University of California, Los Angeles, USA. Kaplan has made ground-breaking contributions to the understanding of the semantics of indexical expressions and their role in natural language. They include pronouns such as “I” and “him”, demonstratives such as “that girl”, and temporal adverbs like “yesterday”. The meaning of such expressions partly depends on the context in which they are used. To describe their role, Kaplan extended a framework of modern logic that is called possible-worlds semantics.

Its standard versions have two semantic levels, but Kaplan showed that indexicals require a third, intermediate level. The contents of speakers´ thoughts belong at this level. He also showed that this level has its own logic, which he chose to call the Logic of Demonstratives, and he developed the model theory – the formal semantic theory – for this logic.

Mathematics

The 2022 Rolf Schock Prize in Mathematics is awarded to Jonathan S. Pila, University of Oxford, UK,

for his groundbreaking work on André-Oort’s conjecture.

Jonathan Pila is an Australian mathematician at the University of Oxford. He completed his Bachelor’s degree in Melbourne and then his PhD at Stanford in 1988. He then held positions at Columbia, McGill, Bristol and (as a visiting scholar) at the Institute for Advanced Study in Princeton before taking an extended break from the world of mathematics to work in his family’s business.

He is mainly active in Diophantine geometry, which is a branch of number theory that studies Diophantine equations using algebraic geometry. Pila has decisively enriched this field by introducing methods based on model theory in mathematical logic. Using these methods, together with Zannier, he provided a completely new proof of the Manin-Mumford conjecture. He has subsequently, partly in collaboration with Tsimerman, made important contributions to the even more demanding André-Oort conjecture.

Jonathan Pila has received several prestigious awards, such as the Clay Research award and the Senior Whitehead Prize from the London Mathematical Society.

About the prize

On his death in 1986, Rolf Schock left a significant fortune and, in his will, he donated a large sum of money to allow a prize to be awarded in his name. His wish was that the Royal Swedish Academy of Sciences to propose laureates in logics and philosophy, as well as in mathematics, that the Royal Academy of Fine Arts would propose laureates in one of the visual arts and the Royal Swedish Academy of Music in one of the musical arts. His fortune is managed by the Schock Foundation, which formally decides the laureates.

This year’s prize ceremony will be held 24 October 2022 in the auditorium of the Royal Academy of Fine Arts in Stockholm.

Read more about Rolf Schock and the prize

Om Konstakademien

The Royal Swedish Academy of Fine Arts is a versatile institution tasked with working to ensure that art and architecture are afforded the significance and support needed to endure and enrich a vibrant society.

Rolf Schock Prize in Visual Arts 2022: Rem Koolhaasimages / information received 280322

Design Awards

The SBID Awards 2020 Winners images courtesy of SBID SBID International Design Awards 2020

RIBA House of the Year 2021 Winner photo : Paul Riddle RIBA House of the Year 2021 Winner

RIBA President’s Medals 2021: Student Awards

Wolfson Economics Prize 2021: Ab Rogers

Brick Awards 2021 – winning Buildings + Architects

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Foreign Bodies 🕺June 8 👁 one-night-only 📽 ⠀⠀⠀⠀⠀⠀⠀⠀⠀ “Obsidian Tear” is a dance work choreographed by @waynemcgregor set to Esa-Pekka Salonen’s “Nyx” and “Lachen verlent” and will be performed by members of @bostonballet. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Also on this multidisciplinary program is Esa-Pekka Salonen’s “Foreign Bodies” accompanied by the World Premiere of a live video installation by Tal Rosner. Plus Daníel Bjarnason’s Violin Concerto with Pekka Kuusisto as soloist. 🎻 ⠀⠀⠀⠀⠀⠀⠀⠀⠀ After the concert stay for drinks on the Grand Promenade and some surprises 😉. 🥂🍸🥃 (at New York Philharmonic)