#this one was an experimental piece with ultra impact!

[inapat17]

A subjective collection of film score composers (2/4): Wendy Carlos, an electronic music pioneer in cinema

Less led by film preferences for this one - even though the first two have had a huge impact on my cinephilia, it is much more with a desire to highlight invisibilized minorities that I chose to present Wendy Carlos. Nevertheless, this choice was not made randomly. Actually, I think her little incursion into cinema is utterly interesting as it is entirely linked to the musical identity she was famous for. Because she was chosen for her music's uniqueness, her soundtracks are now cult.

Born Walter, Carlos was early in her life attracted to music and above all to crafting objects such as computers and other electronic devices. She studied physics and music at the universities of Brown and Columbia. Afterwards, she assisted Leonard Bernstein in 1965 and met Robert Moog in 1968, with whom she worked on the development of the modular synthesizer.

Released this same year, her debut album Switched-On Bach sold more than a million copies and became the second classical album to go platinum. She won several Grammys in 1970. It consisted of pieces of Johann Sebastian Bach played with a Moog synthesizer. This use of synthesizer can announce bands such as Electric Light Orchestra, which combined electronic and classical sounds.

Coming out in 1979, Wendy Carlos is one of the first public personalities to disclose her physical transition and to assume her transgender identity.

She started to composed for cinema with A Clockwork Orange, Anthony Burgess’ novel adaptation from 1971, directed by Stanley Kubrick. The film deals with Alex DeLarge, the leader of a gang who participates in “ultra” violent activities. During one of their operations, Alex is arrested and condemned to fourteen years in prison. Two years later, he volunteers for the experimentation of Ludovico technique, which consists in aversion therapy. The films of sex and violence he is forced to watch are accompanied by an electronic version of the 9th Symphony, by Alex’s favorite composer, Beethoven. His brutal revulsion confirms the effectiveness of the treatment.

A Clockwork Orange, Stanley Kubrick (1971)

Of course, the well-known opening shot effectively sets the pace, as the camera does a reverse travelling, from the face of the protagonist staring at the audience to the whole extremely bizarre set up. And on the top of all, we experience an electronic version of Henry Purcell’s March for the Funeral of Queen Mary.

This work is fascinating in the sense that it is atemporal. Each piece of music identified as from the past is futurised by the synthesizer. The world depicted in the film is also in this breach. The way violence manifests seems unreal, as well as Alex’s destiny. Still, the whole scenery is really anchor in the known reality of the era. In between anticipation and satire, the film is crossed by Alex passion for classical music. That is why the fact that Alex is disgusted by the electronic version of Beethoven’s 9th Symphony seems to suggest it’s rather grotesque than avant-garde.

After that, she collaborated for a second time with Kubrick on Shining, which is also an adaptation; here from Stephen King’s horrific novel. Nevertheless, on the global soundtrack she proposed to the director, he only kept one score. Indeed, the film opens on Carlos’ memorable reinterpretation of Berlioz’s “Dies Irae” segment of his Fantastical Symphony. Actually, it seems to encapsulate the essence of the film: as the little car progresses through the Going-to-the-Sun Road, Montana, the music accompanied by some curious sounds foreshadows the haunting of the vast Overlook Hotel.

Nonetheless, their artistic disagreement put an end to their work together.

The Shining, Stanley Kubrick (1980)

Her last work was on Tron, directed by Steven Lisberg, produced by Walt Disney Company and released in 1982. Her composition for this one is really interesting: most of the film takes place in the ENCOM mainframe cyberspace, but some scenes are in a realistic setting. Therefore, the orchestration is differentiated, by the addition of the synthesizer for the virtual world. Indeed, she didn’t wanted to propose uniquely electronic music, which led to a collaboration of digital synthesizers with the London Philharmonic Orchestra. Thus, the music tend to calm the rather innovative aspect of the visual, creating the ideal balance for the audience.

Tron, Steven Lisberg (1982)

Playlist

[meitanteimaple]

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[nikitasbt]

Pastoral: To Die in the Country (田園に死す, Den-en ni shisu, 1974) by Shūji Terayama

A grotesque avant-garde cinema masterpiece Pastoral: To Die in the Country drifts somewhere beneath the wide sky of Shūji Terayama’s imagination and vision, offering a peculiar experimental amalgamation of psychoanalytic motifs corresponding with poetry and artwork applied on the cinema. An acclaimed poet, Terayama uses a gradually increasing number of figures of speech and various forms of art wrapping it into a dialogue with himself and approaching a curious viewer willing to tag along with the author on the path to the complex deconstruction of the memory and the past. Through the past, the poet takes us to the crippled present drawing consistently straight lines between the first and the second, questioning what the sum and substance of the artistic creation is. This is not a self-indulgent exercise of the poet however, but the film which is very demanding and not quite easy to comprehend without a viewer’s wish to fully immerse himself or herself into the dimension of the fantasies, allegories and abundant symbols.

A relatively short life Shūji Terayama (born in 1935 and died in 1983, aged 47) has seen an enormous number of his experiments related to photography, cinema, poetry, and even work on the radio and TV. He was raised in Aomori and Tokyo in the 1950s, a period when an ultra-conservative Japanese society has been going through major changes in terms of social conduct, general life approach and customs. The shift was quite rapid, and it has created a high impact on Japanese art eventually producing a powerful and prolific new-wave avant-garde movement tracing back to the 1950-1960s. Terayama started his career as a provocative new-wave poet and playwright and ended up being a symbol of surreal art, a mentor and influencer to many future Japanese artists and as one of the most prolific Japanese creative artists. His work in the cinema spans over two decades until his death when he produced a legacy of 20 short and feature-length films. These films are diverse in their style and artistic approach. Whether it is a sophisticatedly metaphorical Throw Away Your Books, Rally in the Streets or chaotic and reckless Emperor Tomato Ketchup, Terayama always remains coherent in pursuit of creating his own cinematic language based on his surreal experiments.

The starting minutes of Pastoral: To Die in a Country offer us a truly wild and thrilling ride into the heart of visually striking imagery, rich of unnatural colors and sounds, created by Shūji Terayama. Being unfamiliar with the work of creative artist and surrealism in general, the viewers might find it hard to make any sense of a kaleidoscopic trip into the world of exaggerated figures, surreal images, props and symbols. Many avant-garde authors offer no or little explanation to their art efforts or suggest it can be interpreted in many different ways based on what the viewers want to see. At the point when I thought Pastoral will be just like this (such as, for instance, Seijun Suzuki’s Taishō Trilogy), the film takes a twist. The author explains clearly that Pastoral is highly autobiographical and concerns a dialogue between Terayama himself in the present and his doppelganger from the past, a child raised in the village by his overprotective mother. The symbols of the first minutes such as circus and what child sees there, a cancelled performance, various exaggerated pictures suddenly start shining and become even more colorful. For the time being, it becomes simple and brilliant.

Shūji Terayama appears in front of us as a creative artist in crisis. A poet doesn’t ask any questions directly, yet we may figure out he is trying to comprehend the most important thing ever – the very nature of the artistic creation. In his dialogue with himself from the past, he is off to a fascinating journey into his subconscious. His exploration is meant to help him comprehend his own art motifs, his momentum and the obstacles his creativity is facing in the present days. It goes even further as the authors simply questions himself what had traumatized him in the past and how it reflected on his present and the artwork he produces. The third part of the film returns us to Teroyama’s childhood where he discovers pivotal things about his relationship with the mother, other people in the villages, delves very deep into fossilized fears and problems tracing back to childhood. Without this deconstruction, he is deprived of the clear vision of the present not allowing him to create pure artwork. The number of symbols and allegories surges, as the author approaches the finale where he is supposed to come up with conclusions. How does it end? Perhaps, those collapsing walls and cup of tea the poet shares with his mother suggest he accepts the present in a way it is? Different viewers would likely draw different implications of Terayama’s effort. The point is a journey itself, and it is certainly splendid.

Pastoral is impressively logical and coherent for a piece of avant-garde work. The point of the author’s research and creative struggles is very understandable, yet it is certainly not something primitive. Unlike many other surrealists who try to bury the ideas in bizarre forms of their art, which is almost impossible to comprehend, Teroyama offers a very sincere and straightforward dialogue with himself. The questions he asks however may concern any artist and any person trying to understand the nature of the artwork. Simple but not obvious, this engaging dive into the subconscious is very thought-provoking and eye-opening in terms of how it reminds us that what we see is just tip of the iceberg. The real foundation of everything in our life lies in the past and might be a total mystery unless we deconstruct our childhood and very basic things it used to be connected with. The way Teroyama applies it to the creativity of the artist is amazing, and this experiment offers something extremely curious and tantalizing. Photography, theatre, poetry, art and cinema go hand-by-hand together in Pastoral: To Die in the Country, and everything is of the greatest importance. Whether we snatch on what Teroyama truly meant, there is a great opportunity to take a look back at our own past, trying to comprehend it along with the author and find out what makes us produce, create, depict or say the things we rarely think about as it seems to be natural. Yet the deconstruction shows there is almost nothing natural – it is all explained by the past, and the delicate imagery deployed by a talented Japanese creative artist Shūji Terayama serves us as a ferryman carrying us across the river of oblivion.

[iimanga]

The Whole Marvelous Super Ultra Cosmic Magical Comic Book Universe

The produce of imagination and business that was Marvel Comics was a synchronic harmony sounded by Stan Lee and Jack Kirby and Steve Ditko and every one of the creators and craftsmen and inkers and colorists who worked there. Everything began during the mid 1960's the point at which the Fantastic Four and Spider-man and the X-men (The Uncanny X-Men) were framed from the creative mind of Stan Lee and Jack Kirby.

X-men was a film industry crush the previous summer. I'm certain you additionally recall the profoundly effective Hulk TV show.

The most punctual X-men comprised of Jean (Marvel Girl) Gray (who later turned into the amazingly well known Phoenix), Professor X (Xavier), Cyclops (Scott Summers), the insightful Beast (Hank McCoy), and Iceman (Bobbie). Freaks brought into the world with exceptional "super-freak" capacities.

Later came the New Mutants with more youthful characters having freak controls that occasionally appeared to have them (the main sort of comic book story I don't care for).

These characters from X-men including (Nightcrawler, Wolverine, Storm, Banshee, Kitty) advanced with the appearance of the imagination of John Byrne (beginning in issue #108 of X-men) and Chris Claremont (Giant Sized X-men #1 and Uncanny X-men #94 now esteemed at $500. up in "mint" condition. The most famous person was the principle star in the X-men film- - Wolverine. There makes certain to be a continuation for this film industry crush.

X-men Comics instructed kids that bias is shrewd. Individuals who live in dread and in this way eagerness attempt to annihilate what they don't comprehend.

Fascinating that both the latest Star Wars film and X-men film truly investigated lawmakers (Congress). In the event that force undermines totally is it conceivable our framework is totally bad? The Senator in the X-men film took in his example somewhat late.

Insect man- - the new Marvel film in progress - is about a typical young child anxiety (menaces thumping him, not getting any darlings, skin break out, etc is gentle stuff contrasted with the present school encounters -, for example, not having chance and killed while going to or going to the everyday schedule lured by a destructive medication or tainted by a stellar infection) is only nibbled by a radioactive bug (revolutionary stuff for the mid 1960's).

This gives Peter Parker super powers- - creepy crawly controls - whenever intensified a man could lift a truck and convey it 20 miles as insects do. (Try not to get me going discussing Henry Pym the Antman who became Giant Man in the Marvel's Avengers ((Capt. America, Thor the Thunder God etc.))). Add to that Peter Parker was likewise a splendid understudy who had the option to concoct a web shooter and other extraordinary innovations. What's more, Spider-man was brought into the world as a bi-result of the bi-item known as radioactive material (which Science actually doesn't have the foggiest idea how to dispose of). (Take a stab at telling that to the Bush organization). Everything is energy! Recall Tesla curls.

However, Marvel was not by any means the only spot strutting superpowered characters.

D.C. Funnies (Time Warner), as well, used folklore and accounts of Biblical extents to entrain, invigorate and energize ages of youngsters, children and grown-ups from the 1940's to introduce.

A few characters like Superman, Atom, Flash, Batman, Green Lantern, JLA and others and even D.C's. adaptation of Capt. Wonder might have been propelled by profound writing which recounted Hindu Gods and Goddesses and surprisingly Biblical personages who could remain in fire and so forth

Contents and Wit

Superheroes: starting through human creative mind and from writing, folklore, religion.

However most likely comic makers just made up their wondrous stories.

When I talked with Gerry Conway for the Comics Journal he conceded to me that he had investigated a portion of the funnies he composed. Conway's companion accomplice Roy Thomas no question investigated Conan and Thor and other material while author and supervisor at Marvel. They cooperated on the incredible enlivened Fire and Ice film. (Ralph Bakshi/Frank Frazetta).

Also, at first Thomas got the Conan property over to Marvel from Edgar Rice Burroughs in Tarzana, CA. (Tarzana- - Tarzan...get it? That's right, it also is a comic.)

More seasoned society know and love the endless Films and TV shows and serials highlighting these and other most loved brilliant characters: Buck Rogers, Flash Gordon, Commander Cody (which might have enlivened the Rocketeer comic and film).

COMIC BOOKS - Born by the sheer exhurberance of the actual Universe through the vehicle of the Human Being!

The Comic Industry is an analogy forever. An inestimable dramatization unfurling. In any case, not to place old wine into new containers: Many occasions in the past Marvel and D.C. have joined to do specials that helps the play of imagination. I initially met Stan Lee while I was the administrator of a Comic Book Store in Studio City, California in the 1970's.

Or then again, more precisely, I met him through his works at Marvel Comics - his exceptional contents and mind in 1961.

Exceptionally astute association with the fans through clubs and letter sections in bygone times caused one to feel like one was a piece of something. With Merry Marvel "we had a place."

Stan Lee's accounts contained genuine person's, finished with issues and the start of incredible groundbreaking thoughts and standards for carrying on with a decent life.

As when Spider-man didn't stop a Burglar - a similar Burglar who later killed his caring Uncle- - Peter Parker (Spider-man) got the message - serve humankind. With extraordinary force comes liability.

Furthermore, obligation is the capacity to react.

Energizing anecdotal stories loaded with experience and energy with ethics. Outlined lavishly.

Wonder Super characters were at first looked on by society as trouble makers. Even subsequent to saving human butt large number of times.

J. Jonah Jameson (modest Editor of the Daily Bugle paper) has abhorred Spider-person for more than 30 years. Jameson really attempted to annihilate Spider-man by turning into a super reprobate.

Adrenaline junkie (blind Attorney yet Batman-esque in capacities and actual strength and spryness - however with uplifted faculties) the Man unafraid was regularly marked a scalawag too from the start.

Similar to the always well known Incredible Hulk - first deified as a comic book during the 1960's. Who went from dull and idiotic to approach virtuoso relying upon the decade where this suffering person is perused.

What we dread we regularly view as shrewd.

Funnies have attempted to instruct us that the means are pretty much as significant as the finishes they produce.

What we do en route decides the outcome we will get. Funnies are distributed in light of the fact that a word sounds great to the distributer. However, a portion of these new youthful free distributers need to find out about the significance inside these words (thus do their clients). However, more capacity to these ambitious youths.

What is Yoga, Meditation, Tai Chi, Mantra? What is Zen? (One youthful upstart distributer of "Harmony - intergalactic Ninja" had never known about Alan Watts - incredible advertiser of Zen until I let him know Alan Watts was a renowned and famous scholar turned maverick Philosopher and Author (one of many) liable for acquainting Eastern Religions with the profoundly starved West- - frequently heard on KPFK radio. Alan Watts is potentially the chief advertiser of Zen. Watts' book " The Wisdom of Insecurity," specifies, for goodness' sake, Comic Books. What are Chakras? The Tao implies what? When children grow up and find out with regards to Meditation will they be spoiled by our ineptitude and insatiability?

Trendy expressions ordinarily lower cognizance and create turmoil. Obviously when I use to distribute stuff as a young person I made up names that sounded great however had almost no significance, for example, Beyond Infinity, مانجا لاند, Eon the Magazine of Graphic Illusions. I know less now than I did then, at that point. What is make, craftsmanship, Love, Truth?

I held a few signature parties with Stan Lee and Jack Kirby in the 1970's and 1980's. I tossed more than 50 effective signature parties with numerous awesome comic book specialists and authors. I'd have the occasion, give rewards, do all the publicizing, realistic workmanship, official statements, and so forth It was an invigorating encounter. It was enjoyable to cooperate with professionals and fans. I parted with a ton of free promotion stuff.

10th Nebula's first signature party was held with Stan Lee, distributer of Marvel Comics. For a considerable length of time my shop suffered in North Hollywood, CA nearby to the world's most seasoned Science Fiction Club (an inherent crowd of companions and fans and PC monsters).

The Stan Lee occasion evoked long queues of Comic Book devotees of any age slobbering for Stan's mark on the sprinkle page of their old and new funnies. These days experts sign funnies on the front of their title en mass which I don't support. (Yet, who pays attention to me).

Funnies structures are frequently manhandled by hopeful youthful distributers who utilize a few pointless full page sprinkles when the impact could be accomplished in a minuscule board - misuse of cash, ink and paper if you were to ask me. Not at all like bygone times when Steve Ditko gave us our best possible value as around 6 boards for each page - he in his manner resembled a Zen Master - the accuracy of his work matched the craft of Chinese Calligraphy (see his one of a kind style in old Atlas Comics from the 1950's). A portion of the new experimentation's by Frank Miller and different gifts have all accomplished outstandingly imaginative work as well.

[iknockfashionworld]

2020 Fashion Trends Based Off of the Runway- I knock Fashion

Fashion trends evolve and change. The clothes all of us wear are based on different seasons although we are also inspired by what celebs and A-liters wear and what we see in fashion shows. Commoners like us can’t really afford the hi-end fashion wear from popular fashion designers, although if you know what kind of upcoming fashion trends are in action and how to match them, you can easily create expensive outfits.

Let’s have a look at the latest fashion trends in India and all over the world that’ll be making waves in 2020:

1. Animal Prints & Mixed Prints: Loads of prints are here to stay and are ready to wear, with stores like Zara and several other famous fashion designers carrying diverse variations with all different styles.

2. Suiting: Upcoming fashion trends like Power Suits make for such a powerful statement. Even better for the Spring/Summer seasons with shorts to make it versatile for all year round. For formal occasions, suiting calls for one of the latest fashion trends in India.

3. Pleated Pants: The 80’s have returned in many ways, but this front pleated pant look from that era is now modernized for a fresh perspective.Fashion designers use this silhouette in various ways to redefine pleated pants occasionally.

4. Logo printed Denim: Denim is never going to go out of style but giving it a bold logo is a definite way to spruce it up and a way for designers like Valencia, Chanel and up and coming designers to have a place to imprint their logos.

5. Belted Bags: Modern meets the fanny pack so grab one while you can because belt bags are lifesavers while shopping. You don’t have to worry about carrying handbags, purses or sling bags and this is also one of the most useful upcoming fashion trends as well.

6. Neons and Pastels: Neon Brights are paving the way into 2019 and for the most part of 2020. Neon greens, pinks and purples were all the rage across the runways this season. Add this trend as a purse, hat or shoes if neon is too overwhelming for you.If bold colors are not your thing, Pastels are still a big trend. Consider Pastels as the new neutral for 2019. Embrace baby pinks, blues and purples. Make sure to pick up a few pastel color pieces as the weather starts to turn warmer!

7. Puff Sleeves: First brought back from the fashion dead by Emanuel Ungaro, this trend quickly was seen everywhere from Carolina Herrera to Emilio Pucci. Pair a puff sleeve top with your favorite straight leg denim and flats for an elevated weekend look or a pair of trousers and pumps for a unique look at the office. This latest fashion trend is also making waves in India.

8. Biker Shorts: Have a fresh perspective on this 80’s trend and pair your biker shorts with an oversize sweater and boots, a crisp white button down, oversize blazer and pumps or a cropped sweatshirt and sneakers. A nice leisurewear trend for you when you’re feeling neutral!

9. Crochet: Crochet dresses and footwear are also relevant the next two seasons. This covers many spaces from accessories to apparel and will be a constant fixture on runways for the next few seasons.

10. Tech wear: A still budding trend within the leisurewear scene, tech wear is the newest upcoming trend still waiting to hit mainstream audiences. Tech wear is clothing that is meant to stand against the elements and make life easier.So, expect clothing to have more functionality, such as waterproof tops, lightweight windbreaker jackets and accessories like harnesses, reflective vests and hip belts.

11. Sustainable fashion: People are becoming more aware of the impact they make in the environment. In an effort to reduce waste, consumers are now choosing fashion labels that are Eco-conscious.Expect to see more clothing made with recycled materials, vegan leathers, vintage hand-me-downs and re purposed textiles.

12. Holographic clothing: There & just something about the pearly, glossy, and shimmery colors of a holographic design that's ultra-bold and experimental, without making you look like a six-year-old who’s trying too hard to look grown up.Whether you pair holographic heels with your favorite pair of boyfriend jeans and a simple top or go all out with a knee-length holographic coat, you simply can’t go wrong with holographs!

There’s certainly more to these trends and there’s a whole list waiting to be revealed. Browse through the best and latest of upcoming fashion trends on a platform like that of I Knock Fashion, a fashion and media news portal which talks about the attires of Celebs and Bollywood A-liters, upcoming fashion labels, designers and brands, new fashion trends that you need to know of and so much more!

[retailtrust]

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[faridabadschool]

Hermann Gmeiner School is one of the Best CBSE School in Faridabad, situated in beautiful lush green environs in Sector 29, Faridabad with an expanse of 8 acres of pollution free land. The school campus is unique and designed by German Architect. The school has an extraordinary structure with well-planned class rooms and play grounds. Since its foundation in 1986, the school has grown from strength creating a niche for itself as a premier educational institution. A play way method of interaction initiates children into the wonderful New World of Education. Their enthusiasm, creativity and expression are given free space and environment.

The HGS Faridabad school is committed to all round development of the child. It aims to create balanced and disciplined personalities to meet the challenges of life. The conductive environment provides stability, security and motivation for the child’s development. These all special features prove Hgsfaridabad one of the Best CBSE school in Faridabad.

It has classes from Nursery to XII (Medical, Non-medical, Commerce and Humanities) The School caters to the educational needs of 1014 students with 194 no. of students from economically weaker section of the nearby society.

The foundation stone of SOS children’s villages of India was laid by late Smt. Indira Gandhi, the then Prime Minister of India. HGS Faridabad is a co-educational English Medium school, run and managed by the SOS children’s villages of India through HGS committees and is affiliated to CBSE Delhi. It prepares students for the secondary and senior secondary examination conducted by CBSE Delhi. The campus is located near the district police lines and is about one kilometer from the Mathura Road National Highway. The school has been producing excellent results at the CBSE Board Examinations and grooming young citizens to contribute to the growth and development of our nation. Co-curricular activities are equally emphasized upon in the scheme of programmes.

Objectives

Hermann Gmeiner School was primarily established to cater to the needs of SOS Children’s Village of India. With its rapid growth and rising popularity and in view of the pressing need of the community, it threw open its gates to the community children. Today, only 20% of the total school strength consists of children from SOS Children’s Villages whereas 80% are from general category.

National integrity and fraternal feelings are fostered and strengthened in a free and secular environment. The seriousness and intent of purpose is nurtured and provided in generous doses for the realization of physical and intellectual potential and to enrich them further for optimum use.

The students are developed into self-confident individuals with an adventurous and scientific temperament. An unflinching faith in God and undying patriotic feelings for the nation are systematically ingrained in every student. The bottom line is to provide every ingredient to develop a complete, educated human being.

The Institution

SOS Hermann Gmeiner School is a Best CBSE School in Faridabad. The teacher to student ratio is 1:20. The school building is a master piece of architectural splendor with spacious, octagonal classrooms and modern amenities have been provided for conducive teaching learning process. The class rooms are designed and located in such a manner that each classroom is independent and free from disturbance from other classrooms.

Computer Lab:A Computer Centre stocked with scores of latest computers are the envy of many institutions. Computers are taught as a part of regular teaching in school. Laboratories: Well-equipped ultra-modern laboratories for Physics, Chemistry, Biology, Math, and Psychology and work experience have been provided for experimentation and advancement of knowledge .Digital Library: School has a rich digital library with all latest versions of books along with latest support materials for board classes like latest sample papers Q bank and assignments to practice. Robotics Lab: Well-equipped lab for providing students good exposure for advanced knowledge .Gym: Students are trained to be fit and healthy regularly. Hallmarks Of Hgs As One Of The Hgsfaridabad Best CBSE School In Faridabad

Awarded with the most Socially Active School in the year 2018 by NSA

Awarded with Teaching Excellence Award by International School Awards, Dubai in 2018

International Footprints with an exposure of different cultures

Exposure to English Speaking through BBC Live Classes.

Meri Awaaz; an online platform for enhancing speaking skills

Bond between teachers and alumni is infinite

Fit India certified

FB Live for umpteenth activities; Sanskrit speaking classes, dance & music

Experiential learning through art-integrated activities

Samvad between Principal and students, teachers & parents

Nominal fee structure

Activities To Enhance Latent Talent Of Students:

Annual Inter Hgsfaridabad Art Competition

Annual Inter Hgsfaridabad Science Exhibition

Annual Inter Hgsfaridabad Literary Competition

Workshops For Enhancing Knowledge

Students have participated in live webinar conducted by I Can Care organization on the subject of 'Tobacco Free Society'.

Children have taken Participation in webinar conducted with Olympic and Arjuna Awardee Mr. Sanjeev Rajput, who inspired our students and guided them for their career.

School is conducting regular career guidance sessions for senior students to prepare them for future prospects on different subjects by different subject experts.

To develop interest for coding, an Online workshop session was conducted which was organised in collaboration with Eupheus Learning to guide the students which may lead to improvement in the learning process.

Teachers have attended several webinars on New Education Policy and Subject Enrichment Programs.

Social Impact Group Works For The Welfare Of Community: WOMEN ADULT LITERACY Students and teachers work in tandem to literate adult women of nearby society to make them capable of leading a better life. This also enhances students Confidence to work for humanity. Child welfare Social impact team works persistently to provide a better environment for children of weaker section. AWARENESS IN COMMUNITY NEAR BY This year up to July we conducted two on line session on social issues, one on FIGHT WITH COVID 19 and other on WOMEN EMPOWERMENT with adult literacy group, we also motivated students to make WINTER a CHARITY MONTH by making DOG BED OUT OF OLD SWEATERS. Child safeguarding Mechanism Complying with all Govt. Norms and students Safety and Security e.g. Implementation of School Disaster Management plan as per guideline of Disaster Management Department. Conducted sessions, Activities relating to Gender sensitivity and Anti Bullying.

There are many more peculiarities of HGS Faridabad which make it on the top list of the Best CBSE school in Faridabad.

[westphotolukedas]

Production Journal - Location Study

140220

Prior to completion of my current project brief, I have decided to set myself a mini brief. Its purpose is to experiment with colour negative film and establish an appreciation for the different types that we have been provided. In addition, the subject matter is a digression from portraiture and location studies will not depend upon me practicing with a sitter. My colleague Daniel J Norwood, is the photographer that has prompted this investigation. I shall study his methods and adapt them for my own needs.

Portra 400 Vs Ektar 100

A photographer’s choice of film is a personal preference, and during my time as a student, I would like to have a broad understanding of the main kinds. In the first project, we were provided with Fujichrome Provia 100F. This is a popular variant of colour slide film. Kodak Professional Portra 400 is the world’s finest grain high-speed colour negative film and it is the starting point for my experimentation. The manufacturer comments that it delivers smooth skin tones, exceptional colour saturation and it is adaptable for a wide range of lighting conditions. Given its versatility, it is used for portraiture, fashion, nature, travel and outdoor photography where the action is fast and unpredictable.

During my final project, I shall be shooting in a studio. Kodak Professional Ektar 100 provides the finest, smoothest grain of any colour negative film available. Further specific traits include 100 ISO speed, high saturation, ultra-vivid colour and exceptional sharpness. It is considered the film of choice for professionals and advanced amateurs. It is not suitable for location studies shot with available light because its ISO is too low. Pushing the film several stops will interfere with its listed qualities. Both films have the following specification listed on the manufacturer’s website - ideal for scanning, extraordinary enlargement capability from a 35 mm negative, optimized sharpness, distinct edges, fine detail and printing compatible with other Kodak films. (Kodak Alaris, 2020)

The Angle of Descent

Daniel J Norwood is a documentary photographer and lecturer. He discovered photography via graphic design and illustration. Its ability to record a heightened sense of space and psychogeography guided his exploration into the medium. After undergraduate study at the University of Plymouth, Norwood worked as a forensic photographer - an appropriate match for his methodology. Postgraduate study at Westminster University broadened his understanding of documentary photography and photojournalism. He has exhibited at the University of Westminster, Truman Brewery and Cambridge University. (Lens Culture, 2020)

The Angle of Descent (2013) is a survey of the Heathrow area, which consists of annotated photographs and a self-published newspaper. It caught the attention of the BBC and received a Shutterhub Award at the time. Norwood documented the threat of the airport extension scheme by covering the impact upon the global economy, local communities and surrounding landscape. The series portrays the interactions between the environment and individuals affected by the development. However, my interest is in the compositions that are sparsely populated and implicit of human engagement. The South West Perimeter Wall (2013) is minimalist in its geometric forms. A divisive wall separates barrel grassland and a river from the blue of the sky. The inclusion of a solitary aeroplane tail fin implies a malignant threat from expansion of the airport. His formalist influence is evident in Outside the Sofitel Hotel, Terminal 5 (2013). A billboard intersects other artificial and natural divisions of the frame. The trees are perpendicular to the road and the horizon line is perfectly straight. In isolation, the semiotics of the photograph are ambiguous; however, as part of a series it is given an accumulative weighting. (Norwood, 2020)

In a text message conversation, we exchanged the following thoughts about his photography. It was an opportunity to ask direct questions about his style and learn about a colleague outside of work.

LD - What transferable skills are there from forensics to arts-based practice?

DN - That depends on what you mean - recognising the significance of the mundane perhaps. The forensic is bandied about in the art world. It’s part of the furniture, you could say. In fact, in my last project I took that sensibility but twisted it to focus more on the aesthetic.

LD - What is the starting point for each of your works?

DN - That poses quite a question. My starting point is perhaps the subject itself or myself or a combination of the two.

LD - Your photography is compositionally very precise. Is this a conscious choice?

DN - My composition is drawn from a mental image of what I am trying to achieve. I tend to quote Ansel Adams who said you have to see the image ‘in the mind’s eye’ before you make the picture.

Daniel J Norwood, The South West Perimeter Wall, 2013

Summary

No matter the subject, I have an inclination to arrange the contents of my frame. It is the consistency of Norwood’s photography that I would like to recreate during this mini brief. The film that he used for The Angle of Descent (2013) was Kodak Professional Portra 400. Its adaptable quality and faithful colour reproduction are apparent throughout. My Mamiya 645 Super is relatively compact and light compared to other medium format film cameras. I will be working without a tripod, so 400 ISO film should be appropriate for the daytime lighting situations that I encounter. Finally, given that it is so highly regarded, I would like to form an opinion about its performance. A suburb of South West London shall provide an exploratory cityscape. It is predominately residential and an abandoned gas works dominates the skyline. The silhouette of this structure is appealing and my intention like Norwood’s is to consider the relationship that exists between it and the residents that live nearby.

Production Notes

The Kodak Professional Porta 400 ISO film that I used was pushed to 800 ISO. This allowed me to shoot at f8.0 and 1/60s. This decision was made so that I could hand hold the camera and achieve a relatively shallow depth of field. The colour reproduction was accurate and only deviated due to different lighting conditions - sunlight seemed more yellow than shadows. I was content with the grain in each negative. The lab that processed it created low resolution scans and even in these there is a substantial level of detail across the whole dynamic range.

At the start of the shoot, I observed telephone pylons that created strong compositional lines. In one photograph, I looked upwards at a pylon with convergent cables directed into the middle of the frame. Lowering my camera and shooting along the length of the road was also compelling. Norwood’s approach in The Angle of Descent (2013) was the inspiration for my image portraying a tree and its shadow against a wall. Pure form is examined in this piece allowing the actual contents of the frame to become unidentifiable. This effect is intensified due to the hard lighting from the sun. A Mamiya 645 has a characteristic aspect ratio that was comfortable to work with. Favouring long, elongated prints comes from experimenting with test strips. Processing half a sheet at a time seemed like a waste of paper, so I decided to make the proportions into a creative statement. It worked well for the photograph with the abandoned gas works that appears as a silhouette against a blue sky and white clouds. If the full negative was used then a large area of green grass became too imposing. By detaching the grass, I felt that this made the photograph simpler and satisfying. The theme of human dependence upon industry and its connection with our survival is implied - it is the man-made structures that dominate over nature in the series.

Bibliography

Kodak Alaris (2020). Control. Expression. Creativity. Kodak Alaris. Available from www.imaging.kodakalaris.com/photographers-photo-printing/film/color [Accessed 10/04/2020]

Lens Culture (2020). Biography. Lens Culture. Available from www.lensculture.com/daniel-norwood [Accessed 10/04/2020]

Norwood, D J. (2020). Biography. Daniel J Norwood Photography. Available from www.djnorwood.com [Accessed 10/04/2020]

Contact Sheet

Location Study, f/8, 1/60, ISO 800

Location Study, f/8, 1/60, ISO 800

[johnboothus]

12 Things You Should Know About Laphroaig

No, the name doesn’t mean “The Phroaig.” (We had to look that up.) In fact, what Laphroaig Scotch whisky ends up meaning to you depends entirely on your feelings about things like peat, smoke, salinity, and even brawn — you know, the kind of brawn that pushes thousands of pounds’ worth of malted barley across a dimly lit malting floor, because, Scotland.

Even for the peaty-weary, Laphroaig is worth exploring. Much more than a one-note smoke monster (that thing is still on the island from “Lost,” right?), Laphroaig has that complicated, stormy single malt tendency to seduce you slowly, and then aggressively (like, “Whoops, you’re tied to the bedposts and now we’re engaged,” aggressively).

But alas, we digress. Here are 12 things you need to know about Laphroaig before you say “I do” to a dram.

‘Laphroaig’ is easy to pronounce.

It’s pronounced like this: la-froyg. But don’t take our word for it. Watch this seven-second video of esteemed Scottish actor, Commander of the Order of the British Empire, and recent Big Mac spokesperson Brian Cox tell you. (He does a bunch of Scotch pronunciation videos. Rumor has it, if you say all the Scotch brands in a row in front of a mirror in a dark bathroom, you’re probably drunk, so get some water.)

Laphroaig is an Islay (‘eye-lah’) Scotch.

Being an Islay Scotch means something. It’s like being a California raisin. Or an Italian hero. Place of origin matters here because Islay Scotches are believed to be from the birthplace of whisky in Scotland (brought, of course, by some kindly and proselytizing monks). These Scotches are generally peated, meaning the malted barley is dried over rich, fragrant peat smoke (see below). Other Islay Scotches include names like Ardbeg, Caol Ila, Bruichladdich, Bowmore, and, Ron Swanson-certified Lagavulin.

Its use of local peat is ultra-authentic.

Laphroaig has various expressions — from the standard 10-year-old, to the oaked-up Quarter Cask (made with aged whisky aged again in a quarter, or smaller, cask, increasing oak contact), to an investment-level 30-year label that’ll cost over $1,000, which we advise only releasing to viewing family every other major holiday.

One thing all Laphroaig labels have in common? They’re all peated. In fact, the flagship 10-year expression is peated with local Islay peat, a further expression of place, since forest-less Islay has been using peat as a fuel source since always. That peat is also hand-harvested. Kaboom. A thousand authenticity points.

Laphroaig is its own maltster.

Unlike a blended Scotch (such as Chivas Regal), single-malt Scotch is made with malted barley. Malting is a laborious process, and one most large distilleries don’t do themselves. Laphroaig is an exception; it uses about 20 percent of its own malted barley in the total mash bill.

To “malt” barley, grain has to be spread out to germinate. The maltster is basically tricking the baby grain into thinking it’s time to grow into a new plant by providing moisture and warmth (big jerk move); and as enzymes turn the grain’s starches into more available sugars, we make booze instead of springtime (classic human move).

Laphroaig’s partial in-house malting creates a surprising, “challenging” flavor profile.

Why put all the effort into malting when it can be outsourced? With 205 years of seasoning, Laphroaig is pretty damn sure its kilns give a special, both literally and figuratively, “extra” creosote note to the finished product. (Laphroaig fans are known to crave this flavor.)

More bonus points: Laphroaig’s malting floor is effectively on the Atlantic Ocean, with windows and fans to draw in that coastal, saline breeze to wash all over the barley, so you get smoke and salt, which is a surprisingly delicate, teasing contrast. Like slapping someone you love, with a velvet glove.

Laphroaig’s peatiness isn’t a gimmick.

Laphroaig is a proudly smoky Scotch, taking pains to impart more peat smoke before fully drying the barley. But as modern smokiness goes, Laphroaig is distinguished, rather than overpowering — a wisp from a dying (high-end) cigarette to some other Scotches’ flagrant tire fire smoke profiles.

Compare the 45 parts per million of smoky peat phenols in Laphroaig’s flagship to Octomore 7.4 at 167 ppm to the (admittedly “uber-experimental”) Bruichladdich Octomore 6.3 at 258 ppm (a ton—watch whiskey expert Horst Luening say “I do not dare to swallow!” here).

You can own a piece of the distillery.

Stewie Griffin knew what was up when he said, “It’s good to have land.” Except given the current/perpetual economic hellscape that pits housing prices against low wages against (#bestlaidplans) student debt, many of us won’t own any substantial hometown turf.

Luckily, Laphroig offers a very appealing alternative: Join the “Friends of Laphroaig” program, created in 1994, allowing whisky devotees to buy a square-foot plot of the distillery. Ownership of said plot earns you one dram of Laphroaig per annum if and when you visit your plot, which we’d assume you’d want to drink very formally, quite possibly wearing a monocle.

Laphroaig’s Ian Hunter pioneered the use of American oak.

Taking the reins in 1908, Ian Hunter was the last of the founding Johnston family to oversee Laphroaig. When he wasn’t out looking dashing with his dogs, Hunter did plenty to revolutionize Laphroaig, and Scotch whisky- making in general.

Under Hunter’s leadership, Laphroaig began selling Scotch in America, and introducing American white oak barrels into Laphroaig’s aging process. American oak is arguably more delicate than European varieties, allowing more of the Scotch’s native characteristics (such as peat) to shine, smoke, and sift through. Collectors, heads up: Hunter’s impact has just recently been honored as the first in a series of ultra-rare, ultra-aged whiskies, cleverly embedded into books, prison shank-style. Hunter’s is called “Ian Hunter’s Story,” has 30 years in the bottle at minimum, and costs on average over $,1000 a bottle.

Prince Charles loves Laprhoaig.

Like, really, really loves it. Not only did Princes Charles, a.k.a. the Duke of Rothesay, award the distillery a Royal Warrant when he visited in 1994; he came back to celebrate his 60th birthday there in 2008. And in 2015, a kilted Charles returned to celebrate Laphroaig’s 200th birthday.

One royal visit to Laphroig began with disaster, and ended with a tour.

Along the bromance of Prince Charles and Laphroaig there was a slight hiccup when the prince accidentally crashed his plane over the edge of the landing strip when visiting Laphroaig in 1994. Fortunately nobody was hurt — though HRH was said to have been going a bit fast— and Prince Charles straight-up just continued with the distillery tour, post-crash. (Though, per HRH, “It was not quite a crash,” as he told reporters, and because he’s a prince, he’s correct.)

Laphroaig was home to the first female distillery manager.

“Force of nature” is a better descriptor for Bessie Williamson, who got a summer job as a typist at Laphroaig in 1934, and was its manager and owner by 1954 (she inherited ownership from Ian Hunter). Even while she worked as Hunter’s right-hand person, Williamson proved invaluable to Laphroaig, which was effectively turned into an ammunition bunker as World War II shunted grain production to the front lines. Williamson kept the government from melting down her stills.

That “first female Scotch distillery manager” made Single Malt Laphroaig a thing.

Once at the helm of the distillery, Williamson went on to preach the gospel of peated single malt in America, miraculously marketing a hulking, complex, sometimes downright ornery product to American palates that were just settling into the post-war comforts of Jell-O. No shock, as it did for Ian Hunter, Laphroaig released a special 25-year-old Bessie Williams rare bottling.

Among the tasting notes for Bessie’s bottle are such intimidating descriptors as “salty tar oil paste.” We prefer “coastal notes with peat sweetness and earthiness.” Speaking of, here’s a pretty great picture of Bessie with some sprouted barley.

The article 12 Things You Should Know About Laphroaig appeared first on VinePair.

Via https://vinepair.com/articles/laphroaig-10-scotch-guide/

source https://vinology1.weebly.com/blog/12-things-you-should-know-about-laphroaig

[sweetheartmermaidweddingdress]

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[0xtechnologiesoftheself]

0.1t4  : //  1960 - The Present. From Monterrey To Berghain

The theorist Micah Silver in his book Figures in air, describes in a profound way how In the late 1960’s, loudspeaker amplification and audio processing technologies reached a new vision related to power, quality and scale. The book not only describes the technologies of audio, also reveal how this allowed large social reunions to experience the air waves produced by this new amplification developments.

Before the technologies of audio became available to the large stages of music festivals. The only places that offered a social immersion in amplified media representation were the “Movie Palaces” of the Hollywood film industry. High fidelity audio was only present in the industry of cinema.

Monterey Pop in 1967 was the first large festival in the way we know them now. The desire to produce large musical events spurred an evolution of musical representation and audio developments. These developments proliferated to most musical and staging productions, shaping the air the crowd experienced.

The Jamaican diaspora brought to the communal dance of dub, techniques developed in the studio, producing music recordings and their diverse “dub versions” and playing them back in the dancehalls or the streets.

The development of custom homemade XL speakers in a “Soundsystem” culture, allowed an appropriation of space in a more integral way, by distributing the speakers to contain the dancing mass, intending the experience of sound to be felt in the body, to be moved from the inside.

Dub as Musique Concrete is primarily studio music, that, made possible experimentation at the moment of the playback of the pieces. This allowed the space to be always present.

At GRM, a system of sound diffusion was formalized in 1974. The acousmonium was the ‘instrument’ François Bayle and the Groupe de Recherches Musicales designed to diffuse sound. This was a multifocal system, made out of diverse types of speakers, positioned ‘escenically’ in the space, (most of the time classic concert halls). This was designed to merge the space with spectromorphologies modifying the perception of the listener. This perception variates with the position of each one, making the experience a very personal and situational thing.

Sound technology is capable of shrinking the dimensions of space and this has direct impact on the way we experience ourselves in a surrounding sonic event. The composer Seth Cluett speaks about this impact, “This affordance can bring people together who are not spatially proximate, or also allow people to maintain the safety and anonymity of bodily separation.” (Cluet,2010,16)

The intermodulation of the air with sound waves can redraw the measure of diverse spaces nested in the communal experience of the arena, shaping the affective communal peak of the crowd. Thus, our consciousness opens new ways of seeing, changing our perspective of seeing not only life, but ourselves.

The air-occupation of projected sound can not only dissolve the traditional boundaries of property ownership but also influence the mind.10

Seth Cluett

These large social experiences with amplified sound made varied impacts on diverse social frameworks around the world. In Berlin, a city where the electronic music scene is rooted directly to social renewal after the fall of the wall, many clubs emerged to join and share dancing.

Berghain is a club situated between Kreuzberg and Friedrichshain in Berlin. Is one of the world’s temples of contemporary club culture, located in a space conceived to shrink the dimensions of reality and linear thinking. Hours often run from Saturday to Monday in a row, and there is a peculiar and eccentric door policy, playing chance in the construction of the inside energy.

The impressive old industrial building with its outstanding sound system are among the other sensorial boundaries to experience.The club has high-end sound and space technology, consisting of a Funktion - one speaker system and the infrastructure to play DJ sets.

The booth of Panorama Bar (one dancefloor of the complex) hangs by chains that work as an vibration isolator for the capsules of turntables. A standard DJ booth usually is equipped with a pair of Pioneer CDJ (an interface to control digital music), 2 turntables (prefered Technics sl-1200), and a 4 channel mixer. Sometimes a DJ booth can have up to 5 CDJs and a pair of turntables. This could be interconnected with much other gear such as pedals, modulars, laptops, controllers, etc.

In a rave, the media setup, the lighting use, projections, mapping, and other stimulus, are presented in a variety of ways, differing from EDM festivals in Belgium, ‘Ultra’ in Miami or the techno industry in the Netherlands with huge stages and effects, to Berlin underground scene, with abandoned and dirty spaces for social dancing. In these last spaces, the visual production still is a bit detached from visual effects in the general trend of the city. This maintains the original feeling of post-wall abandoned and destroyed spaces.

Strobes only, or coloured pitched down static lights, is the prefered light setup for Berlin techno and microhouse scene. Visual stimulation is often present in chill out areas, among eccentric components and objects to experiment with. A particular effect used in Berghain is the possibility of opening and closing the windows of Panorama Bar dance floor when running in the daytime, producing a collision of realities.

10 (Cluett, 2010, 20)

[nikolinaboldero]

Liberty’s London Independent Study Visit.

16/11/18

Liberty’s London is known for its luxury goods, covering everything from fashion to cosmetics and then to interior design. It is particularly recognised for its graphic and floral prints. Liberty has played a major role in the development of new artistic styles, such as the arts and craft movement, art noveau. His father gave him a loan of 2,000 pounds in order for Arthur Lasneby Liberty to open up the shop on Regent Street, it officially opened in 1875 and had three employees. Naming the store as the ‘East India house’ his collection of fabrics, ornaments and objects from the Far East proved irresistible to a society who at the time was intoxicated by the East (orientalist fervour).

 The Grade II-listed iconic mock-Tudor store known today was built in 1924, seven years after Liberty died and was constructed with the timbers of two ships- HMS Hindustan and HMS Impreganble. Arthur died in 1917, seven years before his successors at Liberty realised his dream of docking a ship in the streets of London. The store on Great Marlborough Street was constructed from the timbers of two decommissioned Royal Navy Ships. HMS Impregnable was built from more than 3,000 100-year-old New Forest oaks. The second was the HMS Hindustan, a huge ship which is said to have matched the store it contributed to building in height and length. Also in the department store, there is an old staircase which pays tribute to the Liberty staff who lost their lives fighting in the Second World War for different kind of liberty- freedom from the regimes of the Axis powers. Liberty’s nautical theme continues in the weathervane, a gold coloured ship which sits above the entrance on Great Marlborough Street. The weathervane is a replica of The Mayflower, which transported Pilgrims to the New World in 1620. All of these features link the building to its profound history. Whenever I walk into Liberty’s I am so amazed by the decoration and the beautiful structure of the department store. I don’t go in there to shop instead I just gather visual inspiration. Liberty’s carries an experience, tells a story, this is what makes it so different to other department stores. Straight away you can picture the cultural collaborations, such as print designs taken from Java or India. (Liberty’s was also the first department store where women could visit and shop independently, away from their husbands).

 Liberty London is widely regarded as one of the best and most luxurious shopping experiences in the capital. Oscar Wilde called it ‘the chosen resort of the artistic shopper’. The reason why Liberty’s is so well known is because of its cultural relationships/connections with other countries across the globe, its rich heritage has made Liberty’s a beautiful and interesting destination to discover. Liberty’s is very true to itself, it is unique and not trying to accommodate for the growing consumer demand, it has managed to be so extremely successful without involving high street brands in their fashion departments. It does have sections dedicated to brands like Erdem and Ganni, but each section still blends in with the Liberty’s surroundings/environment. In contrast, there is Selfridges another department store in London which is very popular. This store has become lost in high street fashion.

 ‘The Arts and Craft Movement of the late 19th century was one of the most influential artistic movements in modern British history’. A major social reform, rejecting modernity in favour of a romantic revival of medieval and folk aesthetics and traditional techniques’. Art Critic John Ruskin did not believe modernity in terms of globalization, new international division of labour and mass production was having a positive impact on fashion and textiles. He praised gothic architecture, whose roughness was evidence of the craftsman’s personality and freedom. Ruskin’s ideas were hugely influential to the social activist William Morris. By the 1880s Morris was a well-known figure, ‘his designs the height of fashion, and the wider Arts and Craft Movement was born. Liberty London dealt in goods favoured by his style.

 Simple elements from the heart of the brand’s heritage are constantly looked at, reviewed, for example they created a new and more vivid Liberty purple; the famous crest redrawn and the identity was refreshed to express the core elements of the brand more powerfully. This is how they continue to build heritage into the brand name. Liberty is famous for its range of signature fabrics. The brand looks at their huge archive of prints, to carry on unleashing powerful, instantly recognisable clothes for marketing and communications campaigns. The ‘Liberty London’ name was applied across both the store and product brands for added consistency, creating a brand architecture and naming certain conventions than work with partner brands like Hermes or Target.

Liberty Fabrics and Print- collection

The ‘East India House’ (1875) sold Oriental imports- namely rugs, decorative objects and fabrics. After several years the East India House grew and demand for their beautiful fabrics increased. It was at this time that Liberty’s decided to import undyed fabrics and have them hand printed in England in the style of Oriental prints. At this moment in time, Liberty’s started marketing their own fabrics as ‘Made in England’.

1920s- Liberty’s designed prints with miniature floral and paisley designs.

Tana Lawn cotton is the most popular of all the fabric selection in liberty’s, the material is very lightweight therefore it is suitable to be used for dresses, blouses, shirts and skirts.

 I personally think that you can get quite a variety of people shopping in Liberty’s because it has a collection of items, ranging from for example fashion to interiors. It sells a lot of luxury goods therefore it does exclude some of the population who cannot afford to shop here. Those who like high street fashion/high street shopping are not likely to shop in Liberty’s London, they will shop in the more modern department stores like Selfridges. Liberty’s does not just attract the shoppers, people also visit the department store because of its rich history and store heritage. Oscar wild- ‘the chosen resort of the artistic shopper’- I go to the store to study the fashion garments, their beautiful pieces sourced from their archive, I look at the interior design and textiles all for inspiration.

Fashion raincoat by Ganni. Modern representation of textiles in Libertys. ‘GANNI has developed exponentially over recent years with its Scandi 2.0 sense of style full of personality and contrasts. Based in Copenhagen and owned and run since 2009 by husband and wife team Ditte Reffstrup and Nicolaj Reffstrup.

 ‘We sought after a more playful and effortless approach to design, that represents how I want to dress and look. Without strict dogmas or rules, but with room for personality, contrasts and experimentations’.

 The company is based in Copenhagen and I believe that a lot of the designing and production happens here. They have mentioned in one of their interviews online that they get inspiration from the area and the cool Copenhagen girls. The material of this coat is very similar to PVC fabric, although it is a lot softer and more flexible. The material is loose and adjusts to the female figure. On top of the material there are some flowers which have been printed on. The flowers have been made to look quite graphic, like a picture, they have a similar appearance to a water coloured painting of a flower. I really like this fashion garment because it stands out from the other designs in the fashion department. It was an example of a piece which you wouldn’t find in high street department stores, like Selfridges, therefore making it original to liberty’s. It is beautiful, I love the reflective appearance on the coat and the quality of the material. It shows a clear example of how improvements in technology (innovation) have allowed for more creative approaches to producing garments. In the store, the piece was just hung up on a rail. I think that fashion designers are more likely to buy this piece of clothing, it is a statement piece as opposed to being used for everyday use. It is also 240 pounds therefore it is not for anyone to wear. The raincoat reminded me of my final collection at the end of the 2 years of A level. I made a raincoat, enmeshing petals in between two layers of PVC fabric. Here are some images below of the garment.

 In the warehouse in Hayford there is a selection of Liberty prints and sketches. The warehouse is packed with oversized books, labelled boxes and preserved paintings, the rooms are all guarded by the archive department who have the important task of ensuring every design, ranging from the Tana Lawn to the silk satin, is documented with information and stored in the database. The 1880s was when Liberty started producing their own pattern books. There are around 40, 000 prints held in the archive. In the archive, the textile materials are kept away from any form of dust and light in acid-free boxes as much as possible. The artwork is stored in these things called melanex sleeves. Libertys has a good relationship with the paper conservation course at Camberwell College of Arts. ‘Tana Lawn’ is one of Liberty's most well known and loved fabrics, with the name originating from Lake Tana in East Africa, where the original cotton grew. This classic print is made from ultra-fine long staple cotton and without the use of crease-resisting chemicals or irritating allergens. With fabric technology at the forefront, the end result offers an iconic look and soft touch’.

Images of my own design- fashion garment from 2018 winter collection. 

[gozel]

Feedback Loops

by Jace Clayton

(Originally published in the NYFA Quarterly

It’s party time in the Persian Gulf. I’m in the DJ booth, mixing Middle Eastern melodies and Western street beats to an Arab jetset on the roofdeck of the Dubai Hilton. Shopping Festival fireworks light the sky. I was invited to the United Arab Emirates by Shehab Hamad, one of the region’s more risk-taking event curators. He knew my work as DJ/rupture, and my label Soot , dedicated to rough diasporic breakbeats. Previously he’d invited Mutamassik, a Brooklyn-based DJ/producer whose style combines Egyptian roots with militant hip hop offshoots. Tradition literally gets scratched into the present during her performances. One of the things that make DJs so thrilling and so boring is the slim distinction between easy charlatanism and mind-melting talent. A bad DJ is little more than a jukebox. A good DJ is a jukebox with a nice musical selection. And a great DJ reinvents the familiar and/or the obscure, imprinting her or his own personality via realtime improvisation using only fragments of other people’s music. A successful DJ can be a desegregationist, coaxing hidden harmonies out of unlikely voices. When hip hop started in the Bronx, DJs such as Afrika Bambaataa would mix in any record so long as it contained a funky beat: James Brown to Kraftwerk to the Monkees. The type of mixing that Mutamassik and I do gains particular resonance with audiences who understand the Arab and African music we work with. Club spaces may be far from sacred, but they still operate along carefully codified rules, and when a DJ starts inserting sounds usually quarantined outside, people react. A potent DJ blend is both allegorical and prophetic: these sounds gel as if they were meant to be shared and reworked. So too, perhaps, the cultures that give rise to them. With DJing, you can achieve what Russian composer Ivan Tcherepnin called “interpenetration without interference”—the ability for different sounds to occupy the same space and yet maintain their individuality in full detail. I love to exploit this polyglot nature: in Dubai this meant layering classic Moroccan milhun vocals (semi-classical sung poetry refreshed by contemporary contextual twists) with high-energy Indian bhangra rhythms and the latest slinky black American R&B instrumentals (with their current vogue for Middle East exoticism). Taking advantage of vinyl’s plasticity, I adjust the playback speed of all these disparate songs onto a common tempo, enabling two or three records to play simultaneously without chaos. Thus, songs made years or decades apart can become synchronized and multiple, with various audience members reacting to and recognizing different elements in the deep but danceable mix. I’m fascinated by the frame-breaking possibilities of turntablism and sampling; but at the same time, I’m starting to view sampling as a very lazy gesture—innocent at best, creepily segregationist at worst. For example, if you’re sampling a sitar CD, it generally means that you can’t find—or can’t be bothered to look for—someone who actually plays the instrument. Sampling maintains cultural distance; collaborations require closeness. The difference is huge. It’s the difference between one-way cultural flow and the kind of dialogue that could lead to real community. Proper collaborations offer much more than sampling, but even they aren’t untroubled. World music festivals love “fusion” groups whose members draw on diverse backgrounds to produce an anodyne sound seemingly intended to reassure the predominantly Western, middle-class festival audience: world music as foreign music with its distinctive features rubbed off, now suitable for mass consumption anywhere on the globe; difference with a jazzy backbeat you can groove to; the exotic but never the extreme. Mainstream pop, reggae, and R&B offer an interesting solution: go synthetic. Star producers like Timbaland and The Neptunes have been inventing wildly creative pop songs for artists like Missy Elliott and Justin Timberlake with a decidedly eastward lean. Yet there is, refreshingly, zero reliance on a veneer of authenticity. These are the few producers who can afford to legally clear all their samples, yet more often than not they choose to fabricate a prosthetic North African beat, or to replay a quarter-tone violin harmony line on a cheap synthesizer. Brilliant or lazy or both? Does pop’s self-replicating, amoebic logic wipe out all others? Suffice to say that The Neptunes song I played in Dubai received the best crowd response. A glance in the other direction reveals an incredible culture of bootlegging, versioning, and westward exoticism in Arabic pop. At any Moroccan music store you’ll find endless cassettes such as HipHop Ray 2002! : a bootleg compilation that alternates rai hits with misattributed mainstream American rap. Or, a recent favorite of mine, the bootleg rai CD Compil Santana : the cover and CD artwork sports images of seven Moroccan vocalists . . . and Victoria’s Secret supermodel Laetitia Casta. Glamour becomes a universal glue. Musical influence spreads like wildfire, wafting across borders of nation, language, and religion. Yet, controlling notions of authenticity police virtually all genres. Leatherbound anarchists are quick to classify what is and isn’t punk rock; “keeping it real” is a constant refrain in hip hop; talk of “pure” flamenco abounds in Spain although Arabic influences are clearly audible in the vocal ululations and sinewy guitar style of Spain’s cherished “national” music. So how do we keep it real if our mission is to adapt multiple traditions into an idiosyncratic unity? All music springs from multiple roots, yet the history of the hybrid is no history at all, just an X on the map where the border-crosser left both lands.

People who are actively situating themselves within multiple traditions tend towards iconoclasm. For example, Turkish artist Serhat Köksal performs with samplers, saz, electronics, darbouka, and spoken word. His output swerves exuberantly between Anatolian folk, experimental electronic textures, and improvisation heavily inspired by Turkish cinema. The pastiche may seem wild, but Köksal has worked to refine his approach for nearly two decades. Critically, Köksal is operating with polydirectional influences—new avant-garde trends inform his saz and darbouka playing, and vice versa. Film reaches across media to impact his sound as well. The title of his last performance cycle suggests a lot: No Turistik - No Egzotik Improvise/Electro Folk Cut . Neither the “ancient wisdom” of Turkish folk nor the “contemporary currents” of electronic music take precedent. Instead they frolic and tussle, each available to be infected by, or infatuated with, the other. Vulnerability is a precondition to cross-pollination. Open ears, opens minds, open wounds.

In addition to my activities as DJ/rupture, I make music as Nettle. Nettle originated in my fascination with the concept of an album heavily influenced by Middle Eastern ideas, but not necessarily at the audible level. I was unsatisfied with the narrative poles of electronic music—loop-based dance pieces or abstract/ambient pieces without storytelling force. A suite of rigorous modal improvisation in Arabic music called taqasims offered the solution: I knew and loved their internal play between free-flowing improv and strict technical guidelines. I spent a year or two translating these ideas into pieces for samplers and laptop. Two albums later I still wasn’t satisfied: one-way cultural flows aren’t good enough. I wanted community, two-way translations, the squeal of a feedback loop. Earlier this year I was commissioned by a British arts council to transform Nettle into a proper live ensemble. Violin, oud, percussion, electronics, realtime sampling. I’d been involved in Barcelona’s Moroccan music community for awhile, but the Nettle project has upped the intensity of collaboration. A few days ago, Nettle’s violin and oud player, Abdelaziz Hak, brought up taqasims to explain his response to a beat I’d prepared for him. I broke into a silly grin. This is working. We’re starting to get under each other’s skin. Jace Clayton is a writer and musician based in Spain. He has performed around the world as DJ/rupture and Nettle and his essays have appeared in the Washington Post ,The Wire , and other publications

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2/5 BZ   - -  Karabesk

https://wfmu.org/playlists/shows/26186

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2/5 BZ Etnik Market Etnik Paranoia

http://wfmu.org/playlists/shows/34182

.

Mudd Up! with DJ/Rupture

---

http://autonomicforthepeople.blogspot.com.tr/2004_10_01_archive.html

.

https://www.nyfa.org/

*****

     arabesk : dj/rupture            (us-tigerbeat 6), chronomad live, serhat köksal aka 2/5bz live, dj            mormos & dj coconuts

                 23-avril-2005

22.00 - 7€

La gare            métamorphosée en riad underrail ? On fera tout pour :            scénographie orientalo-décalée, projections cali-graphiques, danse            du ventre piercée et épices…

Dj/rupture est le            maître incontesté du mix non-géographique ultra-dansant. Un son au            delà des genres aux rythmiques post-culturelles. Un mash-up de            rythmes arabes, techno, reggae, spoken word, folk, hip hop,            breakbeats, avant-noise et jazz effectués avec prouesse et            réussissant des connections musicales improbables, le regard tourné            vers un futur sans frontières.

Serhat Köksal est un            artiste performer d'Istanbul. Il mélange de l'electronica rugueuse            avec des sons des rues d'Istanbul et de la pop orientale saturée. Il            travaille aussi l'image en live, en déconstruisant des films turcs            des années ‘70.

Chronomad est le            projet de Saam Schlamminger, d'origine perse et résidant en            Allemagne. Il collabore régulièrement avec des membres de The            Notwist et Lali Puna et a sorti un album sublime sur Alien            Transistor, « Sokut ». Il manipule percussions            traditionnelles iraniennes avec de l'électronique et se situe ainsi            au-delà de toute forme de world music. La particularité du son de            ces percussions en contraste avec les manipulations électroniques            font appel à notre imaginaire universel. Pas de frontières non plus            pour Chronomad, mais plutôt un dialogue entre traditions ancestrales            et traditions à venir.

http://www.recyclart.be/fr/archives-2003-2011/arabesk-dj-rupture-us-tigerbeat-6-chronomad-live-serhat-koksal-aka-2-5bz-live-dj-mormos-dj-coconuts

[faridabadschool]

Hermann Gmeiner School is one of the Best CBSE School in Faridabad, situated in beautiful lush green environs in Sector 29, Faridabad with an expanse of 8 acres of pollution free land. The school campus is unique and designed by German Architect. The school has an extraordinary structure with well-planned class rooms and play grounds. Since its foundation in 1986, the school has grown from strength creating a niche for itself as a premier educational institution. A play way method of interaction initiates children into the wonderful New World of Education. Their enthusiasm, creativity and expression are given free space and environment.

The HGS Faridabad school is committed to all round development of the child. It aims to create balanced and disciplined personalities to meet the challenges of life. The conductive environment provides stability, security and motivation for the child’s development. These all special features prove Hgsfaridabad one of the Best CBSE school in Faridabad.

It has classes from Nursery to XII (Medical, Non-medical, Commerce and Humanities) The School caters to the educational needs of 1014 students with 194 no. of students from economically weaker section of the nearby society.

The foundation stone of SOS children’s villages of India was laid by late Smt. Indira Gandhi, the then Prime Minister of India. HGS Faridabad is a co-educational English Medium school, run and managed by the SOS children’s villages of India through HGS committees and is affiliated to CBSE Delhi. It prepares students for the secondary and senior secondary examination conducted by CBSE Delhi. The campus is located near the district police lines and is about one kilometer from the Mathura Road National Highway. The school has been producing excellent results at the CBSE Board Examinations and grooming young citizens to contribute to the growth and development of our nation. Co-curricular activities are equally emphasized upon in the scheme of programmes.

Objectives

Hermann Gmeiner School was primarily established to cater to the needs of SOS Children’s Village of India. With its rapid growth and rising popularity and in view of the pressing need of the community, it threw open its gates to the community children. Today, only 20% of the total school strength consists of children from SOS Children’s Villages whereas 80% are from general category.

National integrity and fraternal feelings are fostered and strengthened in a free and secular environment. The seriousness and intent of purpose is nurtured and provided in generous doses for the realization of physical and intellectual potential and to enrich them further for optimum use.

The students are developed into self-confident individuals with an adventurous and scientific temperament. An unflinching faith in God and undying patriotic feelings for the nation are systematically ingrained in every student. The bottom line is to provide every ingredient to develop a complete, educated human being.

The Institution

SOS Hermann Gmeiner School is a Best CBSE School in Faridabad. The teacher to student ratio is 1:20. The school building is a master piece of architectural splendor with spacious, octagonal classrooms and modern amenities have been provided for conducive teaching learning process. The class rooms are designed and located in such a manner that each classroom is independent and free from disturbance from other classrooms.

Computer Lab:A Computer Centre stocked with scores of latest computers are the envy of many institutions. Computers are taught as a part of regular teaching in school. Laboratories: Well-equipped ultra-modern laboratories for Physics, Chemistry, Biology, Math, and Psychology and work experience have been provided for experimentation and advancement of knowledge .Digital Library: School has a rich digital library with all latest versions of books along with latest support materials for board classes like latest sample papers Q bank and assignments to practice. Robotics Lab :Well-equipped lab for providing students good exposure for advanced knowledge .Gym: Students are trained to be fit and healthy regularly. Hallmarks Of HGS As One Of The Hgsfaridabad Best CBSE School In Faridabad

Awarded with the most Socially Active School in the year 2018 by NSA

Awarded with Teaching Excellence Award by International School Awards, Dubai in 2018

International Footprints with an exposure of different cultures

Exposure to English Speaking through BBC Live Classes.

Meri Awaaz; an online platform for enhancing speaking skills

Bond between teachers and alumni is infinite

Fit India certified

FB Live for umpteenth activities; Sanskrit speaking classes, dance & music

Experiential learning through art-integrated activities

Samvad between Principal and students, teachers & parents

Nominal fee structure

Activities To Enhance Latent Talent Of Students:

Annual Inter Hgsfaridabad Art Competition

Annual Inter Hgsfaridabad Science Exhibition

Annual Inter Hgsfaridabad Literary Competition

Workshops For Enhancing Knowledge

Students have participated in live webinar conducted by I Can Care organization on the subject of 'Tobacco Free Society'.

Children have taken Participation in webinar conducted with Olympic and Arjuna Awardee Mr. Sanjeev Rajput, who inspired our students and guided them for their career.

School is conducting regular career guidance sessions for senior students to prepare them for future prospects on different subjects by different subject experts.

To develop interest for coding, an Online workshop session was conducted which was organised in collaboration with Eupheus Learning to guide the students which may lead to improvement in the learning process.

Teachers have attended several webinars on New Education Policy and Subject Enrichment Programs.

Social Impact Group Works For The Welfare Of Community: WOMEN ADULT LITERACY Students and teachers work in tandem to literate adult women of nearby society to make them capable of leading a better life. This also enhances students Confidence to work for humanity. Child welfare Social impact team works persistently to provide a better environment for children of weaker section. AWARENESS IN COMMUNITY NEAR BY This year up to July we conducted two on line session on social issues, one on FIGHT WITH COVID 19 and other on WOMEN EMPOWERMENT with adult literacy group, we also motivated students to make WINTER a CHARITY MONTH by making DOG BED OUT OF OLD SWEATERS .Child safeguarding Mechanism Complying with all Govt. Norms and students Safety and Security e.g. Implementation of School Disaster Management plan as per guideline of Disaster Management Department. Conducted sessions, Activities relating to Gender sensitivity and Anti Bullying.

There are many more peculiarities of HGS Faridabad which make it on the top list of the Best CBSE school in Faridabad.

[festfashions]

DIY: Take Your Keyhole Halter Top to the Next Level

Do you love your keyhole halter top, but need some cute ideas to make it your own? Maybe you want to refresh one that you've worn a million times and turn it into a new look? This post is all about simple and inexpensive ways to take your keyhole halter top to the next level!

The keyhole halter is a staple of rave girl fashion. It comes in a multitude of colors and looks flattering on all body types. It's a great basic piece to use to start any look you're going for, and is the inspiration for this post. The keyhole halter tops can be purchased here, and are $20 from iHeartRaves. They come in every color you can imagine and are one size fits most.  

I had seen some other shops selling keyhole halters with feathers or coin belts for upwards of $50, but thought, "hey I could do that..." so I wanted to put it to the test. It's definitely more fun creating your own top, and is much nicer to your wallet as well.

Purchasing Materials

To do some different looks, I went to Jo-Ann Fabrics and Michaels for items. Both stores were key as they offered me different things to choose from. The most important thing to remember though, is BOTH stores have weekly coupons available online! Both are almost always 40% off one regularly priced item, and are easily found by Google searching the shops name + coupon. You don't even have to sign up for anything to access these, just bring up the webpage for the clerk to scan.

At Jo-Anns, I bought trim (note they didn't call it ribbon) to use on the edges of my tops. The amount I asked for was 1/2 a yard when I wanted to do the top and the bottom of the halter, and a full yard for when I wanted to do the side lines. The measurement for the top is 4″ and the bottom is 9″. It's important to not take the trim along the length of the straps because you'll lose the stretch of it and it will be much more complicated to tie. It also won't look as neat when you've finished.

Line up to just the edges of the actual top, try not to go further into the strap. My Jo-Anns had a huge aisle of trim options. Prices ranged depending on the details on the trim, but because you're buying such a small amount you still won't be spending too much. I bought four different options of trim to play with, and my total was $12 before my coupon. That's four tops worth of trim for $12!

Same with the top piece, only use trim on the part that is actually the top. At Michaels, I shopped more for the jewels and beads for my tops. I was able to find a bunch of items on clearance that were super cute, plus I had my 40% off coupon for one of the items that wasn't on sale. I spent a total of $20 at Michaels, but have enough pieces to make four more tops.

So, between my two trips, I spent $30 on items to decorate with, which, if you end up doing this with your friends, turns out to be an even better deal. That way you share the cost if you want to buy a few items to mess around with. Or, if you're just doing your one top, you'll spend even less if you go shopping with a game plan.

Tips for Sewing

If you've never sewn something before, and don't have a grandma handy to help you out, don't fret! It's actually super easy to decorate your top. Here's some basic tips to follow, and you'll be off to a great start!

Tip 1: Make sure to use thread that is the same color as your top. This will make it look much more seamless, and hide any crazy stitching lines you might make (which I always do). Even when I did the purple boa, I still used the black thread as it was hidden by the feathers. 

Tip 2: Sew from the back of the top. This means, after you tie your knot to your string, start from the back of the top so the knot will be hidden. In the same vain, something like the coin belt that has a trim you want hidden, sew that to the back of the top instead of the front.

Tip 3: Go over it again and again and again. You can make this easier by making the thread in your needle as thick as possible in the first place (instead of one thread). Then, go over the part you're sewing a few times, make close stitches, and loop through hoops a lot to make sure they're nice and stable. 

Tip 4: If you're going to sew any jewels, or single beaded pieces, take the time to sew one, knot it then cut the thread and start again. Sewing each one individually will keep them secure, and make the top much cleaner if there's a lot of space in between each jewel. If the pieces are right next to each other, feel free to continue with the same thread.

Tip 5: If you're going to use gems, make sure to buy the ones with holes in them so you can sew them on. I have yet to find a fabric glue that will keep gems on an item of clothing through heat, sweat and dancing. 

Some of My Designs

Adding trim to a top is probably one of the easiest ways to make your top unique. There's a plethora of options at Jo-Anns for this. Coin belts, pompoms, fringe, feathers, all colors, all combinations, all styles. Take a look, you'll be surprise at the amount of options. You can even layer these trims! I ended up layering the feather boa on top of the coin belt trim to add more color as you'll see in one of my designs below.

As far as adding the trim goes, there's a few ways you can do it. You can do the top and the bottom, the side hems, or, all the way around.

For the purple feather boa on the white top, I did just the top and the bottom. The feathers are fun cuz they feel so soft and fuzzy, and the come in super bright colors too. The feather boa was a little complicated to sew (be careful the feathers want to pull through the needle hole) but was totally worth it for the finished product. Just keep the boa a little far away from the thread when you're pulling it through the top. Only let it be pulled tight once the loop is almost to the top.

For the tiny daisies, I decided to use them on the side panels of the top. I think it would be cute to go back to the store and buy a matching pale peach boa to add to the top and the bottom of it for a little more fun.

Something like these daisy doesn't require lots of thick sewing either because they're so tiny. It did require purchasing double the amount of trim though (a yard), so keep that in mind.

The gypsy coin belt style is awesome, cause we all love body chains and dangly things on our outfits! The coin belt was super simple to attach. When you're working with a trim like this one, the bottom layer should go behind the top so only the coins dangled down. The top part though, I had to sew on the frontside of the top, so I just tried to make it a bit more neat looking than the back of the top was sewn.

From those deigns I started to then experiment with the keyhole in the top part of the halter. This seemed like the perfect spot to add something dangling down. I found a lot of (cheap cause they were on clearance) jewelry pieces as fun options to add to the center of the keyhole.  

To make sure they don't fall off or loop around in a weird way, make sure to loop your thread through multiple times. You want this to be fastened tightly in place.

I also thought it would be fun to use a bunch of these to create your own pattern on a top...and that's when I started to get really crazy. I found these quartz-like stone beads and thought "why not". I used white string to match the top, and sewed them to the bottom. I mixed in some other jewelry accessories to make the top have a bit more color and flair. This probably turned out to be my favorite design.

You could again of course layer up, do a trim all the way around then add some more special beading. You can mix and match the pieces in so many ways!

Here's some other great ideas I didn't try, but you totally should!

Tie Dye (for a white top)

Bedazzle it! There's packs of jewels at Michel's for $4 (don't forget to use a 40% of coupon from their website). Make sure to buy the ones that have the little holes so you can sew them on. Fabric glue has a hard time holding on stretching material. It will take some time to do, but it will be much more worth it than the glue! Be sure to use a color of thread that matches the top you're sewing onto as well.

Kandi messages! The same way I sewed the green quartz-like beads, create some cute messages with kandi beads and sew them to the top of the halter or the bottom!

It's really amazing all the different styles you can make your top match with a little experimentation. Perhaps you want it more boho for Lightning in a Bottle, or more neon for EDC. Maybe you want to make it totally western for Coachella or jewel the heck out of it for Ultra. Whatever your style, let it shine through by making the top your own! You're bound to get tons of compliments! Then, at the end of the day, undo the threading and make the top new again if you want.

So gather your girlfriends, each buy a top and have a decorating party for your next rave! This is such a fun way to get everyone together and the squad bonding over a big event before it happens! If you style your own top, be sure to tag #iHRStyled on Instagram for a chance to be featured!

I styled my good friend and fitness guru Sydney Benner in the tops I designed to help get you inspired! Sydney is the creator of FLIGHT, an EDM inspired workout fusing high impact yoga, cardio dance, and functional fitness. It's literally the the class you've been waiting for to get that festival bod kickstarted! Hopefully our little photoshoot can inspire you to create your own fun looks! I'd love to see them!

[transformersaesthetics]

Beast Machines

Gooooooooood Morning ladies and gents! Today we’re discussing Beast Machines! Think Beast Wars, but edgy, and with cars. I really dig a lot of the weird aesthetics of this line, and I hope you enjoy reading about it!

           Beast Machines was the sequel franchise to the highly successful Beast Wars line. Taking place on Cybertron, the central conflict is between the surviving Maximals from Beast Wars, who have been reformatted into new, ‘techno-organic’ bodies, and Megatron, who raised an army of mechanical drones. Beast Machines carried forward many concepts from Beast Wars, such as the near omnipresence of ball joints, experimentation with mixing organic and mechanical aesthetics, and highly structured size classes. However, Beast Machines also marked a significant departure from Beast Wars in several respects, most prominently in that it reintroduced transformers with vehicle modes for the first time since the end of Generation 2. Ultimately, Beast Machines was not as successful as Beast Wars, and met with an early cancelation as Hastak decided to radically revamp the brand once more. 

    Beast Machines features much of the same core cast as Beast Wars, but, since the object of the franchise is to sell toys, they have once again changed bodies. (M Spiher) Instead of their previous Beast Wars forms, the cast is now in ‘technorganic’ bodies.  Where Transmetal toys featured robotic beast modes and organically detailed robots, and Transmetal 2s featured jagged metal, torn flesh and asymmetry, Beast Machines introduced the harmonious hybridization of mechanical and organic detailing. (Almechazel)

    Toys now feature large portions of smooth plastic, which evokes panels of metal that have been shaped fluidly and organically. It is largely difficult to pick a specific section of a toy that is meant to be purely mechanical or purely organic. Instead, the organic portions of the toy and the mechanical portions blur together.  Technorganic figures also tend to feature extensive clear plastic and chromed parts. (M Sipher, Beast)  The chromed plastic in particular represents a continuation of trends established in Beast Wars, with the Transmetal figures. 

             The head sculpts in particular are quite evocative of the overall aesthetic. For example, Blackarachnia has a sort of headpiece that is clearly several pieces of layered metal, and yet, when lifted, they reveal more eyes. (S.H.I.E.L.D Agent 47, Blackarachnia)  Rattrap has organic eyes, teeth, and whiskers, but has an exposed, brain like area with mechanical detailing.(S.H.I.E.L.D Agent 47,Rattrap)  Between their bright and expressive color palette and their smooth shapes, many Beast Machines figures feel almost Gaudi-esque in aesthetic.

    One of the most notable innovations of Beast Machines was the reintroduction of purely mechanical figures after a protracted absence. (M Sipher, Beast) The antagonist faction, the Vehicons, was comprised entirely of these figures, and, as the name hints, all of the Vehicons have vehicle alt-modes rather than beast modes.(M Sipher, Beast) The Vehicons are also remarkable for being one of a bare handful of factions that exist outside of the Autobots and Decepticons, or their natural extensions the Maximals and Predacons. 

         The vehicle modes of these figures are not accurate earth vehicle modes, as in the early days of Generation 1, nor are they the blocky, pastel colored fictional vehicles that characterized the later portions of G1 and G2.(Flicky1991) Instead, these vehicles are sleek, futuristic, and alien. Jetstorm, Thrust, Tankor, Obsidian and Strika conspire to create a distinctly Cybertronian aesthetic. 

          The robot modes of some figures also represented a departure from tradition.(M Sipher, Beast) Although Trust, Jetstorm, Obsidian and Rattrap all featured a mode with conventional legs, often this was intended to be a secondary mode. As a primary mode, these figures feature a mode with no legs, often based on their portrayal in the show. Jetstorm and Obsidian fuse their legs, since in the show they float everywhere, Thrust features a three wheeled mode, evocative of his unicycle like mode of conveyance in the show, and Rattrap features two wheels somewhat evocative of a wheelchair. (M Sipher, Thrust; S.H.I.E.L.D Agent 47,Rattrap)

            As has already been discussed, Beast Machines continued many themes and design practices first established in Beast Wars. Almost every figure in Beast Machines utilized ball joints to a greater or lesser extent, a hallmark of Beast Wars. (Monzo; M Sipher, Beast) Beast Machines continued to employ the highly structured price point system created by its predecessor. (Monzo; M Sipher, Beast) Instead of the tampographed faction symbols to which we are today accustomed, Beast Machines continued to employ the spark crystals first introduced by Transmetal 2 figures. (Reptillia 28; M Sipher, Beast)  

    Beast Machines also featured two sublines. (M Sipher, Beast) These were Battle for the Spark and Dinobots. Battle for the Spark appeared at the tail end of the line, and was the first full subline in the history of the brand. When the spark crystal of a figure was pushed, some kind of gimmick activated.(M Sipher, Beast) For example, the Mega Optimus Primal figure featured a punching fist. (Abates)

        Dinobots, on the other hand, featured redecos of dinobot toys from Beast Wars and the Japanese exclusive line, Beast Wars Neo. (ZacWilliam) These toys had a spark crystal unique to them, and it was confined to deluxe class figures and above. (ZacWilliam) This line marked an important innovation in terms of toylines as a whole; never before had HasTak released wholesale a slew of redecos and retools of molds from previous lines as part of a currently running line. This behavior would go on to be hugely influential in subsequent lines, especially both Universe lines and 2001 RID. 

        The Beast Machines line is also somewhat notorious for its oftentimes flagrant disregard of scale and show accuracy. Nightscream, one of the smaller characters in the show, received an Ultra class toy, whereas, for most of the line, Optimus Primal, one of the largest characters, at first received only a deluxe.(M Sipher, Beast) Similarly, the Tank Drone and Motorcycle Drone toys both were basic size class, making particularly the Tank Drone dramatically undersized compared to his compatriots in the line.(Sunstorm) 

      In terms of screen accuracy, Optimus Primal’s initial deluxe toy was largely bright blue and black, with radically different sculpting from the show model.(Abets) Thrust and Jetstorm also look very different from their cartoon selves, although elements of the design echo the show models.(M Sipher, Thrust; Tantrum) While the sculpting of Strika and Blackarachnia is largely show accurate, the decos of the toys bear little to no resemblance to their cartoon appearances. Instead of maroon, Blackarachnia is a deep purple, and Strika features almost none of the purple coloration of her show model.(ItsWalky; S.H.I.E.L.D Agent 47, Blackarachnia) 

    Beast Machines was not as successful commercially as Beast Wars, likely as a combination of several factors. First, Beast Wars style product had already been on store shelves for some 5 years.(M Sipher, Beast) Indeed, Hasbro made the decision to continue to release Beast Wars branded product well into the run of Beast Machines.(Monzo) Second, the quirks with show accuracy and toy design also likely contributed to the line’s flagging sales. Whatever the reason, Hasbro ultimately decided to cancel the line prematurely, scrapping plans for a handful of toys that had been announced to retailers. Three figures were far enough along in the development process to be released under the banner of the subsequent line, 2001 RID. These figures were Megabolt Megatron, Air Attack Optimus Primal, and Bruticus, a toy styled like the mythical creature Cerberus.(M Sipher, Beast; Bruticus)  Plans for a successor series, Transtech, were scrapped. Instead, Hasbro imported the currently running Takara show Car Robots to buy time to develop new product, The Transformer: Armada line. (M Sipher,Beast) 

    Beast Machines did not have nearly as much impact on the brand as Beast Wars. However, Beast Machines did begin to make standard the usage of price points, solidify the consistent usage of ball joints, and mark the return of vehicle alt-modes to the brand. Moreover, it helped to introduce some practices that would become standard throughout the rest of transformers history, namely subline imprints and filling out a line with redecos of toys from other lines. Rather than the renaissance of Best Wars, Beast Machines represents a mild advancement of the ideas expounded by its predecessors. 

Works Cited

Abates et al, “Optimus Primal (BW)/Toys”,TFwiki, https://tfwiki.net/wiki/Optimus_Primal_(BW)/toys#BlastPunch, Accessed 5/4/2020

Almechazel et al, “Technorganic”, TFwiki, https://tfwiki.net/wiki/Technorganic Accessed 5/4/2020

Flicky1991 et al. “The Transformers (toyline)”, TWwiki, https://tfwiki.net/wiki/The_Transformers_(toyline), Then and Now  Accessed 4/25/2020

ItsWalky et al, “Strika (BM)”,TFwiki,  https://tfwiki.net/wiki/Strika_(BM)#Toys Accessed 5/4/2020

Monzo et al.“Beast Wars:Transformers(toyline)”, TFwiki, https://tfwiki.net/wiki/Beast_Wars:_Transformers_(toyline) Accessed 4/25/2020

M Sipher et al, “Beast Machines: Transformers(Toyline), TFwiki, https://tfwiki.net/wiki/Beast_Machines:_Transformers_(toyline) Accessed 5/4/2020

M Sipher et al, “Bruticus (RID)”, TFwiki, https://tfwiki.net/wiki/Bruticus_(RID) Accessed 5/4/2020

M Sipher et al, “Thrust (BM)”, TFwiki, https://tfwiki.net/wiki/Thrust_(BM)#Toys, Accessed 5/4/2020

Reptillia 28 et al. “Spark Crystal” , TFwiki, https://tfwiki.net/wiki/Spark_crystal Accessed 5/1/2020

Monzo et al.“Beast Wars:Transformers(toyline)”, TFwiki, https://tfwiki.net/wiki/Beast_Wars:_Transformers_(toyline)  Accessed 4/25/2020

S.H.I.E.L.D Agent 47 et al, “Blackarachnia (BW)/toys”, TFwiki, https://tfwiki.net/wiki/Blackarachnia_(BW)/toys#Beast_Machines Accessed 5/4/2020

S.H.I.E.L.D Agent 47 et al, “Rattrap (BW)/toys”, TFwiki, https://tfwiki.net/wiki/Rattrap_(BW)/toys#Beast_Machines Accessed 5/4/2020  

Sunstorm et al, “Tank Drone”, TFwiki, https://tfwiki.net/wiki/Tank_Drone#Basic, Accessed 5/4/2020

Tantrum et al, “Jetstorm (BM)”,TFwiki, https://tfwiki.net/wiki/Jetstorm_(BM)#Toys, Accessed 5/4/2020

ZacWilliam et al, “Dinobot (BM)”, TFwiki,https://tfwiki.net/wiki/Dinobot_(BM) Accessed 5/4/2020