Brainticket – Cottonwood Hill

Black Sand by Brainticket
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Brainticket – Cottonwoodhill

Released 1971

Label:  Bellaphon / Hallelujah

Producer:  Hellmuth Kolbe

1. “Black Sand” (Ron Bryer, Joel Vandroogenbroeck) – 4:05
2. “Places of Light” (Bryer, Dawn Muir, Vandroogenroeck) – 4:05
3. “Brainticket, Pt. 1” (Bryer, Hellmuth Kolbe, Muir, Vandroogenbroeck) – 8:21
4. “Brainticket, Pt. 1: Conclusion” (Bryer, Kolbe, Muir, Vandroogenbroeck) – 4:36
5. “Brainticket, Pt. 2” (Bryer, Kolbe, Muir, Vandroogenbroeck) – 13:13

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One Morning from Psychonaut:

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Egyptian Kings from Celestial Ocean:

 

 

AC/DC Bootlegs

AC/DC Bootlegs

Inverted Commas: Satu Kaikkonen on asemic writing

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As a creator of asemics, I consider myself an explorer and a global storyteller. Asemic art, after all, represents a kind of language that’s universal and lodged deep within our unconscious minds. Regardless of language identity, each human’s initial attempts to create written language look very similar and, often, quite asemic. In this way, asemic art can serve as a sort of common language — albeit an abstract, post-literate one — that we can use to understand one another regardless of background or nationality. For all its limping-functionality, semantic language all too often divides and asymmetrically empowers while asemic texts can’t help but put people of all literacy-levels and identities on equal footing.

Since asemic writing emphasizes the visual, representational quality of language, it creates a unique dialogue between the writer/reader and the world of signs, one that allows for multiple, subjective acts of decoding. This paradoxical, cosmopolitan-yet-personal quality, I think, lends asemic writing a hyper-contemporary sense of being and makes it much more than art. I read it, in fact, as an archetypal language, as a (recon)figuration of the words spoken by the Babel-builders. Asemic texts, as it were, serve as a projection of humanity’s desire to reconnect with the mythological root of all languages and, by extension, one another. (…)

Satu Kaikkonen

via SCRIPT

 

Rupert Shrive

via artdaily.org

Congregation (after Bernini), 2010, 7 elements, acrylic & varnish on brown paper, polyurethane. Dimensions variable.

LONDON.- Rupert Shrive will give new meaning to the word ‘portrait’ at his show at Morton Metropolis, London’s most talked about gallery in the West End. In an insightful interview with Michael Peppiatt, biographer of Francis Bacon and author of a forthcoming book on Alberto Giacometti, the art historian describes the works as “Very tender, sensitive things, as if you’re peeling back the skin of appearance to show the strangeness of a human face and the head beneath.” But it is not portraiture as we know it.

There are two parts to this exhibition. In the first, the artist expresses his interest in extending the life of a two dimensional painting. A classically trained artist, Shrive takes his great passion for portraiture to “another place, another level – to find another lease for it” which he does by crushing up a finished portrait, literally. Sometimes things go wrong, but very often he creates in a series of movements a new image which “just seems to assert itself.” In this process, Shrive takes care to preserve the features: he wants to be able to see the eyes, and he wants to make an image that the spectator has to walk around.

Shrive’s works are very contemporary in feel, and yet El Greco is the artist whose work is most in his mind when he creates the crushed paintings: he wants to reproduce the knack El Greco has to “catch your eye as you walk past, they’re flickering flames of composition that take your eye up, heavenwards”.

The second part of the exhibition was kick-started at the last Venice Biennale where Shrive was inspired by the work of Robert Rauschenberg, who had composed structures on the wall from things he had picked up in a junk yard. Shrive’s artistic response to this was to re-configure portraits that he had not turned into one of the crushed paintings and which lay around his studio. Instead of throwing them out, he started playing around and reassembling them until he found a harmony between the parts, “where they lock together”.

http://mortonmetropolis.com/

Olafur Eliasson’s Multiple Shadow House

via artdaily.org

Olafur Eliasson, “Multiple Shadow House”, 2010. Wood, metal, fabric, spotlights, color filter glass, halogen bulb, projection foil and transparent projection foil, 396 x 141 ½ x 532 inches. Installation view Tanya Bonakdar Gallery, New York, Feb 11 – March 20, 2010. Photo: Jean Vong. Courtesy: The Artist and Tanya Bonakdar Gallery, New York.

NEW YORK, NY.- Tanya Bonakdar Gallery presents an exhibition of new works by the Danish-Icelandic artist Olafur Eliasson (B. 1967). Eliasson’s sixth solo show at the gallery continues his exploration of and experimentation with modes of perception and the experience of space and time. Focusing on movement, color, and light – and the interplay between the three phenomena – the exhibition involves the viewer in a collaborative creative process. Throughout his career, Eliasson has challenged the notion of the artwork as a static object, instead suggesting that the meaning and generative potential of each work lies in the exchange between the piece and the viewer. It is the visitor’s experience, his or her subjective perception and mediation of the work that activates it; in turn Eliasson’s installations, public projects, photographs and paintings prompt a new awareness in the visitor of his or her own methods of interpreting the world. 



Within the main gallery space, an abstract structure outlines a living space, intimate and domestic in scale. The walls of Multiple shadow house (2010) are comprised of a simple wooden framework supporting large expanses of projection screens. Groups of projection lamps cast steady light upon the screens, yet their effects remain unarticulated until visitors interact with the structure. Upon entering, the visitors block the individual sources of light and cast variously colored shadows that change according to their movements. The work is a situation experienced as it is created. The user negotiates and constructs his or her own surroundings, and the architecture is animated by the visitor. 



http://www.tanyabonakdargallery.com/

Best Science Pictures Announced

More photos and details at National Geographic

 

 

 

 

 

 

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Jan Maarten Voskuil

via todayandtomorrow.net

“There Is No Point In…” by Jan Maarten Voskuil:

http://members.chello.nl/j.voskuil2/

Charles Bukowski Stamp Running Out of Time

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Arguably L.A.’s most famous writer, Bukowski worked for the postal service until he was 49, and hated every second of it. Using some of the more delicate wording this Fishie has seen in quite some time, petitioners to the Citizens Stamp Advisory Committee call Bukowski’s first novel “Post Office,” “a wry portrait of the inner workings of the service” — which is a bit like saying “All the President’s Men” is a dry, clinical analysis of the inner workings of Nixon’s White House.

Organizers were hoping for 10,000 signatures. So sign up now.

via Matthew Fleischer | FishbowlLA

Bukowski Stamp

Active

Dear members of the Citizens Stamp Advisory Committee,

I am writing to propose that the American novelist, poet and screenwriter Charles Bukowski be honored with a commemorative U.S. postal stamp to be issued on March 9, 2014, the twentieth anniversary of his death.

Charles Bukowski is uniquely suited for this honor. For in addition to being an acclaimed author with a growing international following, he is also perhaps the most famous American postal worker after Benjamin Franklin, and his landmark first novel “Post Office” is a wry portrait of the inner workings of the service where he was employed through age 49.

Bukowski’s popularity among readers is unquestioned, but he has recently received a pair of honors which speak to his abiding reputation in American letters. In February 2008, the small cottage where Bukowski lived for many years was named a Cultural-Historic Monument of the City of Los Angeles, and in 2006 his literary archives were acquired by the Huntington Library.

A Charles Bukowski postage stamp would be a worthy tribute to a gifted soul who transformed himself from a middle aged civil servant into an international literary lion, and who never lost his sensitivity towards the ordinary lives of the people of his hometown of Los Angeles. I hope that you will seriously consider this proposal at your next meeting.

Yours sincerely,

The Undersigned

[This petition with all signatures will be sent to the Citizens’ Stamp Advisory Committee on March 1, 2010. Individual letters of support may be mailed to Citizens’ Stamp Advisory Committee, c/o Stamp Development, U.S. Postal Service, 1735 North Lynn St., Suite 5013, Arlington, VA 22209-6432]

 

According to Born into This, a documentary on Bukowski’s life, Black Sparrow Press founder and owner, John Martin, offered Bukowski 100 dollars per month for life on condition that Bukowski would quit working for the post office and write full time. He agreed and Post Office was written within a month. Post Office was Bukowski’s first foray into writing a novel. All of his earlier work had been poetry. Martin was actually a little worried that Bukowski would not be able to make the transition to prose. However, the fear turned out to be quite unfounded as Bukowski had no trouble writing stories about his life.

Post Office (novel) – Wikipedia entry

Post Office – A novel by Charles Bukowski

via Pat Moriarity (whose cartoons are in the trailer)

Solid Gold:  [We appreciate all your support, but note that only verified signatures that contain real names will be accepted. Please, people, we cannot send the Committee a list of sexy chat room handles and expect to be taken seriously.]

 

Bukowski, Charles – Post Office