#i was just looking at this one collage edit i made back in 2015 that i’ve set as my desktop background again because i’m a sucker for 2015

[aesthetography]

- the golden hour -

[look-at-the-soul]

The Photoshoot (Part 34)

Cillian Murphy

Series master list Part 1 (2014), Part 2 (2015),

⚠️ Honeymoon Smut 🔥

This chapter was on my mind since the beginning, I always knew Cill and Yael would go to Greece for their honeymoon and then, life has some funny ways to put people in the middle, right where you needed and @2000snostaalgiia provided the best trip tips around ✨💙 thank you so much Maria for helping me out with the Greek insights, and the beautiful poem ♥️, this part wouldn’t be the same without your guidance. And also @heidimoreton for the back to reality idea provided! Please know my inbox is always open for anyone who wants to suggest something; a photo, trip, idea… 💕 also thank you @peakypoet /SeleneShelby for the beautiful edits and collage you made! 💛

“Come on.” Yael pulled Cillian’s hand to guide him behind a bougainvillea tree. “I wanted to try this pose with a couple while I did their engagement photos a long time ago but she didn’t like my idea.”

Cillian chuckled but followed her instructions. “Separate your feet an inch, right there.” Then setting her camera on automatic, she rushed to the steps and positioned herself behind the tree too, in front of Cillian.

“Am I supposed to do something?”

“Kiss your wife?” She suggested and saw Cillian licking his lips.

Yael walked again to check the camera and pressed the shutter one more time.

“If you place your hand lower it will look nice in the shoot.”

“Here?” And he cupped her bum in his palms.

“No! Perv it’s a sweet photo!” While he kept laughing, Yael got the camera ready one more time.

Even though their faces couldn’t be seen, she wrapped her arms around Cillian’s neck and gave him a little peck on the lips, she lifted her leg and his hand slide down… looking into each other’s eyes and completely forgetting about the rest of the world. She loved running her hands through his curls and he loved the way she purred against his mouth.

Everything was perfect until they heard a deep voice that seemed to be angry. Walking down the steps, they found a woman throwing their things and personal belongings into a black bag.

“No! No, no that’s my camera.” Yael tried to explain.

“Trash!” The woman was fuming.

“Wait.” Cillian tried to intervene.

“These are my bags… see?” She showed the woman a small purse she got from the market. “We were taking a photograph over there by the flower tree.”

She saw the woman extend her arm towards Cillian and made her a sign that Yael preferred to not ask what it meant.

“Check the camera.” They both exhaled relieved when they saw that the camera landed over a scarf Yael bought, walking down the street as far as they could go, they saw the woman sweeping angrily mumbling something they couldn’t understand.

The whole five minutes’ walk to the restaurant they were laughing until their stomachs hurt. It was a funny moment they would never forget.

“Still don’t get why was she so angry, we weren’t vandalizing the wall or her steps, I just put our things there.”

“Two more minutes and you almost lose your camera.” He chuckled again.

Entering the restaurants area, they couldn’t stop smiling. Cillian was teasing her for the things she was willing to do to get the shoot that she wanted.

“Love.” Someone said out loud, making them stop. “I see love.” And then the woman pointed between them.

Kissing her hair, Cillian agreed. “Lots of it.”

“Come in to the best Greek restaurant.” The woman invited them.

As they were following her, they were surprised to find a secret hall behind the restaurant, it was like a mini street in an open area that connected the restaurants in the back, the “ceiling” was made of tree branches intertwined from side to side, flowers and lights provided a beautiful and cozy place to have dinner.

“Here I was thinking the cottage and the island were my favorite places…”

Playing with her fingers, Cillian admitted; “you’re my favorite place.”

“Stop you’re always telling me mushy things.”

Tickling her ribs, Cillian teased her. “Oh, and now you don’t like it, Mrs. Murphy?”

The smile reached Yael’s eyes. “I do, Mr. Murphy, I do.” She scrunched her nose and that made her husband smile as well.

“Should we order different dishes and share?” He asked, but he wasn’t surprised to see her nodding before he finished his question.

“Oh! They’ve Pastitsio! It’s the one we wanted to try when we arrived but chose the Mediterranean salad.” As Cillian looked at her confused, she elaborated her point. “It’s like the Greek version of lasagna, Cill.”

“All right, I’ll go with the Kleftiko then.” Yael’s eyes sparkled as she read it consisted of lamb infused with olive oil and lemon juice. It sounded mouth-watering and she adored that the menu included a small section explaining the origin of each dish.

“Can we get the Ti-Tirokroketes?” She frowned at word.

“Are you going to share them this time?” He winked at her, instead of ordering it as an appetizer, she decided to make the fried cheese balls her main dish. She loved the combination of the different kind of cheeses like feta and gouda but he only got the remaining crumbs.

“I asked you four times if you wanted to try them and you said no” She defended herself in a faked shocked tone.

Cillian shook his head. “Doesn’t matter if I say no, you should’ve shared with your husband.”

As their drinks arrived, the kind woman brought them something else.

“Ugh, it’s too bad I don’t understand a word.”

“To say no to love, it’s like frowning in front of a flower that’s ready to bloom. It’s like cursing at the light that showed you the world.” He whispered in a deep voice that got all her attention.

“How…-” Taking the card between his fingers, he turned it around, so she was watching the translation now.

“Never let the light go out.” Ophelia, the woman advised them and left with a smile to get their food.

“We got enough cheese for a lifetime.” He felt so full even after walking back to Vassilis’ home.

“Mr. Murphy?” He had his back at her.

“Hmm?”

“You didn’t let me order dessert.”

As he finally turned around, Cillian saw her touching the hem of her floral dress and take the piece of fabric off through her head, revealing a set of lingerie he was sure he had never seen before, a pale pink transparent fabric decorated with tiny flowers embroidered, he could see everything thru it. Swallowing hard, he walked towards his wife in a bee-line, like an obedient pet.

“You’ve been wearing this all fucking day and I didn’t know?” Yael nodded biting her lower lip. “Next time, you show me before we go out.”

“Maybe.” She teased Cillian and her lips went straight to his neck, he couldn’t move fast enough; he tried to open his trousers and pull her underwear down at the same time, once she was free from her clothes from the waist down, Cillian lifted her easily and walked until her back hit the wall, her legs wrapped tightly around him, his lips just finished kissing her neck and immediately moved to one of her breast still covered by the flowered bra.

“I want you to get this in every color.”

Yael nodded and wriggled her hips. “I’ll remember that.” A moan escaped her lips. She was trapped between his body and the wall, so close, yet so far away from what she wanted. Trying to move down a little bit, she gasped as her entrance brushed against his tip. “Cill…” She pleaded and moved a little more, using his shoulders for support, her body shook as she rubbed against him one more time.

“Busy.” He answered, biting lightly her skin, running his palm over her free breast.

“Just… Ah.” She managed to get the tip of his cock into her entrance, but his body still was keeping her tight against the wall, there wasn’t any room between their bodies. Yael closed her eyes as her husband thrusted up a little bit, his lips were kissing the space between her breasts and she pulled at his locks enough to make him groan both of pain and pleasure, finally she could see his beautiful eyes. “I want you.”

Cillian finally moved back about an inch and Yael felt the tip of his cock inside of her, there, just teasing her body. The sound she made wasn’t human, swallowing hard she tried to move only to find out that his body was pressing against her one more time.

Opening her eyes, she found Cillian looking at her with a smile, enjoying her frustration. “Having fun?”

“Can’t complain.” And he let her slide down his hard member a little more.

Huffing, she placed her hands on his shoulders to try to wriggle down. “I swear if you-” Finally, Cillian let her slide down for her own weight, Yael moaned loudly feeling half of his cock inside, her body welcoming him immediately. While she was still adjusting to the sensation, Cillian started to walk towards their bedroom with his wife connected to his body, quickly reaching their bed, he placed her gently in the middle enjoying the view under him.

“Fuck.” Was all he could say as she pulled him down, but before he started to move again, Cillian pulled out from her body.

“Hey!” Yael protested leaning on her elbows to look at him, struggling to get rid of his clothes, kneeling in the bed, Yael helped Cillian to remove his shirt while he got the rest, once he was free, she pulled him so he was laying on his back and soon she was straddling his hips. “Keep moving like that.” He mumbled against her lips, as her movements were speeding up Cillian’s fingers found the clasp of her bra to take it off.

Chests rubbing, the sound of flesh against flesh, moans and deep breaths while their eyes locked, soon they were lost in the land of pleasure, both trying to win the race, but one Cillian’s hands moved between them to find her most sensitive body part and pressing his digits against it, he saw Yael close her eyes while her mouth opened, her upper body thrown back… her movements stopped as the ecstasy took over her. Taking a seating position to face her, he felt his own release.

Moments later tucked in bed, tangled legs and sheets, Yael kissed his chest. “Can we go tomorrow to Naxos?”

Cillian made a face. “I don’t know, I wanted to stay in and rest.”

“Rest? You don’t know how to rest, you can’t stay still for five minutes.”

Pulling the sheets up, Cillian wrapped her legs around him. “Let’s see how long you can stay still.”

———

It took the ferry a little over an hour to arrive to the island of Naxos, equally beautiful to Syros. Perfectly white houses and business welcomed them as Cillian and Yael strolled the cobbled streets of Naousa. Yael already found a small shop known for selling everything natural; cosmetics, soaps, scented candles. Following the route, Yael suddenly pulled at his hand.

“This is incredible!” Excitement running through her. “Look.” She pointed at a wall decorated with a lot of eyes.

“For protection.” The man in charge offered and showed her around, different kinds and sizes of the famous blue eye from bracelets, keychains, necklaces, the list was endless.

“Babe let’s go.”

“Give me a sec, I want to get Violet something now that she’s waiting for her baby and something for Lee-Anne and Kayla too.”

He didn’t believe in this kind of protection, but Yael was listening intensely to the explanation the owner of the store was giving her, he offered her a discount and after some time, she finally picked her gifts, “for you.” He gave her a small bracelet with blue beads and a single eye after all the things she got.

After stopping at a ceramic store, Maria the sweet owner gave them a complete explanation of why they had to visit the Apollo temple and other places that guarded a lot of history, Cillian stopped on his tracks, the view was more than breathtaking and he had been growing a particular interest of taking photos of his wife.

“Give me your things and go over there.” Cillian instructed his wife pointing at the windmill.

“I love this place. Everything is so pretty.” As she played with her red dress, Cillian snapped a photo of her.

“Did you know these still work?” Some of them were still used to mill wheat, while some others were kept for decorative purpose, the process was artisanal.

“There’s the Harvest Festival in September at Mykonos with locals sharing traditional storytellers it’s one of the family-run mill, the girl at the ceramic store told me.”

“Festival huh? Sounds interesting.”

“Hmm with traditional music and dances, food…”

Cillian chuckled at the tone of her voice. “And let me guess, you want to come back.”

They didn’t even want to leave.

———

Cillian caught Yael looking at her reflection in the mirror, she was wearing the white dress she got at the local market the previous day.

“Fuck… you look like a Greek goddess.” He admitted leaning against the doorframe looking up and down at her.

“You just want another round.”

“Actually yes… but we need to go out and I got you the perfect complement for your outfit.” Cillian went then to search inside his bag to get a small box. “Yesterday at the vintage jewelry shop you kept looking at this set over and over.”

He had teased her about buying presents for everyone in their families and barely getting anything for herself but the set of seven gold bracelets got her attention so when she was distracted with something else, he bought it for her.

Surprised, Yael looked at him. “How…?” But instead of asking him about his mind-reading powers, she pulled him down for a kiss. “Thank you, Cill.”

And he assured her she had nothing to thank him for. After all this was his honeymoon present for her, she already got him a silver Greek coffee set.

“I’ve to admit I was unsure of the sandals but you seem to be really comfortable wearing them around.” They were walking after lunch and she still had energy to keep going.

“Told you I’ve heard wonders of custom made sandals here.” Yael made a pose for him to show her the local sandals she got handmade made using an artisanal process, the seller showed her part of the traditional methods they used to make the shoes, since 1935 in his family making customizable models.

“Then run over there to take a photo of you.” He pointed at the scenic lookout, as Yael was walking away from him, he called her; “hey beauty, are you free tonight?”

Yael turned her head over her shoulder to smile at him and she found him pointing the camera at her. “Let me ask my husband.”

He took another photo of her walking over the ocean.

“Come over here so we can have one together.”

There wasn’t anyone around but soon a couple of tourist walked past them so Yael asked them to take a photo and in return she took one of them and promised to email the image as soon as she could.

“Why do you trust anyone with your camera? They could easily take it.” He asked as they reached the vehicle they rented.

“Did you see their faces? They don’t seem to be looking for cameras to steal.” Starting the engine they moved to go back to the hotel they were staying the ferry would take them back to Syros in a couple of hours after their two day stay at Naxos.

Cillian heard her humming something. A song he could easily recognize the tune.

Rolling his eyes at her with a funny face, he told her: “go on… I know you want to play the song.”

Yael pretended to play the fool. “What song? No… I haven’t thought of that.” But of course she laughed and started playing the Mama Mia! Song on her cellphone. “You can’t come to Greece and not sing the song, Cill.”

“Ugh woman. What will I do with you?” He asked in a faked tired expression, truth is he would never get tired of the excitement she showed over the smallest things, it made him see things in a different way.

“Love me?” Yael started kissing his cheek playfully, until her cellphone announced she got a message. “Aww look, Lee-Anne took Scout to the doggies daycare and he made a card for us.” She showed him a photo of the paws decorated as flowers.

“Bet he’s having fun with his dog-mates.”

“Yeah, stealing their toys and barking at her noisy neighbors.” Yael imagined the scene.

“What’s the departure time again?” He asked stopping the car in the parking lot of the small hotel.

“The ferry leaves to Syros at four o’clock.”

That meant they still had plenty of time to enjoy themselves in the private pool they had, and as they made their way inside of their bedroom Cillian made sure to let her know of his plans, they still had four more days to enjoy another island, probably Paros would be next…

But sometimes life shows you different plans for the original ones you had and forces you out of your comfort zone, and that’s exactly what happened when Cillian got a call from Ireland to let him know that his son, Sean was admitted to the hospital in the emergency area due to a severe allergy and there was an issue with the insurance information under his name.

They needed to take a 30 minutes flight from Syros to Athens and then they agreed Cillian would fly straight to Ireland while Yael would go to Manchester to pick up Scout and the rest of their belongings.

And just like that reality burst their honeymoon bubble after spending the most perfect days getting to know one of the most magical and beautiful places on earth. They got to say goodbye to the breathtaking island surrounded by mythology and incredible traditions they both wished to get another chance to enjoy.

***

A/N: if you like this, remember your comments make the difference 💕🥰

The Apollo temple inspiration:

[causticsunshine]

twenty questions

tagged by @are-you-quite-finished-giovanna thank you babe!! 🥰

1. why did you choose your url?

simply put i adore louis and i like purple and it just rolled off the tongue lol, but i also had a list of possible urls i also liked and i had to snatch this one up while i could!

2. any side blogs?

yes i have four....i'm not one of those 'everything goes on main and you can deal with it' type people.... but i have an inspiration blog @prickelndauge (art insp, lots of fashion, cool photography), an art-only blog @swmpwxtch, one just for spooky/creepy content because i'm really into horror manga and scary movies and that kind of stuff but i keep it off of main because i know a lot of it can often be triggering to others! (i also don't post much there but @bonepickng) and one for art references, life tips, random resources, and more donation sharing @am-ref!

3. how long have you been on tumblr?

soooo long i thought i'd be gone by now tbh. i know i signed up in 2011 after just browsing the site through random blogs and tags for ages, but i didn't start actively using my own account until early 2012!

4. do you have a queue tag?

when i actually remember to tag things i have queued i'll use 'i'm sleep queue' because all my early morning posts everyday are queued....i am an insomniac rip

5. why did you start your blog in the first place?

keeping up with my interests better! i was like 15/16 at the time so it made sense. back in Ye Olde Days much like now—i really have come full circle lmao—it was mostly just for 1d and then some random tv shows/franchises i just to see content of semi-often, as well as finding cool art!

6. why did you choose your icon/pfp?

rn it's just a regular pic of louis! as much as i like using my collages or little edits as my icons, you can't see much of anything and it looks too busy sometimes (but also the photo i have rn....i am always thinking thoughts about it soooo)

7. why did you choose your header?

it's pretty! i wanted everything to follow a color scheme + i love embroidery and fancy gowns!

8. what's your post with the most notes?

ok i thought it was gonna be one of my old larry chibi doodles because i know a few of them hit 1k+ notes, but i deleted those in 2017 and apparently now it's this 6 year old like....funky photo study i did of dan howell from 2015 when i still watched him and amazingphil a lot?? i mean at least it's something i was once proud of lmao....there's a few art posts i have with semi decent notes that i pretend i Do Not See

9. how many mutuals do you have?

i think rn 40 something so not very many, although i unfollowed a lot of people i was moots with when i left my last fanbase so that's probably why 😬 i've been meaning to check out more HL/ot5 people though!! i love mutual interaction but i'm afraid of being annoying if i'm any degree of attentive

10. how many followers do you have?

overall i have almost 2.4k rn, but there's a decent amount that are totally inactive or at least don't interact with me so it feels like....a lot less lmao but since re-joining 1d i've already made up like all the people i lost when i left my other fanbase of almost three and more so thank you for actually liking my work and maybe me as well 🥺💗

11. how many ppl do you follow?

around 370 rn!

12. have you ever made a shitpost?

half of the stuff that comes out of my mouth is a shitpost fdngjkdf like my tags are bad enough lmao, no one needs to properly share the bs i have to say

13. how often do you use tumblr?

pretty regularly rn but there are times i'll go completely MIA depending on what i'm into/how busy i am!

14. did you have a fight/argument with another blog?

in the past i have had some....issues with other people i've met on here but never directly had confrontation with them? most of the time that's happened i figure it's been one-sided though because i can get irritated with certain behavior really quickly—like i always say my heart is big and open but my bullshit tolerance is dangerously low—but when that's the case i'll just unfollow or block without saying anything?

although back in the day there was one instance (and seriously if anyone remembers this you deserve a medal because this shit was Ridiculous) where i kinda but not really called out another 1d fanartist who posted untagged noncon fanart they'd done of at least two of the boys, and then acted like it was no big deal (like. 1. those are irl people my dude and 2. untagged noncon art?? in front of my salad??) and their friends kept defending them for it and tried to come for me claiming i was a proponent of Purity Culture when i'm not and literally all i said in my post on it was that in my own opinion it was kinda fucked up to draw noncon art of real life people—not characters played by actors! but actual real people as themselves—in the first place, but if you felt the need to post highly triggering content like that the least you could do was tag it accordingly

but i think that was the last time properly so i guess times within this fanbase are still chaotic as ever just in a different way?

15. how do you feel about "you need to rb this" posts?

Annoyed™️ like don't guilt trip me over a post lmao i do what i want !!

16. do you like tag games?

YES i love to talk about myself after years of trying not to show any personality online out of fear of judgement dfjkngdf

17. do you like ask games?

yes! i want to do them more but i'm always afraid of reblogging one and then getting nothing and looking like a Fool :'(

18. which one of your mutuals is tumblr famous?

i guess i have a few moots that are kinda well-known or at least get good interaction within the community we're a part of? also isn't that phrase kind of an oxymoron at this point adfjkdf

19. do you have a crush on a mutual?

not past platonic friendly affection lmao but honestly what is it like to have a realistic crush on an actual tangible person versus someone in the public eye who doesn't even know i exist.....it's been so long and i am so lonely please send help

20. tags?

@niallnailme @bolitodequeso @milkcurls @exzouis @ialwaysknewyouwerepunk @got-my-devotion @aliensyndrome uhhh anyone who'd like to please consider yourself tagged by me! literally if there was an 'all my moots' button i'd just pick that lmao and as always no pressure/sorry if you've already done this and i haven't seen!

[margot-terc]

What do you use to make a zine + what does your creative process for making one look like? Feeling so inspired by you and your work right now and would love to try my hand at making one myself but need some pointers. Sending love 💞

Thank you very much!! I appreciate the support <3

Zines are my faves because there are so many ways to make them. And honestly, it’s a great medium to venture into. It’s supposed to be messy and accessible, and I think they do best when you let yourself play with them. So by all means, go for it and make it all yours.

It’s helpful to focus on what is available to you right now, and what feels more interesting for you to experiment with. If you want to try to make zines by hand, you can start with as little as one sheet of paper. Or you can cut and paste your elements onto 8x11 sheets that you fold in half to create a 5x7 booklet. Or you can make something out of your favorite creative digital app. As long as you can save images you’re good.

Think of your zine as a lil tiny book you get to make and hold. Maybe it’ll be a zine of reminders for rough days (if you’re here I'm assuming you’re a fellow feeler <3), or maybe you want to curate your favorite art into a booklet. It helps to know what you want it to be about, and then think of what elements would work best (writing, photos, illustrations, stickers, anything you can glue on paper!). 

If you do not know just yet, you can just sit with it and let it be a stream of consciousness thing. Some of my faves have happened like that.

For the most part, I prefer to use InDesign, though I mess around with a lot of other apps bc THIS IS A MEDIUM THAT KEEPS ON GIVING  Lately, I’ve mostly been making pages and collages on my sketchbook, that I later scan, edit on Photoshop, and put together via InDesign. 

This is a post I made about zine-making a while back (2015), but a lot of it still applies, and some resources on zine-making from my ig. 

and ofc, google is your bestie for new mediums <3

happy making!!!

[fluidsf]

Polar Visions Amplitude reviewing -

John Wiese - Deviate From Balance

Released on 15 June 2015 by Gilgongo Records

Reviewed format: CD album

Connected listening - there are various ways to order a selection of John Wiese’s further discography. The Helicopter mail-order stocks various John Wiese releases as well as Sissy Spacek releases and releases by by John Wiese in collaboration with associates, you can find it here: https://helicopter.storenvy.com/collections/924921-john-wiese

Several solo releases by John Wiese are also available on physical and digital format from his Bandcamp page here: https://johnwiese.bandcamp.com

Many releases on Gilgongo Records are available on physical format through their mail-order store here: https://gilgongorecords.storenvy.com

After looking at one of Sissy Spacek’s recent new albums Featureless Thermal Equilibrium in the previous Polar Visions Amplitude it’s time today for the first of two follow-up reviews in which in this case we’re focussing first on one of John Wiese’s past solo albums, Deviate From Balance. Released back in 2015 on both a 2 LP vinyl package as well as a CD version on James Fella’s label Gilgongo Records our look is on the CD version which features the packed 79 minute album in full and what a collection of pieces it is. While the Sissy Spacek album showcases John Wiese’s talent in mixing Grindcore aggression with monolithic Noise screeches as well as maxing out the energy throughout, Deviate From Balance showcases John’s more restrained side in a collection of 10 tracks encompassing mostly live recorded compositions and improvisations that are leaning more towards intense choppy sound collages and noisy electro-acoustic interplay of acoustic and electric instrumentation with John’s electronics with a more conceptual edge to them. However while some of the titles of the 10 pieces suggest a somewhat philosophical or technical meaning behind these pieces, listening to these reveals a much more playful and raw sense of composition and performances from John and all musicians and artists involved in this album. Whilst John’s sound can be related to Free Improvisation, his rapid-fire editing and manipulation of sonic material on this album is much more complex and dazzling than many other artists and carries John’s signature knack for surprise, high frequency distortion crunches as well as shifting and abusing lo-fi sound recording equipment and electronics in as many ways as possible, almost as if they turn into crumbling fragile rocks. Disintegrating broken sound and dadaist absurdist humour is a recurring theme in John’s sound, making for an album that is much more enjoyable than overly academic contemporary Tape Music can be at times. Besides John’s sonics the involved musicians on this album are definitely an important element that adds many rich colours to the 10 pieces, featuring musicians like guitar virtuoso Oren Ambarchi, violin artist Jon Rose, sampling expert David Shea and drum machine musician Ikue Mori as well as many others. Before we’re diving deep into the 10 tracks on Deviate From Balance, let’s have a look at the packaging design of the CD version. The CD comes in a neat glossy oversized gatefold sleeve showcasing John Wiese’s minimalist design, artwork as well as a very colourful artist photo of John by Martin Escalante on the back. In terms of artwork I do like the photo-collages and art pieces on the inside of the gatefold a bit more than the cover this time as while the cover does highlight the general collaged, choppy nature of the album well in a visual manner, its subdued grayscale grainy images aren’t as striking as John Wiese’s other album covers but still, it’s a decent cover and the typography is quite stylish and repeats on the spine in a similar manner. The aforementioned imagery on the inside of the gatefold showcases both grayscale abstract art in the form of archaeological artefact style fragments on the left panel as well as a film roll like photo collage of a rather disturbed looking lady blowing up a balloon. The abstract images are a bit similar to the album cover though with darker and more distinct contrast but the photo collage also adds another good visual reference to the packaging regarding the tracks themselves in that balloon like squealing and screeching can be heard on some of the pieces and it also seems to refer to the album’s quite off the wall type of abstract humour. The left panel additionally features all album credits neatly laid out so you can find out all about the involved artists and recording locations plus sources. The CD itself comes in a convenient little black envelope with plastic protection and features a more LP like label design featuring simply the artist name, album title and Gilgongo label logo, somewhat similar to a Japanese mini-LP replica package. Now that we’ve looked at the package, let’s pop in the CD and dig in.

Deviate From Balance starts with Wind Changed Direction which is one of the most atmospheric pieces on the album. The piece blends organ like drone, chopped up distorted recordings of what sounds like children’s voices, machinery as well as other Industrial noises together to form a quite surreal mysterious soundscape. Quite like the title suggests the music sounds quite like you’re floating through the clouds right after the wind has changed direction. The drone feels both calming but also a notch ominous whilst the auto-panned chops of sound are both vaguely abstract and at times recognisable with John varying between distorted and resonant shards of crunchy sound and cleaner metallic elements. The voice samples hint somewhat at sonified memories, they sound like fragments from the past, conversations or event you might remember from childhood though the actual words are unrecognizable. This first piece is definitely one of the most straight-forward compositions on here in terms of structure with the drone both introducing and rounding off the piece as in both cases it eventually fades into the background. A quite lush start of the album. Following piece 356 S. Mission Rd continues the soundscape like approach but in a more ominous manner sounding quite like a cross of dark sounding orchestral music samples with strange hollow metallic resonances and washy shifting noises. The metallic resonances bring plenty of subdued Industrial shine to the piece but the aforementioned orchestral samples are what draws me into this piece the most as the screechy dissonant strings combined with ever so slightly differently timed horn crescendo suggest an ever apparent danger which is getting closer but just like in an abstract nightmare is stuck in a loop with the danger never reaching further than a certain indiscernible point. The shifting noise elements add some rawness to the piece which suggests some kind of turntable manipulations going on in the piece, a lovely brooding collage piece this is. Segmenting Process For Language, the next piece, is where things start to get more chaotic and free-wheeling though still very much controlled. The track featuring a live performance recorded at East Brunswick Club in Melbourne, Australia consists of wild and inspired mixtures of saxophone, (junk) objects, percussion, drums, guitar and noise as the musicians move into always differing “segments” made up of shards of sound, wildly swirling melodies, chords and tones. This does make for quite some literal clashes of sound but rather than being one of the more random sounding Free Improv performances the sections of interplay follow a much more recognisable structure in that certain droning tones as well as feedback lays somewhat of a base underneath the bursts of sonic mayhem. Whilst there are a whole lot of things happening in this recording I would like to name a few particularly enjoyable bits. These include the short bursts of squelchy synth swirls, resonant ground vibrating feedback laden noise, the hilarious goofy but still playful wordless vocalisations spat out by the musicians but also the at times disturbing dissonant chords which are formed and culminate in an absurdly, almost 50’s Horror film soundtrack like waves of organ droning at the ending of the piece after which we can hear the only applause that could be fit in on the tightly edited CD. An inventive juxtaposition of out of the blue musical absurdism with the more dadaist lightning strike like approach of collage based Harsh Noise carrying John’s seal of quality. The next track Superstitious does match its title rather well in terms of the sounds within and it’s the most Noise focussed piece on Deviate From Balance though still more along the lines of a layered soundscape. After the instrumental interplay of Segmenting Process For Language we’re back to a more noticeably composed piece which moves through various phases emitting a definite ambience of superstition through somewhat disturbing concrete sounds, noise and tones. Its beginning featuring chopped and quite heavily scrambled recordings of a scared woman wailing as well as various other waves of distorted sound and tone overtime moves to the climax of the piece which is an extended section of the aforementioned noise from by a nicely low end grounded stream of screechy sound featuring especially piercing high frequency sound manipulations quite like some kind of dystopian alien machinery, though your interpretation might definitely be much different. Regardless of how you interpret it, the piercing noise does give off quite an intense feeling of dread and fear and while the sounds used in the piece are sometimes somewhat recognisable, like dirt like crumbling sounds, coffee cups, car related sounds etc., again they’re manipulated and structured in such shifting and distorted manners that they feel like sudden waves of mind imagery than things you can really grab onto. The finale of the piece in which John frequency manipulates a continuous tone is quite gripping too and Superstitious as a whole sounds quite like both a physical and mind gripping piece. Cafe OTO is the track that follows and it’s obviously a live recording that was made at Cafe OTO. Moving back to the more improvisation based style of collaborative group performances that John Wiese has done together with other musicians this piece has a more continuous flow of sonic events and instrumental interplay and a generally might lighter edge to it than some of the other pieces. Especially the percussion blended with effect manipulations and saxophone performances are particularly good on here with percussion clattering, clinking, jumping around the room in quite hilarious surprising manners moving from crystal like tinkling to shells and wooden percussion whilst the saxes wildly swirling melody lines and screeches form sweet tonal abstraction that are wild but not going overboard and staying well in tune with the other elements of the performances. The “spat” out vocalisations are quite matching with the saxophone performance and whilst somewhat more subtle for most of the recording, there’s also some tasty, albeit less abrasive crashes of objects near the end of the recording. Again, John Wiese’s talent in highly abstract but always varied and uncompromising electronics and instrumental performances combined with the excellent inspired energy of all musicians that appears in his group performances shines through with the fun and details in the layers created making this suitable for many repeat listens. The following track Battery Instruments (Stereo) does work quite like an extension of the sounds from the Cafe OTO recording, though in a bit more minimalistic fashion being made up of mostly small, clicky and quite sounds. A collage of instrument, objects, electronics as well as short vocal bursts the piece puts the freely moving aspect of John Wiese’s group pieces into more of microscopic lowercase territory. It’s the shortest piece of the album at 2:12 minutes and works as kind of transition from Cafe OTO to the quite abrasive walkman Noise collage piece Memaloose Walkman, showcasing various crackling, scraping, spiky sonic details, a mysterious subdued drone as well as some quite tasteful bass string scratchings all panned quite widely (as this was originally a multi-channel piece). A sweet short piece this one. The aforementioned piece Memaloose Walkman then follows and it’s quite straight-forward in nature consisting of a mono tape collage of various recordings of gunshots. Besides splices and perhaps a bit of pitch adjustment there’s not much manipulation added to this but as a Noise piece it’s quite effective letting you hear the different swishing phased textures of shots from various guns as well as some bits of talk and music in between with a layer of crunchy saturation on top of everything. Simple but effective. Afterwards Dramatic Accessories continues within the Noise territory as a piece of quite a lot of instrument / object and especially turntable abuse featuring quite a lot of bassy and wild distorted screeches mixed with chopped recordings all presented through some crazy panning. One that will especially please harsh heads, within Dramatic Accessories there are various sections in which John and the other artists involved use all kinds of methods to create a variety of sounds ranging from the shifting kind of turntable warble, clicks, grating washes of distortion, chunks of feedback, amp hiss and metallic ringing. However whilst there are a lot of distorted sonic events happening within this piece, there is some sense of dynamics within however, created by the wild panning as well as shifting the phase and using some of the room acoustics and feedback of equipment to create some loud / softer / loud sections leaving some headroom for the sounds to not fully max out and become a bit overblown. The garbled object and instrument chops are clattering around often but strange distorted disturbing recordings of voices are also thrown in the mix making for an at times frightening but thrilling ride of unpredictable sounds. One element that is recurring throughout the wildly fluttering barrages of different sounds are certain grounded tones that bring forth some kind go base for all sounds to lean on as they continue changing in at times rapid manners. All in all Dramatic Accessories is another enjoyable sonic ride on Deviate From Balance in which rich and uncompromising textures are brought out in memorable ways through some fine inspired performances from all people involved. Solitaire follows, which is one of the two longest and final pieces on Deviate From Balance, at 11:15 minutes. In terms of approach the piece is somewhat similar to Dramatic Accessories but with the difference that rather than using vinyl, tape is being used here as one of the elements that create the various sounds within the piece. Solitaire follows a more continuous structure than other pieces on Deviate From Balance in that it’s mostly based on a set of repeating patterns within it's structure acting a bit like the compositional and performance equivalent of mechanical processes. Whereas Dramatic Accessories featured experiments with both clean and distorted sounds, Solitaire moves more into a quite crunchy rough direction featuring shards of chopped up instrument and music recordings, junk objects, voices as well a various especially percussive and resonant concrete sounds that ever continue to change in form. These repetitive patterns do give some kind of rhythmic drive to the piece but change often enough to not become sampler like and are more akin warbled broken tapes as the recordings are mercilessly abused through speed manipulations and ever increasing distortion. This is combined with a constant shift of stereo phase, through which on headphones you get the idea that the shards of sound are flying over your head and are forming 3D shapes in between your ears. A great listening experience which even works as the distortion gets quite murky and harsh nearing the end of the piece. Whilst the pattern style, on the fly pitch warbles and crunching noises carries on throughout, it’s great how some depth is slowly forming near the end of the piece, in which soft ticking percussive bits are being scattered between out ears and rimshot like ticking sounds are added for nice clean percussive accents. A very fluid piece in terms of progression and sound work which shows that whilst John Wiese’s solo and band works might at times sound very free-flowing and chaotic, he’s always got quite some noticeable control and focus within every piece, inspired and always different. Final piece Segmenting Process (Oregon) is indeed somewhat related to the earlier Segmenting Process For Language although in the case of this recording the segmenting of the several parts of the piece is even more clear. Being the longest piece on Deviate From Balance at 21:45 minutes the piece is also one of the most introspective and “organized” sounding tracks on the album as in here we can find the by now familiar mixture of acoustic, electric instrumentation with both electronic sounds and manipulations but also a more restrained approach to the Noise elements John Wiese has explored in various ways in most tracks before this one. Rather than almost overtaking the non-electronic instrumentation either through loudness or sharp (harsh) frequencies, the Noise is more in tune with the instrumentation as being a part of a blend of various sonic elements. This is also helped by the fact that with the larger group setting featuring brass, percussions, drums and more the piece required a larger venue to be performed which gives the piece some welcome acoustic space, adding some room ambience and keeps the piece nicely dynamic. Sounding most similar in approach to Electroacoustic Improvisation the pieces segments blending vibrant instrumental performances which vary from fluttering percussive tones, noises as well as more drone focussed falling and rising tones with crackling, noisy, humming, distorted, sample based and glitchy electronics sound quite like the piece is based on a mixture of dreams. Like a sonic interpretation of a dream world the piece moves from segment to segment with all of them featuring somewhat recognisable sounds like the instruments themselves or voices mixed with shaped abstract noises but everything carries some kind of mystery within it, which is especially caused by the somewhat unnerving textures created by the brass instruments within the performance. The absurdist humour element is still apparent within the piece however with at times goofy squeaky noises, drum kit hits, tinkling bells and other pointy bits of abstract sound keeping things nicely playful and light but still powerful as always. The flow of the piece also helps to keep things captivating and interesting throughout as its length might take some listeners a bit to get into it but with so many different events happening throughout there’s never any idleness in here. And with this last piece I’m getting into the conclusion of this review of John Wiese’s Deviate From Balance. I award this album a Polar Visions Amplitude of 85 dB, recommending you to definitely check out this album. Deviate From Balance showcases both John Wiese’s compositional and performance talents through a varied selection of recordings in which you can hear John’s approach in various settings ranging from surreal sound collages, Noise infused instrumental improvisations to rough tape manipulation and Electroacoustic Improvisation. Never resorting to mere academic musical studies John Wiese’s pieces on Deviate From Balance keep hitting the ears and mind in excellent and inspiring manners and will be a great discovery for fans of free spirited contemporary music, both analog and digital based sound collage works, (Harsh) Noise fans as well as anyone into inspired improvised music and will be a great addition to the collection of fans of John Wiese and Sissy Spacek.

Deviate From Balance is available on CD from Gligongo Records mail-order store here: https://gilgongorecords.storenvy.com/products/20648396-john-wiese-deviate-from-balance-cd-gggr-077

[chpinthestacks]

In the Stacks with Lara Mimosa Montes: Wild Style

A few years ago, I attended a screening of Charlie Ahearn’s hip-hop film Wild Style (1983) as part of the Walker Art Center’s Downtown New York: 1970s and 1980s Art and Film series. The film, “a hybrid of a narrative musical and documentary,” follows Zoro, played by graffiti legend Lee Quinones, as he weaves his way through the various hip hop, break dancing, and Bronx DJ scenes in early 1980s New York.

Wild Style captures some of the funky tensions of the time period. For instance, if you were a “successful” graffiti artist in the 1980s, you were, like your peers, probably working your ass off to get your name out there, but not necessarily your face because anonymity back then was definitely an asset. However, if you worked hard and were good at what you did, then you were also probably a hot commodity, sought after by the vultures of the art world, journalists, toys fucking with your shit, the cops, and the MTA. My favorite scene in the film is when Zoro and his friends arrive at a party in Manhattan populated by rich art patrons and the like; one character, Neil, says he runs a museum called “the Whitley” while Blondie’s Rapture is playing in the background; another guy in a suit misunderstands rap music as “rat” and asks Zoro if he works in the dark, how can he see what he’s painting? While this scene is more fiction than documentary, I love the way it posits everyone as a potential insider or outsider, depending on who wants what from whom in any given exchange.

Wild Style, directed by John Ahearn, 1983. Japanese chirashi movie mini poster, 2015. Wild Style mural by ZEPHYR, Revolt, and Sharp.

Following the Q and A with Ahearn that night, I got the impression that there were still a lot of positive feelings and happy memories surrounding the project. The affective glow that emanated from the collective viewing and discussion of the film, coupled with a revived general interest in that particular cultural moment (ie. the short-lived Netflix original flop of a show The Get Down), stayed with me. I mean, to what extent is wildstyle —the term given to describe a particularly complex and difficult to decipher style of graffiti writing—part of my inheritance, my culture, its art history? Given graffiti’s ephemeral nature, I felt intrigued by the possibility of researching this form in its early years from the 1970s-80s. What I came to know and appreciate was, yes, the many works given to us by a generation of gifted writers, but also the work done by artists like Charlie Ahearn, Martha Cooper, Henry Chalfant, Martin Wong, among others. Without them, I’m not sure how we would remember those early days of the graffiti movement. So, for those wishing to go a little deeper down the rabbit hole, below is a brief survey of some of the landmark texts that document this vibrant period in Bronx history; it is by no means comprehensive—these just happen to be some of my current personal favorites . . . 

Subway Art by Martha Cooper and Henry Chalfant, featuring Dondi, first published in 1984.

“The bible of the street-art movement,” Subway Art was the first published book of its kind to document graffitti. Featuring full-color photographs by Martha Cooper and Henry Chalfant, the book contains many masterpieces by artists such as Blade, Lee, Seen, and more. A beautiful print collaboration between the two foremost photographers of the movement, you can really appreciate Cooper’s and Chalfant’s distinct approaches to shooting the trains. Also, if you’re as excited as I am for Chalfant’s upcoming exhibition at the Bronx Museum, Henry Chalfant: Art vs. Transit, 1977-1987 which opens later this year, now is as good a time as any to revisit this seminal work.

Style Wars, graffiti by NOC 167,1981. Photo by Martha Cooper. 

Style Wars, directed by Tony Silver and co-produced by Silver and photographer Henry Chalfant, released in 1983, is a classic—the documentary features many a baby-faced graffiti artist such as Dondi, Skeme, Kase 2, interviews with MTA officials, Mayor Ed Koch, various masterpieces, and more. If you want to know what these young writers were up against in terms of public opinion and the MTA, definitely start here. Plus . . . Skeme’s mom: God bless her, wow.

City as Canvas: New York City Graffiti from the Martin Wong Collection, edited by Sean Corcoran and Carlo McCormick, New York: Skira Rizzoli, 2013.

I had no idea that the artist Martin Wong was a known collector of graffiti art until I had come across this book, published in tandem with the Museum of the City of New York’s exhibition City as Canvas, and yes, I am very sorry I had not seen this show back in 2014 before I left New York. For those skeptical of graffiti’s transition from subway to canvas, this book really made me rethink my assumption that graffiti is graffiti because it lives on in the streets and on the trains but never in a gallery. In addition to color images of works on canvas, archival exhibition shots, and some recollections contextualizing Wong’s relationship to the graffiti community by artists Lee, Daze, and Charlie Ahearn, also featured are images of drawings from various artists’ blackbooks: gold.

Tag Town: The Evolution of New York Graffiti Writing by Martha Cooper, Poland: Dokument Press, 2007.

Before there was wildstyle, there was tagging. Some cool shots of tags by Taki 168, Julio 204, Barbara 62, and even Basquiat, among others. Another great monograph by Martha Cooper, who in an interview said, “I shot tags because I wanted a record of them. . . mostly I just wanted to study what they looked like and to allow others to study them in the future. I was using my camera as a very efficient tool to make a record of something that would otherwise be lost.”

Classic Hits: New York’s Pioneering Subway Graffiti Writers by Alan Fleisher & Paul Iovino, Poland: Dokument Press, 2012.

Classic Hits features photographs by Alan Fleisher, Robert Browning, and Jack Stewart. Filled with an assortment of early masterpieces by writers such as Stay High 149, Blade, Super Kool 223, and others, alongside artists’ recollections. I like this book because it showcases an earlier generation of graffiti writers from the 1970s before things really got wild. Similar to Cooper’s Tag Town, I was able to gather from this one a more expanded appreciation for the evolution of the form.

Dondi White Style Master General: The Life of Graffiti Artist Dondi White, by Andrew “ZEPHYR” Witten and Michael White, New York: HarperCollins, 2001.

OK, so graffiti legend Dondi wasn’t born in the Bronx—he was definitely a Brooklyn writer. Nevertheless, his influence on the larger writing community was so profound, his relevance cannot be understated—it went to the Bronx and beyond. Includes black-and-white and color photographs, early sketches, never before seen collage works as well as works on canvas, and reminiscences by the artist’s friends. Unlike some of the other texts on this list, this one is unique insofar as it’s a book assembled by another well-known graffiti artist, ZEPHYR, alongside Dondi’s brother, Michael, so the insights and anecdotes presented here, especially those from Dondi’s closest friends, really provide a window onto the world of the artist. RIP Dondi, you gave us so much.

[helenpattersoon]

The surreal universe of Haruki Murakami book covers

Reading a Haruki Murakami novel is an immersive experience. Dark holes lead into alternate universes, cats speak Japanese and women disappear into thin air. But you don’t even need to read a word to enter his crazy world, thanks to the surreal, eye-catching Murakami book covers that have come to epitomize his novels.

Murakami’s books were originally published in his native Japanese and have been translated into over 50 languages. With the US editions came new book cover designs, courtesy of American designers John Gall and Chip Kidd.

Let’s take a look at some of the best Murakami covers, and analyze their themes to inspire your next surreal book cover design.

Paperback —

1997 paperback Murakami book covers

In 1997, Vintage Books designer John Gall created a universal look for all of Murakami’s paperbacks. The result was a dozen covers evoking pop art, Japanese symbolism and romanticized nostalgia, collaged together in bold and unforgettable arrangements.

Vintage photography

Murakami plays with time in many of his novels.

For example, in South of the Border, West of the Sun, the middle-aged lead character is revisited by a boyhood memory, causing his past to meld with the present. In Kafka on the Shore, a teenager runs away from home and crosses paths with an odd, aging man who leads the boy to enter an alternate reality. A Wild Sheep Chase is a hybrid of mythology and mystery that takes its protagonist on a surreal quest through Japanese tradition and modernity.

Vintage photographs combined with more modern elements in Gall’s cover designs illustrate the way Murakami fictitiously toys with past and present. Gall actually sourced the faded cover photos of illusive, young Japanese men and women from old Japanese advertisements.

All of these images give readers a sense of nostalgia, mystery and romanticism and help them visualize the protagonists of each story, who often have affections for things like jazz and whiskey.

Pop art techniques

The characters in Murakami’s novels love Western pop culture. His worlds are saturated with references to Western music, literature and art.

Norwegian Wood gets its title from the Beatles song of the same name, which happens to be one of the character’s favorite songs. The Beatles also play a major role in Sputnik Sweetheart, as does Beat writer Jack Kerouac. And Prince’s “Little Red Corvette” makes an appearance in Kafka on the Shore.

Murakami has also admitted that Bob Dylan is his favorite musician, who we see pop up in Hard-boiled Wonderland and the End of the World.

Gall collages design elements from Pop art, such as benday dots and brightly-colored shapes with vintage Japanese artwork and photographs to achieve a fascinating blend of Western and Eastern visual styles.

We can see the pop music themes of Norwegian Wood tie in the cover design: two purple circles that resemble John Lennon’s circular sunglasses and electric pink lipstick reminiscent of Warhol’s Pop Art screenprint of Marilyn Monroe. Similarly, the pixels in the woman’s face (also seen on the cover of Kafka on the Shore) pay homage to Roy Lichtenstein’s dotted portraiture style.

Sputnik Sweetheart uses a Pop art image collage of war and politics to create an image of a Sputnik satellite. And the high contrast, stylized building on the Dance Dance Dance cover evokes ‘60s era Marvel comics and Roy Lichtenstein’s comic book style paintings.

2015 paperback Murakami book covers

In 2015, Gall redesigned this same series of Murakami covers to fit together in an abstract map that documents Murakami’s surreal worlds.

Gall’s latest series of covers is characterized by technicolor backgrounds, intricate & clever linework and unique cut-outs. While each book cover design doesn’t relate to the content of the individual book as much as Gall’s original series did, the overarching abstract design is evocative of Murakami’s style and themes. The puzzle-like arrangement transforms the series into a collector’s item, a rare feat for paperback novels.

Notice clever details like the small icon of a sheep in Dance Dance Dance that connects to Wild Sheep Chase when placed in the puzzle. Small details like these make this series design gold.

How to use these techniques in your own book cover design

Should your book cover design follow the plot of the novel? Or should it pay more attention to the author’s work as a whole? Gall’s book cover designs show us that either approach can work marvelously, if done well.

The big difference [when designing paperback] is that you are putting more information into a smaller package to be presented to a wider audience.

– John Gall

Should your book cover design be abstract? Or should it be a literal interpretation of the book’s plot? Again, Gall’s two series demonstrate that both options can be successful, as long as you don’t give too much away. If you take the literal route, incorporate abstract elements (like how Gall uses Pop art) to avoid revealing too much of the plot.

Whichever route you take, make your paperback book cover design bold and eye-catching, since it doesn’t have the same accompanying attention that hardcovers do. Paperbacks aren’t traditionally considered high value items, but experiment with techniques like cut-outs and clever puzzles to turn your paperback into a collectible.

Hardcover Murakami book covers —

Chip Kidd is the mastermind behind all of Murakami’s hardcover novels in the US. His process for creating Murakami’s covers is very hands-on, which we can see in their sculptural quality. Each is riddled with symbolism, references and artistry—just like Murakami’s novels themselves.

Optical illusions

Kidd designed the cover for Murakami’s most popular novel, 1Q84. The plot of the novel follows two stories that weave together in a strange and unexpected way.

Kidd translated this into his design by playing with the interaction between the book’s jacket and the cover underneath. A translucent vellum die-cut jacket covers an image of a woman’s face underneath. The mismatched arrangement conveys the idea of going from one plane of existence to another.

via Chip Kidd

Kidd’s use of optical illusions fits in perfectly with Murakami’s writing and paves the way for the visual elements of the book’s cover to mimic the book’s interior.

Sculptural elements

Kidd’s version of Kafka on the Shore is the most artistic and involved of all his Murakami covers. He collaborated with photographer Geoff Spear and sculptor Eishi Takaoka for the final piece.

The water and shore in the image are actually photo manipulations made from rippled blue glass and sand.

Two words: Kittens sell.

– Chip Kidd

He digitally fused these images with a photo of a sculpture by Eishi Takaoka. The back cover features a ceramic cat which was also photographed and fused over the image of the shore in the background.

In several of his other covers, Kidd mixes sculptural elements with formal elements such as line and color to create unique, artistic book covers.

Literal interpretations

The Wind Up Bird Chronicle is the most literal of Kidd’s interpretations of Murakami’s work. Although in the book Murakami never describes what the eponymous bird actually looks like, Kidd went with an image of a mechanical toy bird.

via Chip Kidd

Kidd admits such a literal interpretation is almost never a good thing, but he saves it in this case by going abstract. The bird on the cover is so big that only part of it can be perceived at one time on the book’s surface, unless you take the jacket off and lay it flat.

By abstracting literal elements, Kidd retains his creative authorship and avoid spoiling the story for readers.

How to use these techniques in your own book cover design

Hardcovers are more expensive than paperback, and both readers and press expect a lot from these cover designs.

I think it’s impossible not to incorporate themes of a book on its jacket. It’s just all about to what degree one does it, and how.

– Chip Kidd

Figure out what information from the book needs to be emphasized. Then, create a design that opens readers imaginations and invites them to pick the book off the shelf.

Take advantage of every part of the hardcover—the cover, jacket and spine—to create a memorable visual experience and earn your book a permanent place on readers’ shelves.

Murakami-infused book cover designs —

It’s fascinating to see the impact of these famously surreal Murakami book covers on the work of other designers. Take a look at how some of our designers on 99designs are getting inspired by the styles of Gall and Kidd.

Book cover concept by nevergohungry.

Book cover by Asael Varas.

These designers’ clever creations combine surrealism, abstract graphics, collages and cut-outs, which can work for a whole range of books and are a fantastic way to build intrigue. So take a page out of their book and get creative with your next book cover design!

Get your own surreal book cover design!

Let our designers transport your readers away.

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The post The surreal universe of Haruki Murakami book covers appeared first on 99designs.

via https://99designs.co.uk/blog/

[spletch574]

Mask art research

1. Gillian Wearing, Confess All On Video. Don’t Worry You Will Be in Disguise. Intrigued? Call Gillian Version II, 1994

Confess All On Video. Don’t Worry You Will Be in Disguise. Intrigued? Call Gillian Version II is a colour video lasting slightly under thirty-six minutes that features ten scenes, each showing a disguised person telling a secret in an unedited monologue. All of the speakers are depicted from the shoulders upwards and are heavily lit, so that their strong shadow is projected onto a white wall behind them. In some cases they gaze directly at the camera, while in others they look away. The individuals’ disguises vary in character – some entirely cover their faces with masks, while others wear wigs and other accoutrements, such as sunglasses and a fake beard, but leave their faces wholly or partly visible. The costume elements look cheap and somewhat exaggerated, with the wigs generally being large and the masks sometimes appearing cartoon-like. The confessions vary in length and content and have loose structures, suggestive of improvisation. All relate to sexual acts, crimes or acts of revenge: for example, two speakers discuss experiences of sleeping with prostitutes and one talks about stealing a computer from a school. The voice of an interviewer is heard just once during the work, asking one of the speakers their age.

This is the second version of a work of the same name that was originally produced by the British artist Gillian Wearing in London in 1994. Wearing began the project by placing an advertisement in the magazine Time Out that contained the text that makes up its title (minus the appended ‘Version II’). When respondents met Wearing, she supplied them with a range of costume elements, allowing them to construct a disguise. She then filmed them relating a secret in whatever way they chose. Originally shot in Betacam format, the video was edited and then transferred onto VHS tape. In 1997 Wearing re-edited the work to produce this second version, partly because the sound had deteriorated during the transfer to VHS and partly because during the initial edit she had cut down two of the confessions and she subsequently decided to feature them all at full length, with the result being that the second version is approximately six minutes longer than the first. This later version is considered ‘unique’ in that it was not released as part of an edition, and Tate also owns one copy of the 1994 original, which was produced in an edition of ten. When exhibited, the work must be shown on a television monitor in a relatively small space measuring approximately 3 x 3 metres, with some form of seating provided, preferably a sofa.

The title of this work primarily makes reference to the advertisement Wearing used to attract participants, emphasising the fact that the speakers actively chose to contact the artist and appear in her video. 

The curator Russell Ferguson has argued that this work simultaneously involves an ‘uncomfortable’ level of intimacy and a feeling that ‘we have heard nothing we can be sure of’, since the speakers could be performing for the camera or simply lying (Russell Ferguson, ‘Show Your Emotions’, in De Salvo, Wearing, Ferguson and others 1999, p.36). Regarding the possibility that the speakers might somehow be performing in this work, Wearing stated in 1997 that ‘I noticed that they had taken time to mull over what they were going to say. One or two actually brought pieces of paper to prompt themselves. Things were set up, and it was ... ambiguous – that is where the art or the fiction came in’ (Wearing in Turner 1998, accessed 2 June 2015).

Further reading Grady T. Turner, ‘Gillian Wearing’, Bomb, no.63, Spring 1998, http://bombmagazine.org/article/2129/gillian-wearing, accessed 2 June 2015.

2., 3., 4., 5. Cindy Sherman, Untitled A, B, C, D, 1975

Untitled A, B, C and D belong to a more extensive series of photographs Sherman made while she was studying art at the State University College at Buffalo, New York (1972-6). She selected five images from the series and arbitrarily labelled them A to E. They were enlarged and reprinted in editions of ten. Sherman has explained the origins of this Untitled series:

These images were from a series of head shots that I made to show the process of turning one character into another. At that time I was merely interested in the use of make-up on a face as paint used on a blank canvas. I was experimenting with several types of characters – i.e. starting with an old person who then gradually became a drag queen. While the original series showed the entire process (about fifty 3” x 5” photos), later I chose a smaller group to make into slightly larger separate pieces. I unintentionally shot them with a very narrow depth of field, leaving only certain parts of the face in focus, which gives some of the features [a] malleable quality.

(Quoted in Contemporary Art, p.98.)

Sherman initially studied painting at Buffalo, making self-portraits and realistic copies of images she found in magazines and photographs. She began using photography after being introduced to Conceptual art by a teacher who inspired her to bring her childhood activities and obsessions into her work. She has said that as a child she was introverted, adding that ‘as a girl I used to always enjoy dressing up and being made-up. A lot of girls might like to look like their moms, but I would try to look like a monster or an old lady. Maybe I could have been an actress.’ (Quoted in Paul Taylor, ‘Cindy Sherman’, Flash Art, no.124, Oct. – Nov. 1985, p.78.) In this series of images Sherman combined painting (on her face) with photographic portraiture, assuming the personae of three female characters of different ages and one male. Variations in hairstyle and the use of hats in two of the photographs are the only props used. Below the chin the artist is bare. Two pale lines running down from either side of her neck, the result of being in the sun in a halterneck top, are clearly visible in each image and emphasise the theatricality of the work. The character in Untitled A wears a crocheted hat and has the most obvious make-up. Her dark eye-liner and lipstick, accompanied by heavy rouge just under her cheekbones to thin her face, suggest a woman in her thirties. Her submissive smile and the angle at which her head is tilted convey the sense of someone shy and anxious to please. The character in Untitled B, who is male, has joined-up eyebrows, and darkening under his eyes and chin and between his nose and mouth. For this image Sherman wore a cloth cap and pulled her chin into her neck to give the character a genial, comic air. The character in Untitled C has the least facial darkening. Her makeup mainly consists of thick mascara on her eyelashes, contributing to the wide-eyed innocent look she aims at the viewer from under her fringe. She appears only marginally older than the character in Untitled D, whose hair is held back with a pair of butterfly grips. For this pose Sherman darkened her face between the eyes, under the chin and in a line between her nose and the edges of her mouth. In all the images, Sherman has combined evident staging with the successful portrayal of a character type. This was later to become the artist’s signature technique, permitting her to evoke a wide range of emotional and thematic registers. Bus Riders 1976  is a series of photographs Sherman made shortly after leaving college, before she moved to New York and made her famous series of Untitled Film Stills 1977-80.

6. René Magritte, The Future of Statues, 1937

This work is made from a plaster copy of the death mask of the French Emperor Napoleon. A death mask is made by placing a mixture of plaster or wax over a person's face once they have died to create a mould. Magritte painted at least five of these casts, each with sky and clouds. The artist’s friend the surrealist poet Paul Nougé suggested an association between death, dreams and the depth of the sky. He commented: ‘a patch of sky traversed by clouds and dreams [can] transfigure the very face of death in a totally unexpected way’.

7., 8. John Stezaker, Mask XIII and Mask XIV, 2006

Mask XIII is a collage created by superimposing a postcard on a black and white photograph. The photograph is a film publicity portrait of an unidentifiable actress taken during the 1940s or 1950s. The postcard is a colour print mounted upside down over the actress’s face. It shows an image of a ruined stone building partially surrounded by trees. Stezaker has positioned it so that the inverted building appears framed within the actress’s face: the edge of the building matches the actress’s hairline at the right side of her face and a tree trunk and branches continuing the line of her face’s left side. Dark areas of foliage either side of the building align with her dark hair. A second tree in front of the ruin extends down the image to connect with the woman’s hand which is raised to her chin emerging from a narrow section of sky at the top of the postcard. At the bottom of the postcard, which traverses the subject’s forehead, the inverted caption ‘Nîmes – Le Temple de Diane’ identifies the ruin as the temple of Diana at Nîmes in France. The form of the inverted temple and its positioning over the woman’s face have the effect of evoking a skull: three rounded arches leading into darker spaces suggesting eye and nose-sockets and the broken upper edge of the ruin drawing the line of a broken and toothless jaw.

Mask XIV is a collage created by superimposing a postcard on a black and white photograph. The photograph is a film publicity portrait of an unidentifiable actor taken during the 1940s or 1950s. The postcard is a colour image mounted over the actor’s face. It shows a rocky cavern in which a sandy track curves around a central pillar. On the bottom left the card is captioned ‘Zig zag path, Folkestone’. At this point it covers part of the actor’s signature on his portrait above his right shoulder. Part of his first name – ‘Barry’ – is visible on the print. The postcard photograph appears to have been taken from inside a cave or under a bridge looking out through two openings towards the light. Stezaker has positioned the card on the actor’s face so that the dark silhouette of the rocky openings and the curvature of the cavern line up with the contours of the actor’s face. This placement causes an anthropomorphic reading of the postcard image – the two openings to the light suggest eyes connected by the rocky central column which covers the actor’s face in the position of his nose. Initiated around 1980, the series of Mask collages developed from the Film Still collages, such as The Trial, The Oath and Insert. The Masks all follow a similar and deceptively simple format: a film publicity portrait of a star whose face is covered by a postcard – ostensibly a mask – which opens a window into another space, paradoxically suggesting a view behind the mask constituted by the actor’s face. Initially the postcards were images of bridges and caves which in some instances united two or more protagonists. Over the years Stezaker has extended his range of imagery to include tunnels, caverns, rock formations such as stalactites and stalagmites, railway tracks, historic ruins and monuments (as in Mask XIII, 2006), woodland clearings and paths, as well as streams, waterfalls (as in Mask XI, 2005), lakes and the sea. Stezaker began collecting film stills in 1973 but was not able to afford photographic portraits of film stars until the early 1980s when their price dropped. The first portraits the artist used were damaged or of forgotten film actors, unnamed and anonymous. He has commented:

The Masks were inspired by reading Elias Canetti’s essay on masks and unmasking in his wonderful book Crowds and Power which inspired so much of my work at this time ... I was also teaching a course on Bataille and the origins of art which focused on the mask as the origin and point of convergence of all the arts. Canetti’s idea of the mask as a covering of absence and, in its fixity, as a revelation of death, alongside my discovery of Blanchot’s Space of Literature, was an important turning point in my thinking and in my approach to my work. I usually think of the key dates being 1979 and 1980 as marking a yielding to pure image-fascination and as a release from any function societal or transgressive in the work. The Masks were a response in practice to the Canetti/Blanchot idea of the ‘death’s space’ of the image and consolidated the sense of pure fascination and the desire for ‘exile from life in the world of images’, an ideal I saw in the practice of Joseph Cornell.

(Letter to the author, 26 October 2007.)

Stezaker shares with Joseph Cornell (1903-72) the Surrealist technique of apparently irrational juxtaposition and the evocation of nostalgia through his focus on outdated imagery, collected and pondered over many years. While Stezaker’s use of film stills and publicity portraits of the 1940s and 1950s stems from his boyhood experience of encountering these images on the outside of cinemas advertising films from which he was excluded because of his youth (letter to the author, 26 October 2007), his choice of postcards tends towards the Romantic tradition of nature and the sublime. The image of the zig-zag path relates to the woodland path or holzweg, a path leading – in German folklore such as that published by the Brothers Grimm in the early years of the twentieth century – to possible danger and death. Stezaker became interested in the historical phenomenon of the holzweg through his reading of Landscape and Memory (published New York, 1995) by the British art historian, Simon Schama (born 1945). The artist’s juxtaposition and careful alignment of the postcard image with the publicity portrait create an effect related to the concept of the uncanny as described by Sigmund Freud (1856-1939) in his 1925 essay, ‘The Uncanny’. Freud analysed the feeling of the uncanny aroused most forcefully by the fantastic stories of the Romantic writer E.T.A. Hoffmann (1776-1822), in particular his tale The Sandman (first published in Nachtstücke, 1817). He relates the sense of horror experienced by the protagonist Nathaniel not only to the mechanical doll Olympia, who appears real, but more significantly to a fear of losing ones eyes which he connects to the Oedipal castration complex. In the Masks the subjects’ eyes are covered; the collage intervention substitutes blankness or holes – dark and empty or leading into other spaces – creating the disturbing sensation of seeing death beneath the features of a living being.

[ourescapades]

The new reality or fiction: Contemporary photography

Created by: 

Angel Kyna Canazares 

Kevin Dela Cruz 

Jayhan Klassen 

Jaryelle Pilar 

Alterations are not allowed in press photography, but they are one of the tools used in contemporary art photography? Why?

According to the guidelines of ethics of photojournalism, editing pictures of any kind is not advised for journalistic purposes. ‘Accuracy is the moral imperative of journalists and news organizations, and should not be compromised, even by pressing deadlines of the 24-hour news cycle’ (Ethics Guidelines). For example, staging, re-enacting, or manipulating events, adding or removing content during photocapture or post-production would change the perception of events, thus influencing the intended audience one way or another. Keeping photographs' original form and state is an ethical responsibility for photojournalists to maintain their neutral position of truth and avoid manipulating the exact message that is shown in reliable news channels such as newspapers, television and serious social media platforms. However, in contemporary art photography, neither a photographer’s message nor the process has to follow the ethical guidelines that photojournalists have to adhere to. Because the purpose of photography in an artistic context, is to convey the vision of the artist. The message is open to interpretation and the audience is encouraged to develop various perceptions of it’s meaning, whether it is hidden or obvious. This artistic process of photographic artworks allows the photographer to have freedom in both the image capture and the post-production processes. This is encouraged and expected of the photographic artworks, as simple documentation of reality is deemed not sufficient enough any longer to give a photograph an artistic merit.

 What happened to the photography? Is this its future? By Cruz

When we compare the photos taken from Adams, Sommer, and Klett and Parke to Harrison, Muniz and Crewdson’s work they all have very different photographic styles. They have different preferences of how they like to take pictures for example. When you look at Adams, Sommer, and Klett’s photos, they portray realistic images by using the elements around them such as nature, landscape and the people in the image. Their photos have been barely touched up by any editing software or by altering it in the darkroom. This gives us the raw and realistic emotions when we see their images. When we look at these images through the lens of NPPA ethics they would pass as press photos due to the minimal use of either digital software or altering of the image in the dark room. 

On the other hand, Muniz, ParkeHarrison, and Crewdson all have a different approach when it comes to getting their audience’s attention. When they take photos of others they use properly placed objects or people, colour and lighting to turn their imaginations into reality. Looking at the images for the first time, we saw a different kind of creativity in the photos, compared to Sommer, Adams, Klett’s realistic photos. Muniz, ParkeHarrison, and Crewdson were more art photographers rather than press photographers due to the creative process that they follow as well as the alterations made in the photos. In our opinion, these future photographers want to be more creative and have more freedom when it comes to representation of their artistic vision. Art is all about expressing a vision and/or feeling whether it's utopic or real. The process or the medium of photography is altered to serve this vision and this appears to be the future. 

  Compare photographers of Sommer, Adams and Klett versus Parkeharrison, Muniz and Crewdson.

Mark Klett VS Shana & Robert Parkeharrison by Pilar

Mark Klett

Mark Klett is a famous American photographer. Through Klett’s photography, his form of style is linking cultures, landscapes and time. Some of his famous works are from the Grand Canyon where he and his former student Wolfe were able to recognize the accurate locations portrayed in Klett's geographic points from his original overview. His versions of the historic views are being inserted within the modern photographs that are built in a panorama. The reason behind this style or rather this creative idea of Klett is to highlight possible or multiple interpretations of a single scenery or rather the landscape. Most of his works are a mashup of different photographs inserted to an old picture that was taken years ago and new pictures that he took are being attached at the same place. “So much of what we know, and what we think we know, about the land has first passed through someone’s lens. The interesting thing is to make use of this history, not merely to be absorbed into it. For me, landscape photographs begin as the artifacts of personal moments. They get interesting when they become cultural commentary.” - Mark Klett “I am not much interested in discovering new territories to photographs. Instead, what I wish my pictures could do is lessen the distance one often feels when looking at landscape photographs… The longer I work, the more important it is to me to make photographs that tell my story as a participant, and not just an observer of the land.” - Mark Klett

North Rim by Mark Klett

Shana and Robert Parkeharrison

Shana and Robert Parkeharrison are a husband and wife team who have been taking photographs together for almost 20 years. Their style in photography focuses more on the relationship between humans, nature/environment and technology. In their photographs, they include a touch of painting techniques, for example, using a collage technique creates a cinematic story of the environment. Their creativity in their works is very unique due to the way they interpret and figure out how an audience would communicate with the image being shown. Moreover, they utilize multiple styles as some of their works have an effect of being very dramatic with dreamy qualities by the use of photogravures.

Nature Morte, 2015 by Shana and Robert Parkeharrison

Fredrick Sommer VS Vik Muniz by Canazares

Fredrick Sommer

Fredrick Sommer Adam was born in Angri, Italy but he was raised in Brazil. At first, he studied and focused more on landscape architecture. He was then introduced to using watercolours and that involves pen and ink where eventually led him to have his first exhibition of watercolours. His creativity then evolved where he experimented with photos using double exposure. His photographs are aesthetically pleasing landscapes that range from disorienting with macabre aspects of the natural world to surreal arrangements of found objects and pure abstractions.

Medallion, 1948 by Fredrick Sommer  

Vik Muniz

Vik Muniz is born in Sau Paulo Brazil. He was born and diagnosed with Dyslexia. Through his form of style in art photography, his creativity is very distinctive. Through his art he was able to recreate iconic, historical artworks from found materials like trash; a form of layered appropriation. Through all his works, Muniz’s art makes us question through illusion and perception. Muniz has said that he does not believe in originals, but rather believes in individuality. Indeed, in his photo manipulation and methodology, he truly creates signature works that repurpose and showcase themes in different lights for his viewers. He sees photography as having "freed painting from its responsibility to depict the world as fact." (Ollman, 2020).

“Things look like things, they are embedded in the transience of each other’s meaning; a thing looks like a thing, which looks like another thing, or another. This eternal ricocheting of meaning throughout the elemental proves representation to be natural and nature to be representational.”

- Vik Muniz

“Creation is something that represents a graspable portion of what we can observe but cannot understand. Creativity is how we cope with creation; it’s how we invent languages, motifs, and patterns to actually help us navigate in an otherwise really complex structure of events and situations. All we do is try to cope, ultimately. Creating opened ended structures, and ways in which you can approach or think about reality is the ultimate role of the artist. You have to be very dedicated to the concept of Realism.”

-        Vik Muniz

Sanora, 2014 by VIk Muniz

Gregory Crewdson VS Robert Adams by Klassen

Mobile Homes, Jefferson County, Colorado by Robert Adams

Production still (Clover Street  #2), 2005 by Gregory Crewdson Robert Adams

Robert Adams (1937) got into photography in his mid-twenties, primarily focusing on the changing architecture and landscape of the American West in the early 60s. This quote summarizes his observations of human altered landscapes and desire to photograph the rapidly changing architectural suburbs. Photography allowed him to engage in his love of outdoors while providing him a vehicle to contribute to society.  

‘I came back to Colorado to discover that it had become like California. . .. The places where I had worked, hunted, climbed, and run rivers were all being destroyed, and for me the desperate question was, how do I survive this? Edward Hopper’s paintings had already given me a clue, though I didn’t fully understand it.’ (Yale University Art Gallery) 

His work was informed by photographers like Lewis Hine, Edward Weston, Dorothea Lange, and Ansel Adams who merged their social concerns with their artistic vision in landscape photography.  As we can see in his pictures entitled Mobile Homes or Summer Nights Walking, he was interested in capturing the banal and the mundane in this new altered landscape without photographic alterations. This is also clear in his quote stating that ‘[w]hatever power there is in the urban pictures is bound to the closeness with which they skirt banality. For a shot to be good—suggestive of more than just what it is—it has to come perilously near being bad, just a view of stuff.’ (Yale University Art Gallery)

 From Summer Nights Walking, 1976-1982 by Robert Adams

Twilight (Beer Dream)  (1998) by Gregory Crewdson

Photo: courtesy Photology Gregory Crewdson

Gregory Crewdson (1962), much like Adams, is also interested in man-made or the natural American landscapes, although for a couple of decades after Adams in time period. However, unlike Adams, Crewdson is well known for staging elaborate and eerie shots of suburban people and homes just like in a movie scene. He was influenced by film makers such as Steven Spielberg, Diane Arbus, and Edward Hopper. He uses a crew just like in movie sets and works with a director of photography. He uses various stage lighting sources and strobes. Therefore, his photography looks more staged and makes people wonder whether they are looking at a photograph or a disturbing crime scene or a surreal image from a movie! He has an elaborate post production process to achieve these sensations in a viewer. 

‘It begins with him looking through contact sheets alongside a retoucher. Often his images are pieced together from multiple exposures. Even the retoucher remarks that it’s rare that he chooses the final image from one single exposure, it’s often more composites of multiple photographs all with unique elements that capture what he’s looking for’. (Wilson, J)

If we examine Adams’ Summer Night Walking, one can imagine him setting up his tripod and waiting to capture the suburban home under the perfect moonlight. The image is black and white and no editing is done. Crewdson in his Twilight (Beer Dream) shoots a similar suburban scene, however, we can tell from the lighting and the atmospheric effects that this is staged like a movie scene and there is nothing real about it. Also, the people he places in his photography implies that there is a narrative story to his photographs beyond what is visible on the still image just like in a movie script. Because of the photograph’s surreal quality, we know that this photograph is edited many times and has an extensive post-production process with colour/atmosphere alterations to achieve the drama in Crewdson’s artistic vision.

Will photography capture the reality or it will be only fictional?          

To determine whether a photograph will capture reality or will it be fictional depends on the context. For example, if an artist is using photography and inserting images or objects into another picture from his imagination just like in a painting, that would be fictional. They may partially capture reality but we, as the viewer, do not know that until we read more about the photograph in question. 

When capturing reality, we think the image has to be accurate and genuine.  The main purpose of taking a realistic picture of an object or people is to achieve art and the true representation of the content. Photographers such as Sommer, Adams, and Klett, their artistic style of photography emerges from the presentation of a real situation, site, building or landscape. Their photographs are viewed as very realistic and raw because of the lack of alterations after and showing the stark reality of the context. Sommer, Adams and Klett’s style in photography evolved from capturing what was out there; natural and man-made, something we see with our naked eye. Therefore, we think this photographic style and creativity are much more appealing than fictional photography because we can see the originality which then leads us to believe in what we see in the image. 

On the other hand, photographers such as ParkeHarrison, Muniz, and Crewdson took pictures that turned their imagination into reality, the medium giving them the freedom to turn whatever they imagined into a photograph. This is considered in our opinion fictional photography. For example, Crewdson’s fictional style expressed in photographs can be used for a movie ad, a book cover or to attract viewers in galleries who wonder what the photographer had in mind just like in a painting. 

Any photo could be real or fictional. However, in the strange times that we live in where we are bombarded by fake images and news every moment, the realistic photographic style stands out as a genuine art form that we can relate to without being deceived. 

 Bibliography

ArtNet Worldwide. (2020) Vik Muniz. Vik Muniz Biography – Vik Muniz on Artnet, Retrieved from www.artnet.com/artists/vik-muniz/biography.

Carovalbuena, |. (2015, March 31). The new reality or fiction: Contemporary Photography. Retrieved from https://carovalbuena.wordpress.com/2015/03/31/the-new-reality-or-fiction-contemporary-photography/

Ethics Guidelines (n.d.). Retrieved from https://caj.ca/ethics-guidelines

Foodlovecobyduane. (2018, November 28). The new reality or fiction: Contemporary photography. Retrieved from https://foodlovecobyduane.wordpress.com/2018/11/28/the-new-reality-or-fiction-contemporary-photography/

Frederick, and Frances Sommer. (2020) Frederick Sommer: Center for Creative Photography. Frederick Sommer | Center for Creative Photography. Retrieved from ccp.arizona.edu/artists/frederick-sommer.

Klett & Wolfe. (2020). Charting Canyon. Retrieved from https://www.klettandwolfe.com/images/ChartingCanyon%20brochure%20PAM.pdf

Knight, Chris. (2013). Amazing Surreal Work from Robert & Shana ParkeHarrison. Fstoppers. Retrieved from fstoppers.com/portraits/amazing-surreal-work-robert-shana-parkeharrison-4009.

Muniz, Vik. (2020). Vic Muniz. VikMuniz. Retrieved from vikmuniz.net/.

Musee. (2012, 13 June). Meet the Photographer: Vik Muniz. Musée Magazine, Musée Magazine, museemagazine.com/culture/art-2/features/meet-the-photographer-vik-muniz.

Parkeharrison, Robert & Shana. Robert and Shana ParkeHarrison. Artspace. Retrieved from www.artspace.com/artist/robert_and_shana_parkeharrison.

Robert and Shana ParkeHarrison. (2020) Artspace. Retrieved from www.artspace.com/artist/robert_and_shana_parkeharrison.

Sommer, Frederick. (2017). Frederick & Frances Sommer Foundation. Retrieved from www.fredericksommer.org/.

Wilson, J. (2016, December 15). An In-Depth Look at The Work of Photographer Gregory Crewdson. Retrieved from https://www.thephoblographer.com/2016/12/15/reserve-channel-takes-depth-look-work-gregory-crewdson/

Yale University Art Gallery. (1980). Robert Adams: The Place We Live: Yale University Art Gallery - Chronology (1962). Retrieved from http://media.artgallery.yale.edu/adams/chronology.php?y=1962

[arplis]

Arplis - News: Minimalist Clothespin Picture Hanger

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Every day our selections give you access to the latest and best pictures on the current topics and stories. . Exclusive – dpa . Our subsidiary dpa Picture-Alliance based in Frankfurt/Main is one of the leading photo agencies in Germany and worldwide in the fields of image production, . Some interesting facts about Interior Design and designers are mentioned on this website. Have a look to have a complete idea on how interior designers… 21 жовт. 2018 р. – BELLE DE JOUR Filmstill Catherine Deneuve (picture-alliance/Mary Evans Picture Library). Catherine Deneuve gave a nuanced performance . With a squeaky- clean image and reputation as a sweetheart (she also made the . and massage, and now that she operates Neem Tree Spa in west Midtown, the rest . and white, in reality we’re looking more and more like the Rainbow Coalition. . jocks, honky-tonk troubadours, booze- hounds and lovable degenerates of . 14 жовт. 2016 р. – Disney version of Winnie-the-Pooh (picture-alliance/dpa/B . somewhat scatterbrained and a bit slow, but certainly a lovable and good-natured . Tag: picture alliance dpa. Beautiful Concept . photos mountain cake picture ideas. classy mountain cake . lovable mountain birthday cake ideas. gloriously . Picture ledges or rails are an elegant, cohesive look that will add a ton of creative . sneak some thin gallery wall shelving into the end of a hallway // #styling. 9 груд. 2018 р. – Das kostenpflichtige Programmpaket Microsoft Office ist nicht vonnöten, damit Ihr PC gängige Büroaufgaben bewältigt. 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Picture Manager не входить до складу Office 2013 і новіших версій. 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PhotoScape is a fun and easy photo editing software that enables you to fix and enhance photos. Key Features. Viewer: View photos in your folder, create a . Download PhotoPad photo editing software for Windows/Mac to easily edit, . PhotoPad picture editor is the fastest and most fun way to edit your digital photos. . I purchased the full version and is a good value compared to Photoshop. . free Movavi Photo Editor! Get the basic version of the program which is available to download for free. Or try the full version of Movavi Photo Editor for Windows. . We guarantee you’ll like the cool and quick results! Download Free Version. Photoscape latest version: An amazing free photo editor with lots of extra tools. Photoscape is an amazing free . Full Version. 9 · Free Downloadfor Windows. 8. ImageGlass is a lightweight, open source photo viewer that designed to take place Windows Photo Viewer, work with all image formats, includes GIF, SVG, . 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Try to access it while you get the window asking you to manually remove trend micro, because I think that if you cancel the installation, the . 9 лют. 2016 р. – Microsoft’s Windows Trends website reveals the OS install base of all recent . new operating system Windows 10 is doing, and whether it is likely that . Those official figures paint a clear picture of the growth, but they are not . Install or renew Trend Micro Internet Security for Windows Notice – McGill’s license for Trend Micro Internet Security expires in December 2018: McGill’s license . 15 бер. 2019 р. – Learn more about updates for Windows 10 version 1809, including improvement and . For more information about the update and how to get it, see: . Installing the most recent update ensures that you also get any previous . New in Microsoft Excel 2010, a sparkline is a tiny chart in a worksheet cell that provides . In this course: . Use sparklines to show trends in a series of values, such as seasonal increases or . Install Microsoft Silverlight, Adobe Flash Player, or . Xbox One X · Xbox One S · VR & mixed reality · Windows 10 apps · Office apps . 19 лист. 2018 р. – Still, these minor hassles aside, Trend Micro makes it easy to install its core . By default, this watches your Documents and Pictures folders, as well as any . Folder Shield isn’t a new idea – even Windows 10 now does . 2019 findet der PICTAday erstmals in der Kreativmetropole Berlin statt. Die Bildbranche trifft sich am 28. März von 10:00-18:00 Uhr im Atrium des Mercure Hotels . current AP images. Discover here the outstanding production of AP . 26.03.2019. Thumbnail 80487646 · Thumbnail 80490346 · Thumbnail 80490349 . 15 лист. 2017 р. – These days, the minimalist look is increasingly popular. You don’t have to look very deeply into sites like Freshome to find photo after photo of . David Chipperfield: The architect of minimalism. Slide 1 of 8: The Museum of . SHARE · EMAIL. 1/8 SLIDES © picture-alliance/Arco Images/J. Hildebrandt . The distinction between an alliance and a grand “coalition”, introduced by the . the picture that changes the concept of “multilateralism” from a minimalist to a . . War, the picture is that there were two “camps”: one that argued for a maximalist, . US leadership, and another that argued for a minimalist, rational US leadership. . She talked about NATO’s strategic concept, US force structure in Europe, . be credible in the alliance in the future: We will maintain the necessary balance . . of the International Alliance of Theatrical Stage Employees and Motion Picture . “a massive performance piece,” with music by minimalist composer Philip Glass. . were,” Jack recalled, “but he liked the concept that you can put the dimes in, . alliance of systems theory and contemporary art which was already under way, focusing . directly to Michael Fried’s much debated 1967 critique of minimalist art and claimed: . 70 Burnham’s considerations underpinned the curatorial concept of the . Writing about Haacke’s interactive environment Photo-Electric Viewer . . minimalism 84; ruin, relationship 146; vertigo, suggestion 76 photography 123; . punctum, creation (appearance) 155–6; vanishing point, concept 23 pose, erotic . death/temporality, alliance 154 punctum, disordered geometry INDEX 173. #IkeaClothespinPictureHanger #HangerSpacers #PictureItFreewareVollversion #HomeDesign #HangerSteak

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Agilenano - News: Minimalist Clothespin Picture Hanger

Here’s a fun easy DIY project for the weekend…mini clothespin picture display! It’s so simple it . 5 Alternatives for Hanging Art Without Frames #theeverygirl Polaroid Ideas, Polaroid Display, Hanging . dorm [trends] — this-space-here-is: . clothespin picture holder Cute Crafts, Diy Crafts, Diy Christmas Cards, Current trends, hailed by the internet and social media, can also affect a teenager’s . Color blocked photo clothesline, wire picture hanger in gold, salmon, and Tiffany blue . Picture frame clothesline Clothesline Pictures, Prayer Wall, Diy Frame, . 3 вер. 2016 р. – Vacation snapshots, landscapes, family portraits, art prints – the right pictures give a living space a real “home sweet home” feeling and provide . Rustic Clothespin Photo display. Baby shower display. Wedding photo display. Clothesline frame. 23″x 23″ Collage. frame. Mother’s day gift. Polaroid photo display, Clothespeg picture hanger, Instax clothespin wall decor . Clothes Pin Picture Hanger with Mini Clothespin and Burlap (Set of 2). Rustic Clothespin Picture Frame / Clothes Pin Picture Frame – Photo Display . Polaroid photo display, Clothespeg picture hanger, Instax clothespin wall decor. 28 жовт. 2016 р. – Great tutorial on making your own wire hanging photo frame for under . but I’m not crafty, so my following of craft trends is far behind the curve. clothespin picture holder Cute Crafts, Diy Crafts, Diy Christmas Cards, This adorable shabby chic style message board is covered in burlap and has twine . Dorm Room DIY and Crafts: Clothesline Picture Holder so cute! Do like each row . 12 Adorable DIY Light Switch Plate Ideas with Tutorials.Let’s take a look at . Make a Photo Frame This is such a charming way to display photos! . black & colored dots / polaroid wall decor display / friends gift / includes clothespins Adorable and Easy DIY Phone Stand Diy Phone Stand, Toilet Paper Roll Diy, Toilet . Here’s a fun easy DIY project for the weekend…mini clothespin picture display! It’s so simple it . photo hanging using inexpensive curtain hardware from IKEA. Make these adorable DIY photo clips for your Christmas card display or . DIY Christmas card display frame (or buy a rustic hanging photo frame on Amazon). 6 Simplest yet Adorable DIY Photo Frame Ideas – #DIY #Photo #Frame . Kit with Clothespin Dorm Room Wall DecorClothesline Photo Display Diy Wall Art Wal. DIY Mini Clothespin Picture Display. 21 Friday Sep 2012 . Squee over how fucking adorable mini clothespins are. 5. Clip your pictures on the string and repeat . 23 бер. 2016 р. – This DIY Photo Hanger is such a pretty way to display artwork or . After hanging it on the wall, I used some pretty little clothespins to hang . And hanging those frames. And then making . Hang an IKEA curtain wire as the base for a fun photo display. . Love the idea of putting a string and clothespins on a wall definitely want to Tasty Food with Cheryl Sousan of Tidymom.net. Jan 12, 2019- Ikea wire curtain hanger for hanging kids art works (definitely adding to my craft . Delightful Order: DIY Photo Wall: Cute for all those senior portraits, . Make an art wall with twine and mini clothespins — via Design Improvised . Jan 25, 2019- Scarf hanger! The hanging loop thing I found at Ikea, and I use it for all my scarves! . Behind the Door Shoe Organizer (top right picture). . “Splendid Bedroom Ideas – Simply Delightful notes to create a truly first rate diy . Great Belt & jewelry Organizer from Clothespins – 150 Dollar Store Organizing Ideas . IKEA – FIXA, 116-piece picture hook set, The easy-height picture hook has hooks at different levels, which makes it easy to adjust the height of a picture to match. Spice up any room in your home with posters and wall art from IKEA. IKEA – DIGNITET, Curtain wire, Complete set with hardware and curtain wire; ready to mount to wall or ceiling.Fixture with adjustable angle for more flexible. 27 лист. 2016 р. – That’s why we’ve rounded up these twelves ideas for creating photo collages at home. . Home and Delicious shared this interior still life with overlapping images . This lovely modern photo display is made with IKEA’s DIGNITET Curtain Wire. . Here’s a DIY version, with clothespins, from Our Holly Days. Clothespin Photo Displays Plus Lovely Clothespin Association For Public Art. . Home Decor Clothespin Photo Displays Plus Awesome Diy Frame . Glass top Vanity Table Luxury 17 Delightful Tile top Patio Table. Ikea Sawhorse Desk. 26 вер. 2018 р. – portable clothing rack ikea clothespin picture hanger portable clothes rack socks drying cloth hanger rack clothespin laundry storage . DIY Framed Clothesline Photo Display – DIY 14 Room Decor Ideas For Home Improvement . DIYs which require zero skill to put together are the best kind of DIYs, am I right? photo hanging using inexpensive curtain hardware from IKEA. clothespin picture holder Cute Crafts, Diy Crafts, Diy Christmas Cards, This is a great idea for display santa photos, Halloween costumes over the years or . Learn how to build an easy DIY clothespin picture hanger. . I mounted the photo display on the wall using Command Picture Strips (best . And if you love making projects with your photos, click here for 40 craft ideas to try using photos. Don’t let those photos live on your computer. Use this DIY tutorial to create a picture frame clothes line to display your photos in this photo wall display idea. Buy Umbra Hangit Photo Display – DIY Picture Frames Collage Set Includes . Natural Wood Wall Mounts and Clothespin Clips for Hanging Photos, Prints and . with everything you need to create an amazing craft-style collage frame of your own. . 11×14 Inch Picture Frame Black (2-pack) – HIGH DEFINITION GLASS . 2 серп. 2017 р. – A great way to show off your favorite snapshots is to create a picture clothesline. . Easy to make, easy to use, and easy to change, a picture clothesline is . large bookcase, the back of a door, or across a window frame. A clothesline is a great idea for a desk area, as an alternative to a bulletin board. 5 лист. 2015 р. – You can customize a simple picture frame to make it an interesting display frame for several pictures which you can print . Create a random pattern and use clothespins to display your photos there. . A somewhat similar idea is offered on Findingnana. . Get daily tips and tricks for making your best home! Clothes Pin Photo Hanger: To build this project I started with a couple of 2″ x 2″ wood boards. I measured the room I thought I . Find the perfect spot on your wall, hang some great pictures and enjoy! Add Tip . made this before. Its a great idea. 18 бер. 2019 р. – If you’ve, over time, grown fond of Microsoft Office Picture Manager and want to use it still on Windows 10, make sure to check this article. 27 серп. 2018 р. – Microsoft Office Picture Manager was included as part of Office 2010 and earlier versions. You could use it to view, edit, and manage your . 18 лист. 2016 р. – How to install Microsoft Office Picture Manager in Windows 10 . TIP: Download this tool to quickly find & fix Windows errors automatically. 14 серп. 2012 р. – The Microsoft Office Picture Manager is a utility that comes bundled with Microsoft Office 2003, 2007& 2010. It replaced the Microsoft Photo . 19 квіт. 2017 р. – The Office Picture Manager is an application, offered by Microsoft that . But, Microsoft, has stopped its support (Windows Live Essentials) on January 10, . Let me know if this guide has helped you by leaving your comment . У Windows 10 інстальовано програму Фотографії, у якій так само, як і в Picture Manager, можна редагувати фотографії. Відомості про те, як відкрити її та . 30 лип. 2018 р. – While Picture Manager is no longer included as part of Microsoft . Tips. Picture Manager is a decent alternative to the Windows 10 Photos app. Cara Install dan Menggunakan Windows Picture Manager di Windows 10 7+1 Tips Hemat Baterai Smartphone ala RindiTech · Cara Nonton Film dengan . 10 жовт. 2016 р. – These tips will help you master the Windows 10 File Explorer. . Windows 10 File Manager goes the route of the ribbon, just as in Windows 8.1. Let’s assume you’ve stored a bunch of photos in your Pictures folder, some of . Donald Trump: History, family, funny pictures, graphics. . Public Relations Photo-Portal . From lifestyle to media, from health to travel – the dpa-Themendien. . entertainment and sports. Every day our selections give you access to the latest and best pictures on the current topics and stories. . Exclusive – dpa . Our subsidiary dpa Picture-Alliance based in Frankfurt/Main is one of the leading photo agencies in Germany and worldwide in the fields of image production, . Some interesting facts about Interior Design and designers are mentioned on this website. Have a look to have a complete idea on how interior designers… 21 жовт. 2018 р. – BELLE DE JOUR Filmstill Catherine Deneuve (picture-alliance/Mary Evans Picture Library). Catherine Deneuve gave a nuanced performance . With a squeaky- clean image and reputation as a sweetheart (she also made the . and massage, and now that she operates Neem Tree Spa in west Midtown, the rest . and white, in reality we’re looking more and more like the Rainbow Coalition. . jocks, honky-tonk troubadours, booze- hounds and lovable degenerates of . 14 жовт. 2016 р. – Disney version of Winnie-the-Pooh (picture-alliance/dpa/B . somewhat scatterbrained and a bit slow, but certainly a lovable and good-natured . Tag: picture alliance dpa. Beautiful Concept . photos mountain cake picture ideas. classy mountain cake . lovable mountain birthday cake ideas. gloriously . Picture ledges or rails are an elegant, cohesive look that will add a ton of creative . sneak some thin gallery wall shelving into the end of a hallway // #styling. 9 груд. 2018 р. – Das kostenpflichtige Programmpaket Microsoft Office ist nicht vonnöten, damit Ihr PC gängige Büroaufgaben bewältigt. Kostenlose Alternativen . 8/10 (53 Stimmen) – Download Picture It! kostenlos. Picture It! downloaden, Bilder bearbeiten und Projekte erstellen. Mit den Tools auf der Seitenleiste von . 7 черв. 2017 р. – Magix Photo Manager 17 Deutsch: Mit dem kostenlosen Windows Picture Manger “Foto Manager” von Magix können Sie einfach Ihre Fotos . 30 квіт. 2015 р. – Download this app from Microsoft Store for Windows 10 Mobile, Windows Phone 8.1, Windows Phone 8. See screenshots . Take a selfie with your camera and apply natural “photo frames” to it! . Nature photo frames free is here to entertain you and make your images look divine! Deutsch (Deutschland) Download stunning free images about Angel. Free for commercial use ✓ No . Angel, Divine, God, Feathers, Holy. 115 153 13. AngelDivineGod · Angel, Wings . Download holy books, sacred and spiritual texts in full length at holybooks.com. . The editors of the Stimmen Aus Maria Laach, the German review, as well as those of the . It is a cherished possession of every devoted Zoroastrian household. 27 жовт. 2015 р. – Gather your party and get ready for the kick-ass new version of GameSpot’s PC Game of the Year 2014. With hours of new content, new game . Download hundreds of free audio books by such authors as Twain, Tolstoy, . William S. – The Best of William Burroughs, Spare Ass Annie and Other Tales, Dead City Radio, Dante Alighieri – The Divine Comedy (Italian) – Free Stream from Princeton . Wilde, Oscar – The Picture of Dorian Gray – Free iTunes – Free MP3s. 23 вер. 2012 р. – Microsoft Picture Manager 14.0 Deutsch: Der “Picture Manager” ist ein Bildbetrachtungs- und Bildbearbeitungsprogramm von Microsoft und . Microsoft Office Picture Manager скачать бесплатно русскую версию для Windows 7 / 8 / 10. Плюсы, минусы и рейтинг программы. 16 січ. 2015 р. – Microsoft Picture Manager 14.0 Download bei GIGA. Der Microsoft Picture . 11 Bilder. GIGA-Tipp: Die 10 besten kostenlosen Grafiktools. Picture Manager не входить до складу Office 2013 і новіших версій. Проте цей засіб можна інсталювати як окрему програму. 17 серп. 2017 р. – Man kann den Microsoft Office Picture Manager jederzeit kostenlos und ohne . 2010“ enthalten und diesen gibt es kostenlos zum Download. dishy flowers picturesque photo frame photo clip kostenlos deutsch . picture manager kostenlos downloaden deutsch, picture manager windows 10, picture people archaikomely flowers best friend photo frames best friends photo frame. 23 груд. 2018 р. – archaikomely flowers best friend photo frames best friends photo frame . picture manager kostenlos downloaden deutsch, picture manager . 12 de jun de 2018 – 7 Ways to Upgrade IKEA Picture Frames . . 10 installieren, picture manager kostenlos downloaden deutsch, picture manager windows 10, picture people preise · Leave a comment . archaikomely victorian picture frames. 18 лют. 2019 р. – . picture manager kostenlos downloaden deutsch, picture manager . marvelous flowers picturesque photo frame picturesque photo frames. PicturePeople! . Alle Preise verstehen sich inkl. MwSt . In unserem Online-Shop können Sie zwischen dem Versand einer Geschenkkarte per Post oder E-Mail . im Fotostudio in der Mall of Berlin. Bei uns dreht sich alles um Fotos, Beauty-Shootings, Familien-Shootings, Paar- und Freunde-Shootings und vieles mehr rund . Wir sind PicturePeople! In unserem Online-Shop können Sie zwischen dem Versand einer Geschenkkarte per Post oder E-Mail wählen. Den PDF-Gutschein . Fotoshooting-Preise & Angebote von People-Pictures – Auszug aus unserer Preisliste für unsere Fotoshooting-Pakete. Iduviduelle Paketpreise für jedes Budget . . People coupons? Click here for all the latest deals, and find the perfect Picture People. . Shop at Picture People and get great offers on your next in store purchase. Now for a limited . Picture People cuts prices on CDs now! This coupon . Capturing your family’s unique personalities is the heart of what we do. Book a session today! 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PhotoScape is a fun and easy photo editing software that enables you to fix and enhance photos. Key Features. Viewer: View photos in your folder, create a . Download PhotoPad photo editing software for Windows/Mac to easily edit, . PhotoPad picture editor is the fastest and most fun way to edit your digital photos. . I purchased the full version and is a good value compared to Photoshop. . free Movavi Photo Editor! Get the basic version of the program which is available to download for free. Or try the full version of Movavi Photo Editor for Windows. . We guarantee you’ll like the cool and quick results! Download Free Version. Photoscape latest version: An amazing free photo editor with lots of extra tools. Photoscape is an amazing free . Full Version. 9 · Free Downloadfor Windows. 8. ImageGlass is a lightweight, open source photo viewer that designed to take place Windows Photo Viewer, work with all image formats, includes GIF, SVG, . Automatic Photo Enhancer will edit all your photos in one click, with the help of artificial intelligence. Revolutionary Auto Image Editing Software for Mac and . PHOTO TRANSFER APP for Windows Easily move, share and backup pictures and videos over Wi-Fi. . App for Windows. Free DOWNLOAD. via Website . PC Image Editor, free and safe download. PC Image Editor latest version: A Brilliant And Free Image Editing Program For Your PC. There are plenty of online . Here’s how to install Trend Micro Security 10 for Windows. Windows 10 is here, but don’t be caught off . 2 жовт. 2018 р. – Microsoft’s latest update to Windows 10 is officially here, available to download now. It’s called the Windows 10 October 2018 Update, and it’s . Here’s your guide to fixing those Windows 10 installation problems that could pop . Since you are trying to fix your update, it’s a good idea to always choose the . 18 лист. 2017 р. – I am trying to upgrade to the new Windows 10 version 1709 but it . Photo of bpb118 . 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Agilenano - News from Agilenano from shopsnetwork (4 sites) https://agilenano.com/blogs/news/minimalist-clothespin-picture-hanger-2

[noxpress]

Notes on The Argonauts

I finished reading Maggie Nelson's The Argonauts (2015). One down on the list of books I've set out to read this summer. It will very likely be the easiest of them all, I had no intentions for this one. I heard The Argonauts mentioned a few times by peers, I even had parts of it assigned in class, but I never bothered to look into it properly. I knew at a glance at a professor's scan that I liked the way Nelson incorporates quotes into her writing. I've always hated formal citation, cutting up my sentences with information. I also don't like compromising on others' ideas. If I could write only in a collage of block quotes, I would. I'm glad someone finally stuck it to them. It's Bluets I had actually intended to read, perhaps for silly reasons. First, simply because it wasn't The Argonauts, second because I like it when people have a thing and I thought the colour blue might be a thing, and third because the blurbs I skim-read announced a mix of prose and verse, which, in my experience of Anne Carson, is a great thing.I ended up with The Argonauts just because I wandered into a book store on a lousy day last month to indulge (a small few times a year I let myself buy a book new: on lousy days, or when there's really nothing else to go around). It was displayed right across the entrance. The shop had some kind of watery theme going. This edition has blue-purple waves for a cover, it's nice and simple. I did what I always do: opened to a page at random and gave it a glance to see if it looked palatable. There were lines of verse (good), they were about motherhood (this I wasn't so sure about, felt uneasy even). Either way, I walked out of there comfort-book under arm, without knowing anything about Maggie Nelson except her name, and completely forgetting about Bluets. I leave a trace in my books, so I can find my way again. The folded corners at the top tell me at what pace I read. The ones at the bottom tell me where I wanted to remember something the most. For Argonauts ,I tacked on a few other things: some blue post-it notes for further readings, three exactly, various pencil annotations, and a few words scribbled in the margins. I know I will came back to The Argonauts. The books I seem to refuse to preview properly are always such a surprise. I had that happen with The Bell Jar. I was 18 and had absolutely no idea what it was about and knew nothing about Sylvia Plath either. I was reading quite a few classic American novels that year (I know Why the Caged Bird Sings, To Kill a Mockingbird, The Catcher in the Rye, Post Office, Fahrenheit 541, Brave New World,  Lolita etc.) and, given such a list, the Bell Jar could land pretty much anywhere in terms of what it was about. For some reason I had it pegged as something pastoral, perhaps Southern, and coming of age. My guess is Plath's gender amongst all the men had me lump it with Maya Angelou and Harper Lee. Nonetheless, the modernity of it, the content of it, the sincerity of it... hit me like a ton of bricks. Argonauts didn't have quite such a jarring effect, but it was a definite experience in the un-anticipated. I've spoken to a few girls my age about the strange turn some things appear to have taken in recent years. No one thinks to warn you. It suddenly dawned on me one day that pregnancy was something that I couldn't quite get in trouble over anymore. For the longest time accidental pregnancy just had this death-factor reaction of "I'd be completely fucked". It meant shame, it meant secrecy, it meant incredible burden if uttered. But somewhere in the midst of my extended family growing larger – older cousins and siblings making babies – it struck me that mothers (my mother, my aunts, 'my many-gendered mothers'), that is the gyroscopes of opinion and permissibility, were anticipating the emergence of a new generation of care. Hints are dropped in the form of stored children's books and stuffed animals – carefully, quietly, pragmatically kept. A tattoo artist warned me about places not to get tattooed. It is my responsibility to anticipate my body. The irony, and I love it all the more for it, is the tattoo I have of my family motto: nunquam non paratus, or never unprepared. It's from this strange perch – discovering what it means to be a fertile body in the eyes of others, and tentatively in my own – that I read The Argonauts. It is also from a place of naming and recognising, for the first time realistically, what ordinary devotion to someone means. I know this book is a valuable reading, but I'm aware of my own prematurity. I can anticipate the need to return to it, for whichever reason, and I know the next times will be different. For now, I've gathered some passages that struck me now, as I feel, as I was reading, as I am writing. They might seem oddly selective, but I think this is only a sign of how versatile The Argonauts is. In its richness it offers a multiplicity of readings (and I feel sure its generosity of quotes have just this purpose). Here are the lessons I gathered from Nelson and from those she speaks through: Writing: "As I labor grimly on these sentences, wondering all the while if prose is but the gravestone marking the forsaking of wildness (fidelity to sense-making, to assertion, to argument, “however loose)—I’m no longer sure which of us is more at home in the world, which of us more free.” (65) "What other reason is there for writing than to be traitor to one’s own reign, traitor to one’s own sex, to one’s class, to one’s majority? And to be traitor to writing.” (Parnet, 122) "Over the years I’ve had to train myself to wipe the sorry off almost every work e-mail I write; otherwise, each might begin, Sorry for the delay, Sorry for the confusion, Sorry for whatever. One only has to read interviews with outstanding women to hear them apologizing.” (Wittig, 122) "Writing to him felt akin to giving him a name: an act of love, surely, but also one of irrevocable classification, interpellation.” (175) I've been thinking for a while now about an act of naming and how names arrest things in flux. Also, see Anne Carson's introduction to Autobiography of Red. "Ordinary words are good enough." (25) “What exactly is lost to us when words are wasted? Can it be that words comprise one of the few economies left on earth in which plenitude—surfeit, even—comes at no cost?” (Carson, 60) "You know so much about people from the second they open their mouths. Right away you might know that you might want to keep them out. That’s part of the horror of speaking, of writing. There is nowhere to hide." (Myles, 121) I concur, writing is horrifying. I've also learned that writing can be wilted (129). "I gained an outsized faith in articulation itself as its own form of protection". (154) Gender/sex/binaries: "As if I did not know that, in the field of gender, there is no charting where the external and the internal begin and end—" (64) "How does one get across the fact that the best way to find out how people feel about their gender or their sexuality—or anything else, really—is to listen to what they tell you, and to try to treat them accordingly, without shellacking over their version of reality with yours?" (66) "Let him stay oblivious—for the first and last time, perhaps—to the task of performing a self for others, to the fact that we develop, even in utero, in response to a flow of projections and reflections ricocheting off us. Eventually, we call that snowball a self (Argo)." ( 118) In-betweenness: Matter and liminality are two of my research topics. It's been so pleasing, uncanny, to see them flit in an out of sight. It's really what this is about: being, becoming passage. “How to explain, in a culture frantic for resolution, that sometimes the shit stays messy?” (65) “On the one hand, the Aristotelian, perhaps evolutionary need to put everything into categories—predator, twilight, edible—on the other, the need to pay homage to the transitive, the flight, the great soup of being in which we actually live. Becoming, Deleuze and Guattari called this flight: becoming-animal, becoming-woman, becoming-molecular. A becoming in which one never becomes, a becoming whose rule is neither evolution nor asymptote but a certain turning” (66) Matter: "Spirit is matter reduced to an extreme thinness: O so thin!” (Emerson, 41) "Empirically speaking, we are made of star stuff. Why aren’t we talking more about that? Materials never leave this world. They just keep recycling, recombining. That’s what you kept telling me when we first met—that in a real, material sense, what is made from where." (151) "Made of star stuff" reminds of Nostalgia for the Light. I think it's the first time I understood space as a material history. Dust to dust and all that. Argo-, ordinary devotion, revisiting: "It reminds us that there is difference right where we may be looking for, and expecting, communion." (116) The year I fell in love with theory, theory of all kinds, even though this course was called "anthropological", I was assigned 'difference' as a theme to explore for one semester. I hold onto the word dearly now, because it has so much to teach. Now I hear the word "difference" and it makes me think of Deleuze in a purple jumper, slouched in a chair, talking about refrains. Deleuze taught me about communion too. What it means when two refrains commune, when two different scales encounter each other. Anthropology is all about encounters. Encounters are only possible with difference, however large or small. A zine called Friendship as a Form of Life, which is as beautiful as its title sounds, divided its pages into the following chapters: Common, Commune, Communion. I think about this sequence a lot. “The Argo’s parts may get replaced, but it’s still called the Argo. We may become more used to jumping into flight, but that doesn’t mean we have done with all perches. We ought to say a feeling of and, a feeling of if, a feeling of but, and a feeling of by, quite as readily as we say a feeling of blue or a feeling of cold. We ought to, but we don’t—or at least, we don’t quite as readily. But the more you do, the more quickly you can recognize the feeling when it comes around again, and hopefully you won’t need to stare as long.” (68) Hello from my perch. "Privilege saturates, privilege structures." "The self without sympathetic attachments is either a fiction or a lunatic…. [Yet] dependence is scorned even in intimate relationships, as though dependence were incompatible with self-reliance rather than the only thing that makes it possible." (Philips/Taylor, 126) I am learning this. "That’s enough. You can stop now: the phrase Sedgwick said she longed to hear whenever she was suffering. (Enough hurting, enough showing off, enough achieving, enough talking, enough trying, enough writing, enough living.)" (128) Yes, I can stop. Please stop. I'v been spiralling a little lately. "But whatever I am, or have since become, I know now that slipperiness isn’t all of it. I know now that a studied evasiveness has its own limitations, its own ways of inhibiting certain forms of happiness and pleasure. The pleasure of abiding. The pleasure of insistence, of persistence. The pleasure of obligation, the pleasure of dependency. The pleasures of ordinary devotion. The pleasure of recognizing that one may have to undergo the same realizations, write the same notes in the margin, return to the same themes in one's work, relearn the same emotional truths, write the same book over and over again—not because one is stupid or obstinate or incapable of change, but because such revisitations constitute a life." (140) This quote means so much to me at this particular time: as I cease to recognise myself, as I come undone and remade (argo-), as I learn what it means to feel so easily, to be so ordinarily devoted to someone. I was so ready to feel confused about questions of loss and gain, whether it was something to feel self-conscious about, to lose oneself to, or to rebel against. But the pleasure is simply what it is. It seems so obvious that I feel naive. Of course it's about the knowing itself, about matter and touch. It's always about what hangs in the air. I have someone to learn ordinary devotion for and the shock of this is still wearing off. I thought of it as a thawing at first, but 'to revisit' will be my mantra instead. Revisit, revisit, revisit. I am not gone, I am not new, "I am made and remade continually". (Woolf) "But is there really such a thing as nothing, as nothingness? I don’t know. I know we’re still here, who knows for how long, ablaze with our care, its ongoing song." (178) Refusing the nothing has been part of my venture these past months. It started with Elizabeth Povinelli's suffix "-ish", and all other blurring of boundaries, like between the living and non-living. Tim Ingold also refuses the nothing of atmosphere. Nelson's quote brings me back to communion: line-making, care, drifting, song-making, correspondence. Mother: "If all goes well, the baby will make it out alive, and so will you. Nonetheless, you will have touched death along the way. You will have realized that death will do you too, without fail and without mercy. It will do you even if you don’t believe it will do you, and it will do you in its own way. There’s never been a human that it didn’t. I guess I’m just waiting to die, your mother said, bemused and incredulous...” (167) "But to let the baby out, you have to be willing to go to pieces.” (155) "It's a happiness that spreads." (176) "...save the sense, likely unconscious, of having once been gathered together, made to feel real." (176) The things I want to look further into: André Breton's Mad Love Deleuze/Parnet dialogues Barthes' The Neutral (No, my francophilic tendencies are not getting any better).

[marcoshassanlevy]

By

Marcos Hassan

| 8 months ago

Psychedelic music has always been about bending elements to experience the world in a different way; it transforms everything, even reality. Santiago de Chile duo The Holydrug Couple’s very existence attests to this magic. It’s thanks to this quality that Ives Sepúlveda Minho and Manuel Parra found a long-lasting friendship, a door to explore different countries and psychic worlds, and a lifestyle.

The Holydrug Couple’s music tends to build worlds seldom heard anywhere else – luminous, chill, carefree yet intricate – there’s is a sound that has taken many forms and is still evolving. From their first explorations found in the Ancient Land EP to their debut album Noctuary, to the soundscapes conjured on their 2015 breakthrough Moonlust, the duo has played with a particular brand of minimalist sounds and melodies. Although associated with the Chilean psych movement of recent years spawned from the Blow Your Mind label, they have always walked their own path.

Hyper Mega Ultra represents another chapter for the band. Inspired by the “exhaustion” of overwrought modern life and culture, Sepúlveda and Parra deliver a collection of songs that inhabit a new melodic clarity as well as refined sound, becoming increasingly minimalistic as the track order progresses. It’s the culmination of 10 years together making their own kind of music, but it’s not just a summary of what they’ve done, it’s a nod toward new realms to inhabit.

We spoke to Ives Sepúlveda about this moment in The Holydrug Couple history, Latin American psych, and sensorial overload.

This interview was conducted in Spanish via Skype and translated by the author. The interview has been edited and condensed for clarity and brevity.

Was there something in particular that inspired the songs?

The album is made of songs we wrote in the last two years. Moonlust was released in 2015 and afterward we toured in the US and Europe and elsewhere, it was a long tour. Once we came back, I gave myself time – like six or eight months –  to not record anything, even though I always have ideas and I record them. Moonlusthas some better-defined concepts, more specific. But I didn’t have a specific idea this time, so I decided that would be the concept, try to find a space for all the different things I like. I thought about my influences from the last few years and everything started to fall into place.

What is the concept behind Hyper Mega Super?

The name of the album is kinda ironic. Why should everything be mega or super? It’s not necessary to take things to superlative extremes, you know? We can have things on a human scale. The lyrics are similar, about being bored with the digitalization of things, how we have lost human relationships, the cities, commerce, love relationships, your self-consciousness, I don’t know.

The first half of the record starts with a lot of different noises, a lot of sounds and then, as it progresses, it gets more simple until the last song which is a very slow ballad. It’s my response to this bombardment of excess. Music can be simple and spacious. There are a lot of worlds to explode within the music, away from hyper capitalization.

Do you think this kind of superlative-type thinking has affected your musical surroundings?

No, we’ve always worked independently, plus we deal with Sacred Bones and Holydrug was formed before that. BYM is just one part of what it is to be in a band in Santiago because there are more friends and people who are also involved in this. Santiago is a city that’s not that big compared with Buenos Aires or Mexico City, you pretty much know everybody who does music here. You run into everybody at the techno party or the experimental ambient show or to the piano concert. Inside this world, you enrich and expand on the experience, and you learn and talk about a different vision of music, and you support everybody, you give advice, you’re involved.

I don’t listen to modern psych bands, because most of those bands are all the same.

This year you celebrate ten years of Holydrug Couple. When you started, did you set out to tour the world and become a band beyond the Santiago scene?

No, not at all. When we started the band, there was no way we could have imagined that, because that didn’t exist. Nobody put out vinyl back then, and if your band was not from the U.S. or Europe or perhaps Mexico, bands didn’t go on international tours. Nobody earned their living playing music here in Chile unless you were Jorge González, you know? It was impossible to imagine this. When I started with Manu I told him “I want to start a band but I want it to be serious.” Do something the right way, that was the goal, everything that came after was impossible to foresee.

Looking back, what is something that made you proud about your trajectory?

The fact that we’re still together after ten years and that we’re still friends, I think that’s miraculous. Bands usually have infights or they distance themselves and it hasn’t happened to us and that’s something that impresses me a lot. What I enjoy most is being able to make music, since I can sell records and go on tour, I get money to buy myself instruments to make more music. To be able to dedicate myself to music, that’s the best, it’s not just a highlight. It’s the ultimate happiness.

Photo by Carolina Sandoval

There’s a new direction in Hyper Mega Super, do you feel like you’re starting a new phase for Holydrug Couple?

I think the record is like a closing chapter, at least it was planned like that. After it comes out and we come back from the tour, we can start a new phase, that’s what I want. I think we can have some clarity or a new perspective from this conclusion, I think.

You are an important band when it comes to psychedelic music from Chile and Latin America; how do you see this genre nowadays? There are a lot of bands doing exciting stuff, there are festivals in different countries. Do you think there’s a movement?

I don’t see it [chuckles]. I don’t really listen to psych…I mean, one of the biggest inspirations for this album was Screamadelica by Primal Scream. It’s one of my favorite albums, I listen to it every day, and to me it’s an album that’s related to different drugs, it’s related to psychedelia but it’s also related to dance music; it’s a collage of different scenes. I think that’s more interesting to me. People tag us as a psychedelic band but we don’t think about that. I don’t listen to modern psych bands, because most of those bands are all the same. You hear the Jazzmaster [guitar] with reverb in the intro and a Farfisa keyboard and that’s like the most boring thing in the world to me. I’m interested in more. I love the Beatles, the first Pink Floyd album, but I also love Madonna, Chemical Brothers, ABBA, Bowie, T-Rex, Lou Reed, I don’t know. It’s becoming a cliché and a commodity, so they can sell you a denim jacket with an eye stitched into it or hair dye.

Our aesthetic has never been like the traditional psychedelic thing. I think it’s better to be more difficult for the audience to grasp, that it takes a little effort to listen to the record or to get into the band because sometimes, those bands you have to invest yourself to like, you like them more than others, there’s something more to hold on to.

Tuesday, September 11, 2018 at 9:12 PM EDT

[ethanalter]

2017 Sundance Film Festival Preview: 23 Movies We Can't Wait to See

As the first major film festival of every calendar year, the Sundance Film Festival always sets the conversation for the films that serious movie buffs will be seeking out and debating for the next 12 months. And the 2017 edition, which runs from January 19-29 in the festival’s longtime home base of Park City, Utah, will be no different. Yahoo Movies combed through the 181-entry line-up to pick the 23 features we’re most excited to see at this year’s festival. And check back here often for our continuing coverage from Park City.

Salma Hayek in ‘Beatriz at Dinner’ (Photo: Sundance Institute)

Beatriz at Dinner The dynamic duo behind the 2000 Sundance sensation Chuck & Buck, writer Mike White and director Miguel Arteta, re-team for another off-kilter comedy. After her car breaks down, holistic health expert, Beatriz (Salma Hayek), is stranded at a client’s house as a celebratory dinner party is about to begin. Over the course of the evening, she becomes increasingly obsessed with one of the partygoers, Doug (John Lithgow). And, as Chuck & Buck fans know, obsession is fertile territory for White and Arteta.

Before I Fall Ry Russo-Young’s adaption of Lauren Oliver’s bestselling novel puts a YA spin on the “live, die, repeat” school of movies like Groundhog Day and Edge of Tomorrow. Zoey Deutch stars as Sam, a high school Queen Bee who finds herself reliving the day of her death over and over again. Open Road Films will release this cult hit-in-the-making in March.

Zoe Kazan and Kumail Nanjiani in ‘The Big Sick’ (Photo: Sundance Institute)

The Big Sick Silicon Valley and Twitterverse funnyman Kumail Nanjiani co-wrote this rom-com with wife Emily V. Gordon based on their real-life coupling. He’s an aspiring comedian whose one-night stand with a grad student (Zoe Kazan) blossoms into a full-fledged relationship, much to the chagrin of his Muslim parents. Directed by The State creator Michael Showalter and produced by King of Comedy Judd Apatow, the film also features Ray Romano and Holly Hunter.

Burning Sands Welcome to Hell Week, frat-house style. Gerrard McMurray’s scalding debut feature takes audiences inside an African-American college fraternity as a new group of pledges, led by promising freshman Zurich (Trevor Jackson), endures emotional and physical abuse in the name of brotherhood. Look for a supporting turn from Moonlight star Trevante Rhodes.

Crown Heights After impressive supporting roles in Short Term 12 and Selma, LaKeith Stanfield (fresh off those sick dance moves celebrating Atlanta‘s win at the Golden Globes) lands his first starring role. He flexes a Trinidadian accent as Colin Warner, the real-life Brooklyn man who spent 20 years in prison after being falsely convicted of murder. The drama, written and directed by Matt Ruskin, follows the efforts of Warner’s best friend Carl King (Nnamdi Asomugha) to clear his name.

‘The Discovery’ (Photo: Sundance Institute)

The Discovery Sundance is never short on promising premises, and this one has us intrigued. It’s touted as a love story set in a world where the afterlife has been scientifically proven, which has set off a rash of suicides by people eager to get to the other side. Directed by Charlie McDowell, who brought the twisty sci-fi romance The One I Love to the fest in 2014, the ensemble features McDowell’s longtime girlfriend Rooney Mara, Jason Segel, Jesse Plemons, Riley Keough, and the Sundance Kid himself, Robert Redford.

Fun Mom Dinner Like Sundance’s indie response to the raunchy 2016 box office hit Bad Moms, this comedy unites Toni Collette, Molly Shannon, Katie Aselton, and Bridgett Everett as four preschool mothers who bond over the course of a wine-soaked, weed-clouded evening out. Written by Julie Yaeger Rudd (wife of Paul Rudd) and directed by Alethea Jones (making her feature debut), the film counts both the Ant-Man star and Adam Scott (who also appears) as producers.

A Ghost Story Three years ago, the trio of David Lowery, Casey Affleck and Rooney Mara teamed up for the breakout Sundance favorite, Ain’t Them Bodies Saints. Now, they’re reuniting for the haunting tale of a dead man (Affleck) who returns from the hereafter to watch his lover (Mara) grow old without him. Despite the tragic subject matter, Affleck will have something to smile about during Sundance: his name will almost certainly be among the Best Actor candidates when Oscar nominations are announced on Jan. 24.

An Inconvenient Sequel: Truth to Power Al Gore’s slideshow-driven global warming documentary An Inconvenient Truth defied all expectations in 2006 when it earned $24 million at the U.S. box office, blockbuster numbers for a doc. Sundance 2017 will open with this sequel to the influential film, which also headlines the festival’s inaugural “Climates” section.

Jessica Williams in ‘The Incredible Jessica James’ (Photo: Sundance Institute)

The Incredible Jessica James Popular Daily Show alum Jessica Williams headlines her first film, playing a New York twentysomething struggling to get over a break-up and make it as a playwright. The fest’s closing night film is written and directed by Jim C. Strouse, a Sundance regular with entries like Grace Is Gone, People Places Things and The Hollars. Expect Jessica James to capture love and heartbreak in the same poignant, sharply funny fashion.

Ingrid Goes West The perils of social media connections are explored in this dark comedy from first-time feature director Matt Spicer, who cowrote with David Branson Smith. Parks and Rec alum Aubrey Plaza plays a mentally disturbed young woman who becomes so obsessed with an online “influencer” (Avengers star Elizabeth Olsen) she moves to Los Angeles to befriend her — and we can only assume, “single white female” her. Look for our reaction on Twitter.

Jenny Slate in ‘Landline’ (Photo: Sundance Institute)

Landline Gillian Robespierre and Jenny Slate’s follow-up to the 2014 Sundance favorite Obvious Child transports audiences back to that magical, mythical world known as the 1990s. While Dana (Slate) sows her wild oats as her wedding day approaches, her sister Ali (Abby Quinn) indulges in Party Girl-era New York City nightlife. For true ‘90s authenticity, we expect a soundtrack filled with equal parts TLC, Hootie and the Blowfish and Gin Blossoms.

The Little Hours Real-life comedy power couples unite. Engaged item Dave Franco and Alison Brie costar with Aubrey Plaza, whose boyfriend Jeff Baena (Life After Beth, Joshy) wrote and directed this Middle Ages-set laugher about three nuns (Brie, Plaza, and Don’t Think Twice breakout Kate Micucci) whose chaste existence is thrown into upheaval by the arrival of a studly day laborer. Baena based on the story on The Decameron, the novellas of 14th-century author Giovanni Boccaccio.

‘Nobody Speak’ (Photo: Sundance Institute)

Nobody Speak: Hulk Hogan, Gawker and Trials of a Free Press With a wave of newsroom closings and charges of “fake news” flying around almost daily, the journalism industry is facing serious challenges in the coming years. Brian Knappenberger’s unnervingly timely documentary seeks to use one specific case — Hulk Hogan’s high-profile lawsuit against now-defunct website Gawker — to speak to the larger ramifications of living in an America in which the “free press” isn’t truly free.

Person to Person Dustin Guy Defa (who brought a short film by the same name to Sundance in 2014) wrote and directed this collage of intersecting tales of New Yorkers on the go. A newspaperman (Michael Cera) mentors a rookie reporter (Broad City‘s Abbi Jacobson) on the crime beat; a teenager (Tavi Gevinson) critiques her best friend’s new boyfriend; a slacker (George Sample III) offers an apology for posting nude pics of his ex-girlfriend; and a vinyl junkie (Craig Butta) chases a lead on a rare record.

The Polka King Just take one look at the title and tell us this doesn’t look like a vehicle tailor-made for Jack Black? The School of Rock and Bernie funnyman plays real-life Pennsylvania polka singer Jan Lewan, who (inadvertently?) operates a Ponzi scheme that will inevitably be his undoing. Jenny Slate, Jason Schwartzman, Jacki Weaver, and J.B. Smoove costar in this tragi-comedy from writer-directors Maya Forbes and Wallace Wolodarsky (Infinitely Polar Bear).

Nicholas Hoult as J.D. Salinger in ‘Rebel in the Rye’ (Photo: Sundance Institute)

Rebel in the Rye Suggested alternate title: Holden Caulfield Begins. Writer/director Danny Strong (one of the masterminds behind the hit Fox series, Empire) revisits the formative years of future Catcher in the Rye novelist J.D. Salinger (Nicholas Hoult), when he was just a struggling writer romancing Hollywood royalty, Oona O’Neill (Zoey Deutch).

Roxanne Roxanne You wouldn’t necessarily think old-school rapper Roxanne Shanté (Chanté Adams) would be next in line for the hip-hop biopic treatment after the likes of Biggie, Tupac, and NWA, but all the more reason this drama about the groundbreaking Queens emcee deserves its props. From the producing team behind the 2015 Sundance breakout Dope (including Pharrell Williams and Forest Whitaker), the Michael Larnell-directed film also features Nia Long and Moonlight costar Mahershala Ali.

78/52 Alfred Hitchcock’s Psycho gets the Room 237 treatment with Alexandre O. Philippe’s shot-by-shot deep dive into the film’s notorious shower scene. Instead of Shining “truthers,” though, Philippe relies on directors like Guillermo del Toro and Peter Bogdanovich to analyze the art and science behind this nightmare-inducing sequence, which has been putting viewers off taking regular showers since 1960.

To the Bone Prolific TV writer/producer, Marti Noxon — whose small screen credits range from Buffy the Vampire Slayer to Unreal — makes her feature filmmaking debut with the highly personal story of a 20-year-old woman (Lily Collins) wrestling with a serious eating disorder. With Noxon at the helm, not to mention skilled supporting players like Keanu Reeves and Lili Taylor in the ensemble, there’s little chance that To the Bone will play like an afterschool special.

Michelle Pfeiffer and Kiefer Sutherland in ‘Where Is Kyra’ (Photo: Sundance Institute)

Where Is Kyra? We’ve lived through the McConaissance; maybe 2017 will be the Pfeiffersance? With roles in Kenneth Branagh’s Murder on the Orient Express and Darren Aronofsky’s Mother in the coming months, Michelle Pfeiffer begins the year with a star turn in Andrew Dosunmu’s drama about grief-stricken, emotionally unstable woman whose reliance on the kindness of a stranger (Kiefer Sutherland) takes a dark turn.

Wilson Daniel Clowes’ 2010 darkly amusing graphic novel about an aging crank jumps off the page and onto the screen, with Woody Harrelson in the title role and writer/director Craig Johnson (The Skeleton Twins) behind the camera. General audiences will have a chance to see Wilson in March courtesy of Fox Searchlight, but Sundance crowds will be the first to know whether Johnson has done Ghost World-level justice to Clowes’ work.

XX Even as horror anthologies like V/H/S and The ABCs of Death have proliferated, female filmmakers are too rarely invited to join in the gory fun. Enter XX, which serves up four scary stories helmed by women, including Karyn Kusama (The Invitation), Roxanne Benjamin (Southbound), Annie Clark (a.k.a. St. Vincent) and Jovanka Vuckovic (The Captured Bird). It’s well past time for a horror movie to shatter that glass ceiling…and then use the resulting shards to draw some serious blood.

[josephlrushing]

On Mother’s Day, a Collage.com Sherpa Photo Blanket Brings the Whole Family Together While Apart

May 10th is Mother’s Day, and most of us will still be in self-isolation as we try to get COVID-19 under control. Chances are, you won’t be able to visit your mom for the holiday if you aren’t already sheltering with her, but that doesn’t mean you can’t help her hold everyone close with a personalized Collage.com Sherpa Photo Blanket.

Making a custom photo blanket for mom starts with a visit on the Collage.com site. There, you can select from four different types of photo blankets — Fleece, Cozy Fleece, Sherpa, and Woven Image. Depending upon the type of blanket you choose to design, you’ll be able to choose the size you’d like (baby, lap, throw, or queen). The Sherpa style comes in two sizes, throw (50″ by 60″) or queen (60″ by 80″); I was sent a coupon code for the throw size, so that’s what we’re making today!

The sherpa fabric features cream-colored arctic fleece on one side and your crisply detailed design on the other. Sherpa throws and blankets can be machine washed and tumbled dry for easy cleaning.

When you hit the “Choose this Product” button, you get taken to a staging area where you will add photos and tinker with your blanket’s design until you get it just right. You’ll notice that there are five tabs on the left: Photos, Designs, Background, Text, and Photo Size. We’ll start in the Photo tab; you can either upload photos directly to the editor or you can connect the editor to your Facebook account.

I have a lot of photos on Facebook, so I primarily used that photo upload source.

There are a couple of ways to attack designing your blanket; none of these methods are difficult, but several ways will make you feel more confident if this is your first time.

One and Done

If you have a single photo that you think mom would really like, and it if has a high enough resolution, you could use just that one and call it good.

Most of the photos you upload from Facebook aren’t going to be of a high enough resolution to use on their own as the lone design. If you prefer to use a single photo rather than creating a collage, you should upload the full resolution photo and go from there.

The Hodge-Podge Collage Free-for-All

This is my preferred method. I just go through my Facebook albums and add any photos that catch my eye and fit whatever theme I’m going for. Since we are all under stay-at-home orders, I went with a travel theme — every photo that will go on this throw will be one that was taken when we were on a trip somewhere. As you add photos, the editor will automagically make them fit; if you think a particular photo is too big or too small, you can click on it and stretch it or compress it by grabbing a corner. The photos around it will also get smaller or larger to fit everything in perfectly again.

You can add up 80 photos, which doesn’t seem like that many until you start cramming them in and watch the photos that will be worked into your blanket get smaller and smaller. When that starts happening, it’s time to stop adding and start evaluating, then it’s time to remove a few.

If you go overboard, the editor will let you know before you go to the next step, so have fun with it and start with too many. You can cull it back once you have plenty to choose from.

At any time, you can stop and see what your finished blanket will look like. Pay attention to the fact that there is a plain white border going around this freestyle blanket, and a thin white border is in between each photo; we can change both of those things up later when we get to the Background tab.

Give Me a Template; I’ve Never Done This Before, and I Don’t Know What to Do!

Maybe a design free-for-all isn’t something you are comfortable participating in. If that’s the case, Collage.com has some design options for you. By selecting the Design tab, you can choose from designs for single photos, 2-4 photos, 5-9 photos, or 10+ photos.

Once you’ve selected how many photos you’ll be working with, a list of templates that match your choice will pop up.

There are even a few templates that are specifically tailored for Mom or Mother’s Day.

Protip:  Many of the templates have editable text, so if you aren’t feeling what they’re saying, you can go in and change things as needed.

This is most definitely the easiest way to make a pretty throw or blanket for mom, but it seems a bit too neat and sterile to me. Give me that hodge-podge collage!

Pick a Background and Make Some Refinements!

The third tab on the left is Background, and that’s what you need to select so that you don’t have a plain white border around your throw — if you are even planning to keep the border, more on that in a minute.

You don’t have to go with a solid color border; Collage.com has a lot of variations to choose from.

If you have a design you’d like to add your own text to, you can under the Text tab on the left. There are plenty of fonts, colors, and text sizes to choose from and work with.

  The last tab is Photo Fit, and this is where you can orient your project in landscape or portrait mode, and you can decide if you would rather have the photos fit inside a border, or if you would like your photos to cover the entire throw.

I think I like the look of no border for my blanket … Here you can see what it would look like with the thin border in between each photo. If you aren’t happy with it, you can change this color by changing the background. There’s also a “Torn Paper” border that you can try if you like more of a separation between your photos.

I ultimately opted for no borders of any kind — just a giant collage with travel memories from all over Texas and the rest of the world.

I’ve ordered my sherpa throw; now all that’s left is to wait for it to arrive! Since I don’t have the throw I just ordered in yet, let me tell you about the three queen size fleece blankets I ordered from Collage.com back in October 2015 to use as Christmas gifts. They were a huge hit with Kev’s and my girls; since then the blankets have all been on multiple road trips, they’ve been used to keep warm in chilly football stands, they’ve been placed on beds, and they’ve been kept in cars for emergencies. All of these blankets have been laundered multiple times, and they still look and feel like new. When someone sees one of these personalized blankets for the first time, they always compliment it and ask where they can get one. Whatever method Collage.com is using to print the photos on the blankets long-lasting, and the blankets themselves are well made.

I’ve lost count of how many times this 2015 blanket has been laundered; the printed pictures are still clear, and the blanket itself is still soft and snuggly.

Creating a blanket is a really fun project to do by yourself or with others. If you and someone else you’d like to collaborate on your project with aren’t together right now, you can ask them to send their photos to include in your throw. Don’t stress about how perfect (or not) your design ends up being. Focus on the memories shown in each photo and the feelings those photos evoke; I guarantee that’s what mom will be doing when she receives it.

Mother’s Day is popping up very soon. If you want to make a custom photo throw or blanket, you’ll need to order fairly quickly and perhaps pay for expedited shipping. But even if you have to get your project to her a little bit late, mom is going to really love this — every time she wraps herself in her photo throw, it will keep her warm and remind her of you. Awww.

The 50″x60″ Sherpa Photo Blanket sells for $159.99; you can customize and order your own by clicking here; for a limited time, you can use the code LUVMOM for an instant 35% off. Collage.com makes other personalized goodies that you might want to check out, too.

Source: Manufacturer supplied review code

from Joseph Rushing https://geardiary.com/2020/04/25/collage-dot-com-sherpa-photo-blanket/

[thegrumpypenguin]

  Mama and her girls

    Philip (front) and Tisa

This is a love story, albeit one that did not exactly begin “at first sight.” I’m not sure when Philip (full name: “Sir Philip Pigglesworth III”) arrived at the Toronto Zoo; I believe he was already on site when I started Volunteer training in the fall of 2012 and the first record I can find of him in our semi-regular issues of the daily Keeper Notes is on May 17, 2014 when he is being trained to step on the scale. From those same notes, I can tell you that Tisa’s first day in exhibit holding after being released from quarantine was August 7, 2015. (Quarantine of at least 30 days is mandatory for any animal that has been transferred in from any other facility.) She was given access to the outdoor enclosure (alone) for the first time on the 31st of that same month. (Fun fact: Tisa was born exactly one day before Philip, on April 1, 2011!)

  Philip in a moment of calm

In mid-September, they were introduced to each other on exhibit and it all went well… at first. A couple of weeks later, at the beginning of October, Philip suddenly began to show aggression toward Tisa and she sustained a couple of minor cuts. They were separated for s short time and then reintroduced, but every time they looked to be getting along, Philip would become aggressive and charge at Tisa. After a few more attempts at putting them together, the Keepers reluctantly shelved the plans for the short term and let them go out on exhibit alone for a few months. The next summer, in August of 2016, they were put back in the outdoor exhibit together again. This time, it was Tisa’s turn to show displeasure: Philip had no aggression towards her but she would snort at him and move away every time he got close. This quickly escalated into Tisa regularly jumping through or over the hotwire at the back of the exhibit, having to be coaxed back onto the “right” side over and over again. Eventually, the two were separated again and I can’t tell from the notes if they were put back together at any point for the rest of 2016 or all of 2017.

  Dinner time!

But then it was 2018 and a lot of water had passed under the bridge. Each had been assertive in their own way; time was passing by quickly and Tisa’s biological clock was ticking. So the incredibly patient Keepers tried, once again, to put them together. And that’s when the magic happened. At the very end of May, Philip and Tisa were “re-re-re-introduced” to each other and they began to breed the very same day. They bred again the next day, too; and when they went out on exhibit together on Day Three Tisa had had enough of Philip’s advances, but no problem: they just lay down a few feet apart, rooting and nibbling on whatever they dug up. To the best of my knowledge, they never again needed to be split up for any length of time, and I can remember quite clearly seeing them together outside that summer and marvelling at just how cuddly they seemed with each other, especially after all the angst of previous years. They bred a few more times unsuccessfully – although there was some suspicion in the fall that Tisa was pregnant, which was unfounded – until (apparently) sometime around Thanksgiving (Canadian) or so. They were probably spending their days on the inside exhibit by this time; perhaps that was just more comfortable for them. But for whatever reason, something finally “clicked” for them.

  Hazel (R) and Ginger

On February 17, 2019 (which I had no trouble remembering as it was the third birthday for Nandu), Tisa gave birth to her first litter of l̶i̶t̶t̶l̶e̶ ̶s̶t̶r̶i̶p̶e̶d̶ ̶b̶a̶k̶e̶d̶ ̶p̶o̶t̶a̶t̶o̶e̶s̶ ̶w̶i̶t̶h̶ ̶l̶e̶g̶s̶  two tiny female hoglets. They made their first public appearance just under three weeks later, on March 8; incredibly. even though I have taken, quite literally, thousands of photos of them since then, the one I used for this month’s calendar feature was taken in the very first moments that I ever set eyes on these gorgeous little creatures. I returned to see them once or twice (Narrator: every second day, approximately) for the rest of March and early April; I saw them myriad more times throughout the summer, too. Those adorable stripes fade away very quickly, and there weren’t a lot of other babies to visit until the wolf cubs arrived in May. I’ll post a collage of shots at the end, and I already know trying to keep that gallery reasonably small in size is going to be the single most difficult thing about this month’s post. Seriously, hoglets are just about the most adorable babies in the animal kingdom, and I will fight you on that opinion!

  Papa Philip and Hazel

When the babies first came out to play with us, they had only Tisa to accompany them. Within a week, however, Philip joined his new family and quickly showed that he was an amazing and patient daddy (check out the photo at left). Then, on March 29, after a brief naming contest, the Zoo settled on “Hazel” and “Ginger” as the names for the two little girls. This contest was notable in that it was the very first time a name or names that I had voted for had ever been chosen by the Zoo, so naturally I was very excited. I learned very quickly from the Keepers that Ginger was the name given to the lighter-coloured of the two; as they lost their stripes and became much closer in hue I kept a close eye on the ridge of fur on their backs and, to this point, at least, Ginger has the more-pronounced tuft of white fur along her spine. When they reach full size, I imagine it will be a lot tougher to tell them apart from each other – and from their mom – so we’ll see how long I can manage it. For now, coming up on their first birthday, it’s still relatively easy to know which is which.

Here are a couple of YouTube videos I uploaded of the girls: one from the first day I saw them and one from the outside exhibit in the summer, when they had a case of the zoomies.

      But wait. There’s more.

  Two boys join the family!

On November 4, 2019 – before Hazel and Ginger were ever nine months old – Tisa gave birth to another litter of two babies. Red river hogs have a gestation of ~ 4 months, meaning Tisa was already halfway there in the second video above! I had watched them cuddle and snuggle away from the girls quite often during the summer, especially as Tisa weaned them off the teats, but I had no idea they had also been “canoodling!” In any event, the announcement came as quite a surprise to me and I was very excited to once again see a couple of l̶i̶t̶t̶l̶e̶ ̶s̶t̶r̶i̶p̶e̶d̶ ̶b̶a̶k̶e̶d̶ ̶p̶o̶t̶a̶t̶o̶e̶s̶ ̶w̶i̶t̶h̶ ̶l̶e̶g̶s̶ tiny hoglets in the exhibit. The first week or so that they were out of the back room, the area around the exhibit was off-limits to the public so I had to stand patiently at the top of the stairs beside the pygmy hippos and grab a couple of long shots when they popped briefly into view. The photo here was taken on the first day they were out; when I went home to look at it enlarged on the computer, I immediately noticed something different about these two babies from the shots I had taken of Hazel and Ginger when they were brand-new. Can you spot it? Look closely just below their eyes at the top of their muzzles. (You might have to click on the photo and zoom in.) See the tiny bumps there on each of them? Their two sisters didn’t (and won’t) have those bumps, but Philip does. That’s right: these two are boys! it was pretty exciting to work that out from just the first picture I took.

I saw them from a distance a couple of times and then it was time for me to get up close and personal. At a day shy of five weeks old, the boys came out into an exhibit that no longer had barriers around the walkways leading up to it, and I made sure to be there. The very first hog I saw was this proud parent:

  Sir Philip Pigglesworth the III, proud Papa

  Shortly after that, Tisa led out her newest brood:

  Mama and the boys

The latest developments among the river hogs

  I stood and watched them for a while, happily snapping away, when all of a sudden I spied something out of the corner of my eye:

  Papa about to be joined by Ginger

  What’s this? Another red river hog arriving on the scene? All six of the family members were going to be living together?? Well, apparently yes: these animals live in large family groups and it was not unusual at all to see the children of different ages getting along with each other, helping the family find cohesion:

  Not my best shot of all six together, but my first shot.

  Here is one last video of the whole family together, taken that first day (the first scene you see is Ginger playing with her two brothers):

      Tisa (L), Ginger (R), and the bros

They’ve been getting along famously ever since. Sometimes the boys play together; sometimes they play with their mom or dad; sometimes they play with their sister(s) with no ill effects. And don’t forget their sisters are not exactly adults yet; sometimes they like to approach mom or dad for some extra nuzzles of their own. And in case all of this isn’t adorable enough already: I’ve heard that Tisa and Philip have been breeding again. The way things have been going the past couple of weeks, this could turn out to be a very interesting spring at the Toronto Zoo – and that’s not even including the arrival of the walruses, whenever that turns out to be. 

  Oh, there’s just one more thing:

    Mama and the boys meet Kindia

    The “Howdy Door” between their exhibit and the pygmy hippos next door has been open most (if not all) of the time, so all six of them have gotten to know Kindia and Penelope quite well. Which is just heart-meltingly cute to watch.

Ok, that’s it for this month – unless the boys get names very early in February, in which case I will edit this post and let everyone know. Next month: a long-time resident of the Toronto Zoo who, while not exactly reclusive, is rather hard to spot unless you are specifically looking for him. Please come on back for that, one day later than normal… because 2020 is a Leap Year! And, as always, thanks for reading. Here are the promised shots of the hog family.

    2020 “HANGING OUT WITH ANIMALS” Calendar – February Story This is a love story, albeit one that did not exactly begin "at first sight." I'm not sure when Philip (full name: "Sir Philip Pigglesworth III") arrived at the Toronto Zoo; I believe he was already on site when I started Volunteer training in the fall of 2012 and the first record I can find of him in our semi-regular issues of the daily Keeper Notes is on May 17, 2014 when he is being trained to step on the scale.