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In his new book, Alain de Botton argues that human characteristics can be found everywhere in the inanimate world of objects
If we can judge the personality of objects from apparently minuscule features (a change of a few degrees in the angle of the rim can shift a wine glass from modesty to arrogance), it is because we first acquire this skill in relation to humans, whose characters we can impute from microscopic aspects of their skin tissue and muscle. An eye will move from implying apology to suggesting self-righteousness by way of a movement that is in a mechanical sense implausibly small. The width of a coin separates a brow that we take to be concerned from one that appears concentrated, or a mouth that implies sulkiness from one that suggests grief.
Codifying such infinitesimal variations was the life's work of the Swiss pseudoscientist Johann Kaspar Lavater, whose four-volume Essays on Physiognomy (1783) analysed almost every conceivable connotation of facial features and supplied line drawings of an exhaustive array of chins, eye sockets, foreheads, mouths and noses, with interpretative adjectives appended to each illustration.
Programs and Manifestoes on 20th-Century Architecture
hotel blue wave
nice accompanying film w/ "help! my condo is a big chuck of packing material and the hallways and apartments arnt marked" dream sequence.
alsa pinstriping products
via zars
The unpronounceable masterpiece of the Industrial Revolution: Telford's Pontcysyllte Aqueduct
We expect that probably a million, and perhaps as many as a million and a half, additional residents will come to New York City in the next 25 years.
By then, the whole tri-state region, the already-crowded 31 counties in and around New York City, is expected to grow to 26 million people.
But amid all these larger questions, as the board of the complex mulls designs for a new wall, residents there — and some outsiders — have been asking another question: What happened to the stones?
"We would like the stones back that the city took from us," said Gerald Fingerhut, the treasurer of the 550-unit co-op. "But I'm saying it semi-facetiously, because the chance of our getting them is zero."
Mr. Fingerhut was referring to the pieces of rough-cut Manhattan schist that make up the surface of Castle Village's wall. They are stones from Manhattan's bedrock, of a type known as subway mica because it is often found during subway excavations.
If the stones were still available, some residents speculate, Castle Village might be able to embed them in the surface of any repaired areas, helping it blend in with the intact portions of the wall. Because there are almost no new sources of Manhattan schist, the stones might also have resale value, which could have helped Castle Village climb out of its financial hole.
"To stockpile them would definitely have been the intelligent thing to do," said Kate Ottavino, a partner and conservator at the A. Ottavino Corporation, an Ozone Park stoneworks.
Instead, the stones seem mostly to have been dumped or pulverized along with the 41,000 cubic yards of rubble removed by contractors.
"They were all disposed of," said Anthony Santoro, a vice president at Trocom, one of the cleanup's two principal contractors. "A lot of it was loaded up on sanitation barges that went to landfills." He said that separating the stones from the soil, trees, and other debris that crashed down along with the wall would have been both expensive and time-consuming.
City officials said that some stones are probably still buried under the remaining pile of rubble. And the Parks Department took 1,000 cubic yards of material (about 2 percent of the total haul) to Randalls Island, where Castle Village's stones now dot the shoreline.
In recent meetings with city agencies, "We've said: 'Oh, by the way, you've carted away all our stuff. When are you going to bring it back?' " recalled Donna Rounds, the co-op president. But amid negotiations with the city over carting fees, and under the threat of fines if a new wall isn't built by year's end, Castle Village is reluctant to offend the city over missing rocks.
the eyes of saint joseph, jersey city
Once we hit Louisiana, baby, I don't care
Got a brand new airplane waiting for us there
Give this piece of shit back to Aerosmith.
Wake me up when we get there.
Patterson Hood, Greenville To Baton Rouge-Southern Rock Opera
The right engine was running way too rich and the charter company would no doubt save money and time and rock star grief by flying on to Baton Rouge and then home nursing the engine, exhaust flaming, so long as the pilots kept track of how much more fuel that engine was burning. But they didn't, and so came the failed attempt of an emergency landing at McComb, and the mythical Betamax Guillotine to one of the very greatest rock front men ever, leader of a group that gave The Who a run for their money for craziness and debauchery at the heighth of their fame.
NEW ORLEANS — In the rush to rebuild, this hurricane-smashed city is dumping its debris into the swamps by the truckload -- and throwing away an opportunity to turn America's costliest natural disaster into the nation's greatest recycling effort, environmentalists say.
Every day, trucks rumble down the streets on their way to the Old Gentilly Landfill, a municipal dump in the swampiest part of the city, to unload the debris that homeowners and contractors have piled up on the curbs throughout New Orleans.
With large-scale home demolitions now beginning, there are no comprehensive, citywide plans to salvage and recycle building materials -- things such as cypress and cedar boards, bricks, cinderblocks and roof tiles.
In 1964, Doug Sahm's Markays found themselves sharing the stage with Augie Meyers' Goldens, both opening for British headliners the Dave Clark Five. For several years, Sahm had been pestering producer Huey P. Meaux, nicknamed the "Crazy Cajun," to record him. Meaux, feeling successful with acts like Barbara Lynn and Dale And Grace, was not interested. However, the producer soon found himself without a market when Beatlemania hit America. The story goes that Meaux, not to be outdone by a bunch of British upstarts, headed for San Antonio where he shut himself away in a hotel room with a bountiful supply of Thunderbird wine and every Beatles' record he could find, determined to discover what made them sell. His conclusion: "The beat was on the beat, just like a Cajun two-step." He then called Sahm, told him to grow his hair long, form a group, and write a song with a Cajun two-step beat. Doug assembled a band composed of members of his own Markays and Augie's Goldens. Meaux gave them an English sounding name, the Sir Douglas Quintet and, in 1965, scored an international hit with "She's About A Mover," an infectious blend of Texas pop and the Beatles' "She's A Woman." The song was recorded on January, 14, 1965, and proved to be their all-time biggest hit.
World renowned as the city of the Terra Cotta Warriors, Xi’an is one of the Four Great Ancient capital of China having hosted 13 dynasties in China’s history. Formerly named Chang’an, the current Shaanxi Province capital was the origin of the ancient Silk Road.(PDF link)
The Silk Road came into being in Han dynasty, prospered during Tang dynasty. Crossing through Middle-East and anchoring Europe to Asia, it played an important role in redefining political relations, economic trades, as well as cultural exchanges between the East and the West.
The New Silk road Cultural Park is located in New Qu jiang District, near the Big Wild Goose Pagoda in the South East of part of Xi’an. Established around the Nanhu (South Lake) , it covers over 100 hectares and its construction will start in mid 2006. Echoing the Silk Road historical impact on cultural exchange between Asia and Europe, the New Silk Road cultural park will host innovative cultural venues that will celebrate each culture of the Silk road and explore the impact of the intensifying global communication and traveling upon the merging of cultures.
The New Silkroad cultural park will be the central public space of the New Qu Jiang district, providing a high quality of urban living to its residents. As a unique cultural and research ensemble, it will consolidate Xi’an as the historical cultural capital of China and invite visitors of the world to explore the redefining of the cultures of Asia, Middle East and Europe in our communication era.
sharpeworld via record brother
(word of the day: eephing)
self released cd (with almost no distribution and not alot of information) featuring [walter] de marias tribal drumming mixed with field recordings (as the title implies). the two pieces, 'cricket music' and 'ocean music', were originally recorded in 1964 and 1968.
Samuel Beckett, whose centenary is celebrated April 13, pictured his project before he understood it: that exhausted journey toward an impossible goal replicated in miniature by so many of his characters. It happens in Murphy (1938), his first published novel, which can be found, along with the rest of his official oeuvre, in the four-volume Grove Centenary Edition. Murphy, a youngish layabout with a yen for oblivion, finally finds a job that suits him, as much as anything could be said to suit him. (That immediate downward qualification is the Beckett tic afflicting everyone who ingests his work at an impressionable age.) He signs on as a nurse in a mental institution.
The story of Paik's life follows a global trajectory. Born into a prominent family in Seoul, Korea, in 1932, he studied musical composition and art at the University of Tokyo. At age twenty-four, after completing a thesis on Arnold Schönberg and graduating with a degree in aesthetics, Paik traveled to Germany to pursue his interest in twentieth-century music—first attending the International Summer Courses for New Music in Darmstadt, where he met composer Karlheinz Stockhausen, and then returning two years later to settle in Cologne, where he worked at the Westdeutsche Rundfunk's Studio for Electronic Music. (Stockhausen was based in the city, and it was there that Paik would meet John Cage.) Paik's studies led him to focus on musical composition as sequences of events unfolding over time: His notations mapped actions in addition to tones. One consequence of this technique was that Paik's individual pieces could not be duplicated—leading Stockhausen and György Ligeti to suggest that films be made of Paik's concerts as a means to establish scores. That never happened, but their suggestion is an indication of Paik's improvisational approach and commitment to the idea of musical composition as performance.
ALLAN KAPROW, 1927-2006
Allan Kaprow, 78, painter and assemblage artist who invented the Happening, died peacefully at his home in Encinitas, Ca., on Apr. 5. A student of Hans Hofmann, Kaprow co-founded the co-op Hansa Gallery on East 10th Street in Manhattan in 1952, where he showed his early "action-collage" paintings including all kinds of raw materials as well as flashing lights. By 1957-58 he had begun making total environments that "pointed the way to a new form of art in which action would predominate over painting." The first Happening, titled 18 Happenings in 6 Parts, took place in October 1959 at the Reuben Gallery on Fourth Avenue. He filled the courtyard of the Martha Jackson Gallery with used tires for Yard in 1961, and for the 1963 exhibition "Hans Hofmann and His Students" at the Museum of Modern Art, he installed two furnished rooms that could be rearranged by visitors. He had major survey exhibitions at the Pasadena Art Museum (1967), the Bremen Kunst Museum (1976), Fondazione Mudima in Milan (1991), Galerie Donguy in Paris (1992) and the John Gibson Gallery in New York (1995). He was professor emeritus at the University of California San Diego.
its this music listener's opinion that sonic youth always got more than they gave. again.
Source: Library of Congress
dtour boxwine
vinalhaven planning map