Conceptual Ideas – Akademija Art http://akademija-art.net/ Fri, 08 Oct 2021 14:55:02 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://akademija-art.net/wp-content/uploads/2021/06/icon-150x150.png Conceptual Ideas – Akademija Art http://akademija-art.net/ 32 32 Why the new Cahokia indigenous art space is dedicated to the “creative place” https://akademija-art.net/why-the-new-cahokia-indigenous-art-space-is-dedicated-to-the-creative-place/ https://akademija-art.net/why-the-new-cahokia-indigenous-art-space-is-dedicated-to-the-creative-place/#respond Fri, 08 Oct 2021 14:00:00 +0000 https://akademija-art.net/why-the-new-cahokia-indigenous-art-space-is-dedicated-to-the-creative-place/ Indigenous peoples have been displaced from their original lands countless times in American history. But a new initiative in Phoenix seeks to give Indigenous artists, designers and social entrepreneurs their own space to create and collaborate. Cahokia SocialTech + Artspace, located in downtown Phoenix at 707 North Third Street, # 130, will officially open from […]]]>

Indigenous peoples have been displaced from their original lands countless times in American history. But a new initiative in Phoenix seeks to give Indigenous artists, designers and social entrepreneurs their own space to create and collaborate.

Cahokia SocialTech + Artspace, located in downtown Phoenix at 707 North Third Street, # 130, will officially open from 7 p.m. to 10 p.m. on Monday, October 11. It is named after the 8th century native colony near the confluence of the Missouri, Illinois, and Mississippi rivers that was one of the most advanced civilizations in early North America.

Founders Melody Lewis (Mojave, Tewa, Hopi) and Eunique Yazzie (Navajo) call Cahokia a space for “creative placekeeping,” a term many people may not be familiar with.

Yazzie explains, “We realized that we have no place and yet we belong. Gentrification is a form of place creation. So I do the opposite. A large number of artists have been relocated over the past 12 years to the Phoenix area due to gentrification. I want to make sure they have a place. But as I make room, I also keep my place, since I am an Aboriginal person.

There is a social fabric, a community, an energy before people or businesses set up, she continues. “When you delete them, you delete the memory,” she says. “Indigenous people have been repeatedly removed from their places of origin. Keeping the place for me is an internal process, like holding my positions, but also looking to the future and seeing how can we be a part of the growth. ”

Both women have experience supporting the Aboriginal community; Lewis, through the Indigenous Community Collaborative and Yazzie, the Indigenous Design Collab.

Native issues drew Yazzie to the center of town. She wants to shed light on the challenges the reserves face: security, water contamination and education. Additionally, she wants to add more Indigenous representation to the arts and downtown Phoenix.

Lewis says, “Phoenix is ​​one of the top five cities with the most Indigenous representation. It’s not just 22 tribes here, but you have a representation of many tribes.

Click to enlarge Cahokia co-founder Eunique Yazzie with Cahokia sign designers Brian Skeet Design (L) and Jeremy Arviso (R).  - CAHOKIA

Cahokia co-founder Eunique Yazzie with Cahokia sign designers Brian Skeet Design (L) and Jeremy Arviso (R).

Cahokia

Open the door to Cahokia and you face the location’s mission statement in a work of art. A black wall decorated with black patterns was created by four artists: Eunique Yazzie, Jeremy Arviso, Claudia Lopez and Jesse Yazzie (not related to Eunique).

“Our story is that when we come together as creatives, we have more power,” says Yazzie.

Next to the black collaborative wall art is a table with merchandise for sale. The space opens to the left. Works by Indigenous artists hang on the walls. A painting by Frida Kahlo rests on an easel.

In the main office, a calendar lists upcoming events: Cahokia offers workshops and educational strategies in art and entrepreneurship.

The center will eventually offer a revolving retail space, a living room, YouTube and film editing studios, a podcast room (nearly full), a computer lab, a revolving art gallery and members’ offices. . For artists, the founders plan to find studio space by collaborating with outside partners.

Click to enlarge Jesse Yazzie, right, interacts with visitors during Cahokia's smooth opening in September.  - CAHOKIA

Jesse Yazzie, right, interacts with visitors during Cahokia’s smooth opening in September.

Cahokia

Currently, Cahokia has 15 members (two of whom work in space) and around 25 Ambassadors who operate out of space. The difference between the two groups is the time commitment (members give more of their time).

The founders and members are deeply dedicated to the purpose of Cahokia.

Dustin Lopez, a graffiti artist, was a firefighter who lost his ability to serve after contracting COVID. He teaches children to reflect on themselves, to find their identity and to navigate the world inside and outside the reserve.

“I received a lot of help in making my art known and naturally I wanted to give back,” he says.

Originally from Mexico, Adan Madrigal is IMPACT strategist and videographer. “I bring an outside point of view,” he says. For him, creating stories around the history of Indigenous peoples matters the most.

“We are already seeing tremendous excitement from the community,” says Madrigal. “I hope this inspires others to replicate Cahokia across the country.”

When Jesse Yazzie, an artist, met the founders, he had no platform. “I had spent eight years in prison and most people were intimidated by me, but they took a chance with me and it had a ripple effect. It was more than I could ever do on my own. The community here reminds me of home, which is rare in a regular organization. That’s why I want to give back, even if it means taking out the trash.

Follow Cahokia on Instagram and Facebook.



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The solo exhibition ‘Matir Manush’ offers a living look at simple lives https://akademija-art.net/the-solo-exhibition-matir-manush-offers-a-living-look-at-simple-lives/ https://akademija-art.net/the-solo-exhibition-matir-manush-offers-a-living-look-at-simple-lives/#respond Thu, 07 Oct 2021 07:16:42 +0000 https://akademija-art.net/the-solo-exhibition-matir-manush-offers-a-living-look-at-simple-lives/ Maisha Islam Monamee Thu Oct 7, 2021 1:16 PM Works exhibited at Matir Manush. Photos: courtesy of the EMK Center “> Works exhibited at Matir Manush. Photos: courtesy of the EMK Center The EMK Centre’s virtual solo exhibition, “Matir Manush”, presents the works of young artist Md Rasel Rana. The 41 works of art on […]]]>

Works exhibited at Matir Manush. Photos: courtesy of the EMK Center

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Works exhibited at Matir Manush. Photos: courtesy of the EMK Center

The EMK Centre’s virtual solo exhibition, “Matir Manush”, presents the works of young artist Md Rasel Rana. The 41 works of art on display present the tradition, culture, celebrations and daily life of Bengalis in a whimsical way.

Clay utensils, puppets, and centerpieces are some of the oldest domestic works of art in our culture. One of the subcategories of these clay dolls is a terracotta sculpture, commonly known as “Tepa Putul”. Rasel’s digital illustration series is created using characters from this concept.

“Matir Manush is a widely used proverb indicating people of simple and genuine mind. Through my works, I have attempted to visually present the good and the bad in people, and their state of mind,” he said. -he explains.

Rasel received his BA and MA in Graphic Design from Dhaka University and is currently working as a lecturer in the Department of Fine Arts at Jagannath University. “My fascination with ‘Tepa Putul’ started at a young age as they are an important and popular part of our tradition. I tried to transform this clay doll shape into a variety of images, shapes of design, movement, character designs and illustrations, “he explained.

Rasel used native vivid colors and shapes to paint the real-life storyline of “Matir Manush” through various situations. The first illustration, “Boishakh 1427”, premiered in 2020 and initially he limited his works to themes related to the pandemic and the lockdown. These also contain an illustration depicting the plight of poor communities.

The series, “Tradition”, shows the traditional Bangladeshi rickshaw art, indigenous dance forms and our beautiful tailoring. nakshi kantha. Rasel considers Shilpacharya Zainul Abedin as his inspiration and has paid homage to the eminent artist through some of his illustrations. Some illustrations also include Bangabandhu Sheikh Mujibur Rahman and Sheikh Russell.

In one of these illustrations, a sick man is seen lying down and no one has come forward to help him. A photojournalist, pictured using a clay doll, stepped forward as others watch and click pictures. This was part of a collage titled ‘Situation’ and features illustrations on other social issues.

A number of illustrations have visualized the journey of people during the Eid holidays, while others have depicted the misery of the flood-prone areas. Rasel’s artwork also depicts various special days, including Father’s Day, Mother’s Day, Victory Day, Environment Day, Dhaka University Day, and Labor Day.

Through this exhibition, EMK Center wishes to promote digital illustration to the public while commemorating the 50th anniversary of the independence of Bangladesh and the ninth anniversary of the EMK Center. The exhibition is available on the EMK Center website until October 15.

The author is a medical student and a freelance journalist who enjoys reading, doodling and blogging. Email: mislammonamee@gmail.com.


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Entertainment critic Jim Ruocco reviews the ACT of Connecticut’s Smokey Joe’s coffee https://akademija-art.net/entertainment-critic-jim-ruocco-reviews-the-act-of-connecticuts-smokey-joes-coffee/ https://akademija-art.net/entertainment-critic-jim-ruocco-reviews-the-act-of-connecticuts-smokey-joes-coffee/#respond Wed, 06 Oct 2021 18:44:00 +0000 https://akademija-art.net/entertainment-critic-jim-ruocco-reviews-the-act-of-connecticuts-smokey-joes-coffee/ Given the artistry, vibe, and musical vocabulary of Leiber and Stoller and how they got twists and strong emotions, moody, especially whimsical and lively, music director John Bronston (“Ain’t Misbehavin ‘”” Five Guys Named Moe “,” Hair “) is the perfect fit for” Smokey Joe’s Cafe “, He gets Leiber and Stoller. It includes Leiber […]]]>

Given the artistry, vibe, and musical vocabulary of Leiber and Stoller and how they got twists and strong emotions, moody, especially whimsical and lively, music director John Bronston (“Ain’t Misbehavin ‘”” Five Guys Named Moe “,” Hair “) is the perfect fit for” Smokey Joe’s Cafe “, He gets Leiber and Stoller. It includes Leiber and Stoller. He appreciates Leiber and Stoller. He loves Leiber and Stoller. He is excited by Leiber and Stoller. He connects with Leiber and Stoller. He feels at home with Leiber and Stoller.

A talented first-class musician, he knows exactly how to make every pop, R&B and rock ‘n roll song associated with “Smokey Joe’s Cafe” resonate and fascinate with that intimate supper club magic that prevailed in the 1950s and 1960s. and as the production evolves, its approach to music is swift, detailed, grounded and adventurous. There is a freshness to it too, complemented by choice orchestral ingredients that identify different notes, styles, rhythms, rhythms, combinations and collisions. Here you get more than the sound pastiche of Broadway. You get smart, smart, real reinvention.

At ACT of Connecticut, Bronston (on piano, doubling as conductor) surrounds himself with the very talented orchestral team of Tom Cuffari (keyboard 2), Russ Nyberg (drums / percussion), Gary Blu (tenor saxophone / baritone) , Al Orio (electric guitar), Kevin W. Callaghan (electric bass) and Dennis J. Arcano (musical entrepreneur / synthesizer programmer). Under his tutelage, the group approaches and plays the popular musical score with just the right amount of enthusiasm, emotion and effortless humor that the production calls for.

Nothing is rushed or rushed. Instead, the message is clear and beautifully contoured with addicting and dynamic accounts, observed variations, projected buzz, and carefully calibrated tonal stability. Things, of course, sizzle and pop as the cast of eight raises their voices to song, never missing a single beat, intention, harmony or rhythm associated with the series’ collection of tangy musical songs. Everything is very, very beautiful, lively, engaged and always enthusiastic.

“Smokey Joe’s Cafe” stars Courtney Long, Avionce Hoyles, Albert Guerzon, Keyonna Knight, Arnold Harper II, Jordan Fife Hunt, Kelly MacMillan and Juson Williams. As dictated by its creators, the show remains a breathtaking and exhilarating ensemble piece where each performer secures their place in the spotlight while embracing the music of Leiber and Stoller and illuminating the vocal brilliance and individuality of the musical score. with beauty, style, class, compassion, humor and dignity.

There are towers of stars. There are pitfalls. There are laughs. There are tears. There are playful and sexy pieces that will make your heart beat faster. Song by song and scene by scene, the cast is in a full, fine voice that reflects and complements the vanity of the material, the arc of musical history and its conjuring questions and answers. What’s wonderful about this particular group of performers – stars in their own right – is the depth and versatility they bring to every song they perform, their incredible reach and control, their individual harmonization, their continuity and the way they wrap their voice around a lyrics they want you to enjoy and understand. There is so much electricity here that the heat could easily cause a power outage or two.

An energetic and wise homage to one of America’s most famous songwriter duets, “Smokey Joe’s Cafe” gigawatts of super-fast ripples of mood, voice, pulse and excitement with a nostalgic spectacle and an exciting momentum. It jumps. It jumps. It sparkles. It sings. It dances.
Each of the musical numbers show Leiber and Stoller at their best and the cast – all eight – go all out as singers and dancers – under the inspired direction of Stephanie Pope Lofgren and emotionally changing choreography. John Bronston’s musical direction is both daring and savvy, and the band – absolutely sensational in themselves – never misses a beat, which in a musical of this caliber goes a long way.

Now that the Regional Equity Theater is back with protocols in place that include mandatory registration of vaccinated cards, wearing of masks and social distancing, ACT of Connecticut remains a true source of inspiration and professionalism using the best. actors, directors, choreographers and design teams.

With exceptional productions ranging from “Evita” and “Little Shop of Horrors” to “Working” and “The 25th Annual Putnam Spelling Bee”, this Ridgefield-based venue, under the artistic direction of Daniel C. Levine (artistic director) and Katie Diamond (Executive Director) maintains a creative vision like no other. The staff – front desk, internal and volunteers – not only make everyone feel welcome, but are particularly accommodating in these very different and troubled times. A standing ovation for all.


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California Coastal Commission Workshop to Focus on Hollister Ranch Access Plan | Local News https://akademija-art.net/california-coastal-commission-workshop-to-focus-on-hollister-ranch-access-plan-local-news/ https://akademija-art.net/california-coastal-commission-workshop-to-focus-on-hollister-ranch-access-plan-local-news/#respond Wed, 06 Oct 2021 04:49:00 +0000 https://akademija-art.net/california-coastal-commission-workshop-to-focus-on-hollister-ranch-access-plan-local-news/ A draft plan to provide phased and managed access to the pristine beaches of Hollister Ranch outlines some of the milestones and costs of the program, which will be the subject of a California Coast Commission workshop on October 14. The workshop will provide an opportunity for commissioners and the public to voice their ideas, […]]]>

A draft plan to provide phased and managed access to the pristine beaches of Hollister Ranch outlines some of the milestones and costs of the program, which will be the subject of a California Coast Commission workshop on October 14.

The workshop will provide an opportunity for commissioners and the public to voice their ideas, concerns, comments and questions regarding the proposed coastal access program, according to staff.

The decades-long access conflict – fought at the administrative, legislative and legal levels – centers on 8½ miles of coastline in Hollister Ranch, a 14,400-acre residential subdivision with 136 plots and a working cattle ranch to the west. from Gaviota State Park.

Over the years, the Hollister Ranch Owners Association spearheaded efforts to keep beaches private.

The state released a concept proposal in June and the draft plan in September for the Hollister Ranch Coastal Access Program (HRCAP). The plan spells out limited public access to six beaches – Agua Caliente, Alegria, Sacate, Drake’s, Bulito and San Augustin, some of the state’s most famous surf spots.

“One of the most difficult aspects of providing public access to beaches along the ranch coast is to get people safely through private ranch ownership and active cattle operations and to through the level crossings to the beaches “, indicates the plan. “Once at the beach, it is relatively easy to provide a variety of different experiences for visitors.

The plan provided for shuttle, private vehicle, trail and bicycle access for members of the public as well as cultural access from Chumash.

“Some of HRCAP’s other big challenges are how to provide safe and equitable public access, minimize impacts on high-quality coastal resources and ensure respect for private property rights,” according to the plan.

The access plan proposed a management entity yet to be determined, identified as a partner organization or a concessionaire who would be appointed to implement the program.

According to the plan, the access program would be implemented in three parts: a preparation phase, a pilot phase and a program implementation phase.

“It is important to note that before any aspect of the HRCAP can be implemented, the property rights necessary for public access through private property, including inland beach areas, must be negotiated and acquired. from privately owned HROA and / or Hollister Ranch. owners, and possibly the Union Pacific Railroad, ”the plan read. “Negotiating home ownership rights is a complex process, which can require significant funding and can take years. “

With a deadline of April 2022 set by Assembly bill 1680, the state will work with landowners to establish temporary public access to beaches while working to finalize other details.

Access plans provide for the creation of toilets, the addition of garbage cans and recycling bins, the establishment of emergency communications, the improvement of roads and the development of trails, parking lots and an area. gathering.

The pilot phase of the access program, which should run over two years, would be limited to 100 people per day on the beaches.

The 2021 state budget included a $ 10 million appropriation to support public access to Hollister Ranch, with most of that funding to be used during the readiness phase.

In addition, the State Coastal Conservatory has approximately $ 300,000 in payments for the Hollister Ranch Fee-in-lieu program, and Santa Barbara County has an additional $ 1 million in Fee-in-lieu to fund the initial costs of implementing a program. public access.

The plan also recommends the creation of an advisory committee made up of representatives from state agencies, Santa Barbara County, the Hollister Ranch Owners Association, the Chumash community, and groups focused on public access to justice. environmental and environmental education.

Operation and maintenance of the access plan would cost approximately $ 500,000, with the actual budget depending on the use of composting toilets or portable toilets.

Capital costs would range from $ 7 million to $ 12 million for the staging area, beach parking, and upgrades to accommodate shuttles, composting toilets, and the installation of a trail. However, the number does not include the costs of acquiring land.

The virtual workshop is scheduled to begin at 9 a.m. on October 14 and will include presentations from staff from the four state agencies – the California Coastal Commission, the State Coastal Conservancy, the State Lands Commission and State parks – involved in the access plan.

To comment during the California Coastal Commission Virtual Workshop, stakeholders must register by clicking the button “Speaker request button” no later than 8:30 am October 14. Written comments can be emailed to [email protected]. For more information and a copy of the draft plan, go to agenda by clicking here.

– Noozhawk North County Editor-in-Chief Janene Scully can be reached at . (JavaScript must be enabled to display this email address). Follow Noozhawk on Twitter: @noozhawk, @NoozhawkNews and @NoozhawkBiz. Connect with Noozhawk on Facebook.



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La Liga president Tebas: “Madrid would do better with another president” https://akademija-art.net/la-liga-president-tebas-madrid-would-do-better-with-another-president/ https://akademija-art.net/la-liga-president-tebas-madrid-would-do-better-with-another-president/#respond Tue, 05 Oct 2021 17:12:37 +0000 https://akademija-art.net/la-liga-president-tebas-madrid-would-do-better-with-another-president/ La Liga president Javier Tebas spoke out again against Real Madrid president Florentino Perez in an interview with El Partidazo by COPE. “Madrid would do better with a president other than Florentino, in most aspects other than economic, as in all the management of the Superliga. I have no doubt that Florentino would ipso facto […]]]>

La Liga president Javier Tebas spoke out again against Real Madrid president Florentino Perez in an interview with El Partidazo by COPE.

“Madrid would do better with a president other than Florentino, in most aspects other than economic, as in all the management of the Superliga. I have no doubt that Florentino would ipso facto remove me from the La Liga presidency if he could. In institutional politics, Madrid make mistakes, they win many opponents.

“I don’t appear in his audios because I was not important at the time. I don’t know if I will make peace with Florentino, because we have two very different ways of approaching professional football.

It seems Tebas is still very sensitive about the Super League proposal which sparked widespread controversy in the football world in the spring. The plans have clearly created a big wedge between the league and club presidents.

Tebas also spoke in more detail about the potential future of the Super League where he claims the idea is dead. He claims the idea is already being forgotten within the Premier League and Bundesliga after the clubs involved disband.

“A Super League is not negotiable. Nor that the big clubs must dominate national and international football. It is not the future. I’m not giving the Super League a chance to succeed.

Tebas added that he was not concerned about a planned Super League re-emergence, but was concerned about any future concept ideas Perez might come up with and exclusively involving elite football clubs.

“I’m not worried about the Superliga but I’m worried about the concept of Florentino, who thinks the big teams should run everything. And the World Cup every two years.


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The artist presents two blank canvases to the museum which paid him $ 84,000 https://akademija-art.net/the-artist-presents-two-blank-canvases-to-the-museum-which-paid-him-84000/ https://akademija-art.net/the-artist-presents-two-blank-canvases-to-the-museum-which-paid-him-84000/#respond Mon, 04 Oct 2021 19:42:57 +0000 https://akademija-art.net/the-artist-presents-two-blank-canvases-to-the-museum-which-paid-him-84000/ Modern art is constantly evolving. Some people wonder if simple shapes and colors on a canvas have a place in an art gallery, while others celebrate works of art that present complex ideas in simple forms. But even the museum director laughed when he received a new piece of art from artist Jens Haaning, which […]]]>

Modern art is constantly evolving. Some people wonder if simple shapes and colors on a canvas have a place in an art gallery, while others celebrate works of art that present complex ideas in simple forms. But even the museum director laughed when he received a new piece of art from artist Jens Haaning, which was nothing more than a blank white canvas.

Kunsten Aalborg Museum of Modern Art

The two works of art titled “Take the Money and Run” are currently on display at the Kunsten Museum of Modern Art in Aalborg, Denmark. And it looks like the artist, to whom the museum loaned $ 84,000 for art, did just that. Haaning was commissioned by the museum to make two reconstructions of his previous works of art titled “Danish Average Annual Income” and “Austrian Average Annual Income”. These two works of art physically show the average wages earned by a worker in these countries. But instead of using the money to recreate these works, Haaning created something new by creating nothing at all.

Museum director Lasse Andersson described his views on the matter in these terms: “Jens is known for his conceptual and activist art with a humanistic touch. And he gave us that, but also a bit like an alarm clock because everyone is now wondering where the money went?

And Haaning himself said, “Everyone would like to have more money, and in our society the labor industries are valued differently. The work of art is essentially about the working conditions of artists. Although Haaning received money from the museum for the work, the money was only a loan, so he will have to return it after the museum returns his artwork to him.



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Interview with Ian Henderson (Phénolhouse) https://akademija-art.net/interview-with-ian-henderson-phenolhouse/ https://akademija-art.net/interview-with-ian-henderson-phenolhouse/#respond Sun, 03 Oct 2021 20:51:26 +0000 https://akademija-art.net/interview-with-ian-henderson-phenolhouse/ Phenolhouse is one of those groups that you would call a “hidden wonder”. Trained in Moscow by the Canadian-born singer and guitarist, Ian Henderson’s Phenolhouse has been playing for seven years now. Admittedly, it is a group which turns constantly. Henderson emphasizes that as workers, all of their energy is spent rehearsing, recording, and then […]]]>

Phenolhouse is one of those groups that you would call a “hidden wonder”. Trained in Moscow by the Canadian-born singer and guitarist, Ian Henderson’s Phenolhouse has been playing for seven years now. Admittedly, it is a group which turns constantly. Henderson emphasizes that as workers, all of their energy is spent rehearsing, recording, and then broadcasting their music digitally on Bandcamp.

Their latest album, Unheard of, seen, combines a punk-rock mentality with geometric minimalism. Inspired by SST Records’ debut list, Phenolhouse takes the punk rock energy of that era, constantly experimenting with additional elements – more melodic and dissonant, avant-garde or inspired by country music.

Louder Than War chats with guitarist and founder of Phenolhouse, Ian Henderson, about his life in Russia, the chemistry within the band, the ongoing writing process, the language and future plans.

LTW: First of all, how did you get to Russia?

Ian: I started visiting Russia in the 2000s as a Canadian student. I was studying international relations and Russian was my preferred language. First, I lived in Tver. Then I traveled for a while. I did an internship in Moscow and then started working here.

By the time you started Phenolhouse you had been living in Russia for a few years. How has this cultural difference and diversity affected you creatively?

This is an interesting question. It may not be so much a cultural difference as the pace of life in Moscow that gets things done relatively quickly for us (the pace of life is much faster than in Canada). I must say that I was lucky to find players like Nikita Zubov (drums) and Ivan Garbuz (bass) who are open to various ideas. In addition, as we are all workers, we are permanently established in Moscow. This means that we are not making new albums or EPs. On the contrary, once a new work is published, we are already working on brand new ideas.

But if the process is underway, how do you generally sort the ideas?

I think our process is pretty straightforward… I come up with a few riffs or chord progressions which I think work well. Then we scramble it – fast, slow, how many times per riff, etc. Earlier, I think it was more conceptual – “I want a song that should sound exactly like that”. But now we get the basic ideas to practice and I could refine them over the course of a few weeks. As for a “vibe” or “vibe”, it could be from having new strings on the guitar or practicing in another rehearsal room. While recording, of course, finding a mood and a groove is essential. Usually it can take a while, like a goldfish getting used to a new bowl. However, we try to filter out the ideas and use the ones we are most passionate about. There are hours of jams and incomplete songs.

Interview with Ian Henderson (Phénolhouse)

There are quite a few songs on the new album that focus on rehearsal. structures, like Song For Rodion. Is it something you want to fit into your music or just where the song takes you?

Probably both. Ultimately my interest is what suits the song best… it could be several different parts or a lot of repetitions, or both. One thing I really enjoy doing now is rehearsing parts with varying dynamics; louder / quieter, individual chords / notes etc. It also opens things up for the rhythm section, I think.

Your previous eponymous LP was released in May 2020. Then you released Red Eyes Session No.1 and now Unheard, Seen. Having this kind of non-stop process, what usually causes you to decide that “this will be an LP or an EP”?

Well, The Red Eyes EP was an experience we recorded at our rehearsal venue where we demoed a bunch of songs I wrote during the Covid-19 quarantine. We took the top three songs and made a quick EP in the old school hardcore sense. Then we continued for a while, refining the remaining material or writing new songs. There wasn’t a lot of live activity so we could focus on writing most of the time.

Being a band that doesn’t tour constantly and perform live from time to time, do you think that gives you a new perspective on things? In the end, not all songs could be repeated the way they were recorded. But also, sometimes the reaction of the audience affects the way the material is presented.

Well, I would never rule out filming in our future, whether in Russia, Europe or even North America. Playing that stuff to different groups of people in different places would be a great experience. As far as reinterpreting the songs goes, I think it’s kind of an organic process for us.

Since we record most of the instrumentation live, with no click tracks, we don’t get locked into a particular way of making songs. Some songs have evolved in a relatively short period of time. For example, Four Choirs of our last album sounds different each time we play it, even if it repeats the same four chords.

Four Choirs is an interesting topic to discuss. It seems to me that within the same degree of organic of the internal band, your sound on the previous LP is much more angular and contrasting compared to Unheard, Seen.

Yes. I think the new one is a bit more “traditional” in the sense of songwriting. No more actual choruses and hooks. Or simpler arrangements.

What caused this change?

I think it’s more or less natural. I can’t speak for Nikita or Vanya, but I feel more comfortable and confident with applying more melodic elements without being too cliché.

Interview with Ian Henderson (Phénolhouse)

For a lot of hardcore artists, this becomes quite a task. It took a while for Minutemen to go from The Punch Line to Double Nickels On The Dime – to strike a balance between melody, rhythm and a certain degree of lyricism. In this sense, it would make sense to ask yourself what language do you use in the group?

We communicate in Russian. The lyrics are in English though. I think the balance is struck by trying new things while being democratic enough if something doesn’t work. As for how the group develops, it comes from getting used to each person’s individual playing style and rhythms more, while also trying to expand and try new things.

What first drew you to play together?

Well, this is the band’s second line-up. The first line-up loosely formed in 2014 as a unique experimental powerviolence-noise. We did the first division with Bolo from Petersburg and Zhenya, the lead drummer, decided to focus on his other group. So after a while we found Nikita who had a completely different style and feel so the music immediately changed. It was also around this time that I was starting to get tired of playing with distortion tones and disillusioning a bit with a lot of extreme music. We changed the styles, made it faster, more jazzy, cleaner and more surfer, and clearly under the influence of the early LP Minutemen. Then Ivan, the first guitarist / bassist, left and Ivan Garbuz joined us in 2016. It’s training and it’s pretty much the second phase of the band since then.

Your lyrical complexity varies from song to song. Literally. How much of this change has been made to the melodies within Unhead. Seen affect you at the lyrical level?

I think I was trying to find a balance for each song, doing the half-spoken / calm scream thing but with a more pop approach. I used to listen to a lot of ’50s and’ 60s country (Ernest Tubb, pre-outlaw Waylon Jennings, Buck Owens, etc.), and I think some of those vocal assignments crept into some songs.

Was it difficult to integrate these tones into the sound and some organic elements Interview with Ian Henderson (Phénolhouse)did you have a band at that time?

Yeah it could be. This is where working with a good sound engineer like Stas Baranov, who recorded most of our stuff, can really help. He understands what we’re looking for and knows how to coax the right feeling when I’m singing. Obviously I’m not a singer by training and voxes aren’t to everyone’s liking, so sometimes it’s good to have that support or that clever advice.

Stas is someone who’s been working with you for a while. What do you think the addition of Colin Marston, who did the mastering for Unheard, Seen brought to the sound of Phenolhouse?

It seems richer and deeper. Colin worked on my friend’s album, Antediluvian’s Divine Punishment, and it gives bands a lot of options to achieve optimal sound that matches their vision. And he’s extremely professional and has a broad understanding of music.

What should we expect from you?

Probably more music in the near future. Some fast others slow.

~

Interview by Dan Volohov. Find here the archives of its author.

Photo credit: Dasha Pocherk


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The wisdom of peoples in global networks https://akademija-art.net/the-wisdom-of-peoples-in-global-networks/ https://akademija-art.net/the-wisdom-of-peoples-in-global-networks/#respond Sat, 02 Oct 2021 23:41:29 +0000 https://akademija-art.net/the-wisdom-of-peoples-in-global-networks/ The third meeting of the Council of the Wisdom of the Peoples of the Earth was held on 09.04.2021, in the presence of the seven networks. With satisfaction, we noted that the experience of the Parliament of Planetary Citizenship has been consolidated to the extent that the functioning of the working groups gives organicity to […]]]>

The third meeting of the Council of the Wisdom of the Peoples of the Earth was held on 09.04.2021, in the presence of the seven networks. With satisfaction, we noted that the experience of the Parliament of Planetary Citizenship has been consolidated to the extent that the functioning of the working groups gives organicity to the process, that each Councilor assumes a function, and collectively, in the WGs. , provides service to the experience of Parliament. Thus, the established Conviviality Pact is put into practice, interpersonal trust grows, disagreements give way to dialogue, and agreements are found. The dynamic of exercising a new policy is being built little by little, without hierarchies, with equal protagonism between men and women and between networks, in a climate of cordiality and mutual respect, beyond disagreements.

The qualified functioning of the group of interpreters in four languages ​​mobilized by MRG -Multiconvergence of Global Networks, deeply involved in the idea of ​​Parliament and in an attitude of volunteerism, is a high point of the experience, well representative of the spirit of service leadership that marks this initiative. The loan by the URI (United Religions Initiative) of its professional platform to hold the meeting, which allows simultaneous translation and the division into groups by language, showed the strength of the union and the good will to carry out a successful such international and innovative experience, without financial investment. The idea that “we are doing something big”, however small, encourages the networks present, and their female and male representation gives the best of themselves. Another element of consolidation of the process is the fact that two people who gave the impetus to the MRG and the idea of ​​the Parliament became the representatives of their networks in the Council: Moema Viezzer, for the Earth Charter, and Marcos Arruda, for the Agora of the inhabitants of the Earth.

During the September event, the first results of the work of the working groups were reported: Group 1 presented the progress made in proposing a definition of the vision and the mission of the Parliament and discussed the need to prioritize certain urgent issues such as regeneration in the face of climate change, the defense of peace and democracy in the face of fascist advances, and an inclusive economy that values ​​life, in the face of pandemics and exclusion growing. Likewise, Group 2 made its preliminary proposal on the Methodology for the functioning of Parliament, advancing the discussion on the Coexistence Pact already discussed by the Networks and which is proving to be an important political tool. Group 3, responsible for detailing the Planetary Citizenship Assembly project, presented a table with six inclusion criteria for representatives of each MRG network (gender plurality, education and wisdom, income, continental status, ethnicity and age ). Group 4, the Parliament enlargement group, will develop its strategy of expanding into new networks that also include business and decision-makers. To make the expansion possible, WP4 argued that it would be interesting to mature the process with less formal and decision-free meetings, so that new networks can join the experience without finding a fully defined process.

The MRG deepens its experience by trying to identify other experiences of constitution of planetary parliaments, old or new, and to exchange experiences with similar ideas, such as the parliament which is tested in the COP 26 process. first role, important but more traditional, of a conceptual and results-oriented approach, is counterbalanced by the second, innovative and feminine, which seeks to amalgamate a pluralism centered on the achievement of objectives, overcoming divergences through dialogue . There is also a tremendous presence of concrete organizational actions beyond intellectual elaboration, with advisers, GMM promoters and support network partners performing the various practical tasks necessary to advance the experimentation process.

Thus, the experience of the Parliament of Planetary Citizenship continues with a new session scheduled for October 9, from 11 a.m. to 1 p.m. (Brasilia time). Once again, two new networks, the Earth Charter and Dialogues on Humanity, are in charge of the meeting, supported by the Steering Group made up of a representative from each MRG network. Once again, the Advisors take the risk of innovating, testing and experimenting with something so necessary in these times of uncertainty and suffering: to build democratic, inclusive and creative citizen participation on a planetary scale for to face the problems of our time.

To access other articles published on this same subject, click here.


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Which aptitude test is right for you? : The India Tribune https://akademija-art.net/which-aptitude-test-is-right-for-you-the-india-tribune/ https://akademija-art.net/which-aptitude-test-is-right-for-you-the-india-tribune/#respond Sat, 02 Oct 2021 07:10:00 +0000 https://akademija-art.net/which-aptitude-test-is-right-for-you-the-india-tribune/ The main distinction between a regular and hard-working student of a ranking is that the latter knows their strengths and weaknesses. At an early stage, if a learner determines which area of ​​study needs improvement, it becomes easy to devote the necessary effort. But how do you know if a certain concept or subject needs […]]]>

The main distinction between a regular and hard-working student of a ranking is that the latter knows their strengths and weaknesses. At an early stage, if a learner determines which area of ​​study needs improvement, it becomes easy to devote the necessary effort. But how do you know if a certain concept or subject needs improvement? A simple answer to this is to take an aptitude test.

An aptitude test assesses a student’s thinking and reasoning skills while testing the clarity of a concept for a specific topic. It allows learners to distinguish between areas that need to be improved and those at which they are good. As a result, students can focus their efforts in the right direction and achieve the desired learning goals.

Likewise, to analyze a student’s conceptual skills and knowledge, it is not enough to complete a single aptitude test. Different types of tests are needed to assess their dexterity and versatility. For reference, a Grade 10 student, who is confused as to which stream he wants to go to college, will undertake a different aptitude test than one who wants to improve his level.

improve their learning outcomes in college.

So which test is right for you? And what exactly are these different types of tests? Let’s take a look.

1. Abstract reasoning test

The Abstract Reasoning Test assesses your mental ability to understand shape changes, generate unique ideas in real time, and create new sketches derived from old illustrations. It also tests an individual’s ability to derive logical connections between the available data sets. This type of test is typically used to determine a person’s creativity and ability to quickly solve new problems.

2. Numerical reasoning test

This test analyzes a person’s aptitude for numbers. It is designed in such a way that the ability of an individual to make correct decisions on numerical criteria or

statistical data, such as graphs, equations, and fractions, are evaluated extensively. These tests are especially popular a

r among companies recruiting accountants and bankers or among students who wish to improve their math skills.

3. Verbal reasoning test

The verbal reasoning test analyzes an individual’s ability to write texts and speak clearly, i.e. comprehension and communication skills. The candidate is invited to carefully read a passage, to retain all the information, then to answer questions based on multiple choice questions on it. These tests assess a candidate’s ability to understand, analyze, and draw precise conclusions in real-life scenarios. As simple as it may sound, a candidate’s concentration and presence of mind are thoroughly examined during this activity.

4. General Aptitude Test

The General Aptitude Test provides a set of relevant questions for students and assesses their preparation for the exam based on their answers. It highlights both weak and strong learning areas of a student. It helps them to study concepts better and get higher rank. The Toppr Scholarship Test for Aptitude and Reasoning (T-STAR) is one of the most important tests that assesses students’ understanding at the subject level and rewards them for their efforts.

5. Spatial reasoning test

The spatial reasoning test is also called the spatial awareness test. It assesses your innate mental ability to analyze unique shapes and observes how your mind processes still images. It also tests the multifunctionality of your brain by noting how much information it can process in a given case. From examining your navigation skills using a map and compass, to assessing your mental orientation in a changing environment, everything is tested.

6. Psychometric test

The Psychometric Assessment Test, also known as the Situational Judgment Test, assesses your understanding of real-time scenarios and your decision-making skills in the moment. It basically checks your presence of mind. The more efficient you are at problem-solving, the better you will get from such tests. The situational judgment test is often used to determine how quickly a student

complete their test with great efficiency and also to measure a respondent’s ability to handle difficult situations in a workplace.

7. Logical reasoning test

Logical reasoning tests assess an individual on their ability to draw meaningful conclusions from the information and statements available. It assesses students on their logical inference, regardless of the standard in which they study. Logical thinking is essential for seamlessly navigating everyday life.

These types of aptitude tests are a proven way to analyze a student’s abilities and get accurate results. Likewise, after attempting the T-STAR test, students receive an in-depth analysis of their skills, exam preparation and understanding of the subject.

As a result, learners can easily assess areas that require more attention and organize a study plan accordingly. Finally, depending on the value that each test brings, students can opt for a relevant aptitude test and improve their chances of academic success.

Entrances courtesy Toppr


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Artists bring activism in and beyond gallery spaces https://akademija-art.net/artists-bring-activism-in-and-beyond-gallery-spaces/ https://akademija-art.net/artists-bring-activism-in-and-beyond-gallery-spaces/#respond Fri, 01 Oct 2021 18:41:52 +0000 https://akademija-art.net/artists-bring-activism-in-and-beyond-gallery-spaces/ One of the most iconic ancestors of today’s activist art collectives is the Guerrilla Girls, who were born in 1985 amid frustration with the commercialism of art. The Guerrilla Girls, who wear gorilla masks and use the names of deceased artists as war names, targeted onlookers in public with posters and slogans that questioned the […]]]>

One of the most iconic ancestors of today’s activist art collectives is the Guerrilla Girls, who were born in 1985 amid frustration with the commercialism of art. The Guerrilla Girls, who wear gorilla masks and use the names of deceased artists as war names, targeted onlookers in public with posters and slogans that questioned the status quo using language borrowed from advertising . “Do women have to be naked to enter the Met Museum?” ” a poster from 1989 asked, next to a graphic of an odalisque wearing a gorilla mask, noting in the text that while less than 5% of the artists in the Modern section were female, 85% of the nudes were female. Then as now, critics of these movements suggested that there was some hypocrisy, as many artists involved in institutional criticism funded and exhibited their work in these same institutions. But that was, according to the artists, always the goal: rather than purifying the world of art, it is a question of freeing it.

“We always do street posters and banners denouncing museums, but we also say them directly on their own walls,” Käthe Kollwitz, longtime Guerrilla Girls member, wrote to me in an email (her name is a pseudonym). Their latest project, “The male grazes”(2021), is a series of billboards that reveal a history of exploitative behavior by male artists. Their focus remains largely unchanged: “We say to all who care about art: ‘Don’t let museums reduce art to the small number of artists who have won a popularity contest among the big dealers, curators and collectors, ”writes Kollwitz. . “Unless institutions present art as diverse as the cultures they represent, they don’t show the history of art, they only preserve the history of wealth and power.

Revolutions, like art, begin as works of the imagination: a reshaping of the world in a new image. Nitasha Dhillon, co-founder, with Amin Husain, of Decolonize This Place, refers me to a 1941 essay by surrealist theorist Suzanne Césaire, in which she envisions a “realm of the strange, the wonderful and the fantastic.” … Here is the poet, the painter and the artist, presiding over the metamorphoses and the inversion of the world under the sign of hallucinations and madness. We can all agree that the world has gone mad; Can the art of calculus and trauma show us a way forward?

The point is, there is no plan for decolonization; nothing that involves people working together for greater justice is particularly utopian or wonderful. There will always be disagreements, imperfections, more to learn, more work to do. This kind of art is nothing if not an effort; it comes at a personal cost. And so, while groups like Forensic Architecture and Decolonize This Place have already had their proven success – in courts, in art spaces – I can’t help but think it’s the least measurable impact. who might, in the end, be the most powerful, as models of cooperation and correction in a cynical, self-serving and often violent world. If nationalism and greed are transferable on a global scale, then perhaps idealism is too. Responsibility, in the end, means paying attention to the suffering that pays the bill for our way of life, our comfort, and even our beauty. The fear of being canceled is, after all, the fear of facing these harsh truths and being found an accomplice. The question, perhaps, has never really been whether or not art can heal us, but rather to what extent we have the courage to heal ourselves.


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