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co~slip of the tongue 2/4 . . (‘ın YSE#27)

co~slip of the tongue 2/4 . . (‘ın YSE#27)

"in-significant outcome"
mar.abr.may2011

otoñosurprimaveranorte | ISBN 978-1-4457-9262-0

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the (ñ)
the in-significant

No ya las cosas sino el discurso de las cosas.
No ya la interacción con el objeto sino sólo con el discurso del objeto.
in be displayed here has appeared of significados in an Imperio de significantes.
Update retórico: Discurso surfeador that no defiende ninguna postura, sospecha.
Surfeador sin fondo, disecciones of a forense de los sentidos.
¿Sublimación de los lenguajes?
¿Deconstrucción apocalíptica?
¿Gestión de los desechos en el final del juego?
¿De qué hablamos cuando hablamos? ¿A qué hacemos referencia?
the ¿Sabe usted a que me refiero?
with El medio vuelto masaje.
Cuando el mensaje del medio es sólo el masaje del discurso.
Adicción masiva al soma diario de a discurso “renovado”, distractivo, sin consecuencias nor contenido, paradigmático en los mass-media y las redes sociales.
the Las palabras y las cosas
Lo que se nombra y es nombrado, convenciones culturales, significant-significado-imagen acústica-etiquetas.
El canal como portador de ruido incontrolable…
¿Cada vez a más alto nivel (como se entiende esta fórmula en programación) y más lejos de los objetos y fenómenos?

###

the (sh)
the in-significant

Not even things, but the discourse on things.
Not even interaction with the object goal just with the discourse on the object.
the Absence of significance in an Empire of signifiers.
Rhetorical update: Surf the discourse, not defending any stance, just suspecting.
Bottomless surfer, dissections by a forensic surgeon of the senses.
Sublimation of languages?
in Apocalyptic deconstruction?
the Waste management at the end of the game?
What do we speak about when we speak? What do we refer to?
in Do you know what I m talking about?
in The medium turned into massage.
When the message from the medium is just the massage of discourse.
Massive addiction to the daily soma of a “renewed” discourse, a distracting one, without consequences to the gold content, paradigmatic on mass media and social networks.
the Words and things.
the What names and is named, cultural conventions, significance-mean-jingle-label.
Channel as the bearer of uncontrollable noise.
the At a higher level every day (as this formula is understood in programming) and further from objects and phenomena?

###

the (ç)
the in-meaning

Not even things, but the discourse on things.
Not even the interaction with the object, but only the discourse on the subject.
the Absence of significance in an empire of signifiers.
the update rhetoric: the discourse-demanding of the user, only suspicious.
User without background, dissection by a medical examiner of the meaning.
The Sublimation of the languages ?
in Deconstruction apocalyptic ?
The management of waste at the end of the game ?
What are we talking about when we are talking about ? What are we referring to ?
in do you Know what I mean ?
in The message become a massage.
When the message of the medium is the massage of speech.
Dependence massive soma daily of a discourse that is “renovated”, that is entertaining, without a consequence, neither the content, the paradigm of mass media and social networks.
the words and things.
What names and is named, conventions, cultural, significance-signifier-sound effects-label ?
Channel as a peddler of noise control.
Higher and higher each day (as this formula is understood in programming), and other from objects and phenomena?

###

edit(ing), direct(ing) & complements_
fernando prats
art direct(ing) &design(ing)_
estudi prats
colacao & ordenaciones_
rivera valdez
biotranslat(ing) & reflejos_
alicia pallas
(h)original music_
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(h)original video_
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back(c)over(ing) discourse_ thomas hagström
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hernán dardes
manual diumenjó
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oriol espinal
ezook
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h. o.
kozology
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leonie polah
fernando prats
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miguel ruibal
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nirvana sq
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dou_ble_you

from…

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By “φragments untamed” 2011-03-05 15:31:40
tags

Book Review: “Frugal Living for Dummies”

Publishing Guidelines: Feel free to publish the following
article in its entirety in your ezine, website, or print
newsletter. The resource box must be included with an
active link. Please send a courtesy copy of the publication
in which the article appears to:
deborah@fiveminuteparent.com Word wrap to 60, (220 words)

Book Review: “Frugal Living for Dummies”
Reviewed by Deborah Shelton

“Frugal Living for Dummies”
by Deborah Taylor-Hough
Publisher: Wiley Publishing, Inc.
ISBN: 0-7645-5403-4
Price: $16.99 US

Whatever your reason for wanting to save money (job loss,
suddenly single-income, another child on the way, rising
college tuition costs), arm yourself with Frugal Living for
Dummies for super saving success.

This book details so much more than coupon-clipping. Some
of the chapter topics include ideas for frugal family fun,
thrifty cooking tips, ways to cut utility bills, setting a
budget and lots of inexpensive gift ideas. And that’s just
the beginning! Frugal Living also provides icons in the
margins that alert readers to important reminders, tips,
super savers, special warnings, great ideas and handy
checklists.

Each section is jam-packed with cost-cutting ideas for baby
showers, back-to-school needs, dinner parties, gift giving,
auto maintenance, home cleaning, dining out, laundry,
family trips…. Basically, Deborah Taylor-Hough offers
money-saving solutions for every aspect of your life.

Frugal Living for Dummies is an essential reference for
your family collection. This book will make a practical and
thoughtful gift for young couples just starting their lives
together, college students on their own for the first time,
single-income families, new parentsArticle Search, and anyone who needs
proven ways for cutting costs while keeping their sanity.

A must-have guidebook for the novice penny pincher as well
as the seasoned dollar stretcher.

IMG_1919 Franz Marc 1880-1916 München Horse blue 1 Blaues Pferd I 1911 Blue Horse 1, Munich, Lenbachhaus

IMG_1919 Franz Marc 1880-1916 München Horse blue 1 Blaues Pferd I 1911 Blue Horse 1 München Lenbachhaus
Franz Marc 1880-1916 München
Horse blue 1
Blaues Pferd I 1911
Blue Horse 1
München Lenbachhaus

MODERN ART : THE RENEWAL OF FORMS

Modern Art, announced at the beginning of the 20th century by the romantic painters ( Constable, Turner, Delacroix ) and the pre-impressionists has been a factor in a remarkable renewal of aesthetic forms in european painting.
Its essential characteristic is definitely its commitment to invention, change, which expresses itself in painting, in the use of color, in search of a new drawing, in the diversity of the topics covered. We can say that european civilization is distinguished from other major civilizations by this constant search, at the scale of centuries, of innovation. This has not been the case, for example, the islamic civilizations, or the chinese whose values have infinitely more priority to sustainability and to the maintenance of traditions. Once again we see that art is a revealing of the values that drive societies.

The techniques used by european painters during the 19th century, to create a new art are multiple, except in the omission, one can the identify as well :
1°"The Painting Flat": for example, with Manet, later Gauguin, Maurice Denis, and Raoul Dufy, the Nabis… This technique reduces or eliminates the volume and the perspective and emphasizes the lines. The painter strives more to make the world in three dimensions, as it has done for centuries. The artist offers a vision of the world that accepts the flatness of the table. The artist paints in two dimensions. It is a return to an aesthetic that was one of the paint Byzantine, Romanesque and Gothic. With other themes, of course, because one of the characteristics of modern art is the scarcity of religious reasons, or inspired by Greek and roman antiquity.
2° The decomposition of the light and of the colours, spots and dots."Tachism". The Préimpressionnistes (Barbizon School, Corot) The Impressionists. The Pointillists (Seurat, Signac)
3° The colors arbitrary or symbolic. The artist departs from the colors "real", those received by the eye and the human brain, and makes colors seem arbitrary: Gauguin, the Fauves, the symbolism, the surrealism … It is a technique that the painting of the romanesque and gothic were put into practice very regularly.
(4) The valuation of the Sketch. The sketch has been for centuries, and only, what its name suggests : a Study preparatory to a definitive painting. In the 19th the sketch is a process, final, terminal, artistic expression.
5° The Geometrism. The decomposition of the space and volume in the real world, lines and surfaces, more or less, synthetic and meaningful. (Cézanne, Braque). We also talked of Cloisonnisme. That will lead to abstract art.
6° The "multiplicity of points of view" on an object or a subject. Technique that seeks to make the real as if it stared at him, at the same time, since several points in space. (The Cubists)
7° Abstract art, finally, a novelty to almost total in the european art.

Art has always been, a way of dreaming the real world. But the new techniques of Modern Art, depart all of them, in a very intentional, proactive, accurate representation of the real.
Painters tend to create an art in which the interpretation of reality prevails on its reproduction.
The artist’s "modern" reproduces the real, but also the dream and theinvented. These trends have resulted in non-figurative art, otherwise known as abstract art.
This renewal of forms in painting is total.
It has brought new possibilities, very interesting, and very beautiful, artistic expression.

It must not be confused with Modern Art and Contemporary Art. They do not cover the same period. They do not have the same aesthetic characteristics nor the same ideological foundations.
Modern Art covers a period that goes from the pre-impressionists, circa 1850-60, until the second world war. At least this is the periodization the most commonly accepted by historians of the item
Other historians do start a little later with the post-impressionist and abstract art, circa 1900. The broadest definition is probably the best because the impressionists are artists fully "modern". One may even think that Modern Art begins with the return of peace in Europe after 1815, with some romantic painters such as the French Eugène Delacroix, or with William Turner, fantastic, innovative, a harbinger of impressionism and non-representational art, who died in 1853.
These two artists have made the sketch a means of artistic expression of choice.
The painters of this time are already deeply inspired by the commitment to innovation that characterizes Modern Art. The period of Modern Art, extremely dynamic, on the other hand, another major characteristic, rich of diversity. It fits perfectly in the history of european art. It does not deny the past, academic art is practiced, but it is also remarkably creative works in multiple, inventive forms entirely new aesthetic expression.
.
Contemporary Art has been established in Europe after 1945. Some fix his birth in the 1950s. One can also claim, with much reason, that his date of birth, in any case, the ideological and political, is the establishment of a New York Moma by the Rockefeller (1929). The dates are of course approximate, and some painters such as Picasso and Miro belong to the spirit of Modern Art, while they remain very creative after 1945.
In painting and sculpture, the diversity is then place in a deep consistency that is concealed behind the appearances of the innovation. The explosion of originality, freedom, and non-conformism that characterizes the Modern Art becomes Contemporary Art, a system that freezes in the ideologically correct. And the ldéologie new is that the aesthetic and the sharing of the beautiful with the population, is no longer a goal of the official art. The art must be the opposite of what has been done in the past. The inversion of values is complete, and totalitairement imposed.
Contrary to what it claims to be the Contemporary Art, it’s official, the one that is installed in the permanent collections of museums, or in some specialized exhibitions, is an art frozen, academic, exhausted by a system and an obsession : the New Modernity. It is the Art of the clean slate of the Past : an art without roots, reserved to an elite of so-called "Comprenants" who despise the peoples, they rule "democratically".
The essential difference between Modern Art and Contemporary Art Official can be understood very simply :
– Modern Art is seeking a change of aesthetic. A Beautiful new. A Beautiful one that no longer complies with the standards are those in force since the end of the gothic and the renaissance. The artists seek also this new aesthetic up top in the past : the periods of Paleo-christian, Byzantine, Romanesque, and early Gothic. The artists are going back in particular to the "paint plate", that is to say, the volumes flattened and the perspective reduced. They take the aesthetics of painting in two dimensions, to the detriment of the painting in three dimensions that has prevailed since the end of the gothic and the renaissance. The artists of the modern art value sketch, which has always existed, but they make it an art terminal. Modern Art has invented a wholly new aesthetic : abstract art, non-figurative, which we can consider that there is no precedent in Europe. May be in China, but in quite another spirit. Nothing geometric in abstract art chinese. Everything is in the expression of the Breath that animates the Ten Thousand Beings.
– The Contemporary Art is the antithesis of the Modern Art, though it is tempting to lie in its continuity : It denies the Aesthetic. The Beautiful must not be a purpose of the item With the Contemporary Art, the West does not change aesthetics. The West comes out of the Aesthetic. It is a total break with the art of the european past. In short : it is Non-Art. This is a first not only in the history of painting and sculpture in europe, but also in the history of world art.
And of course as it is New, "Never Seen", its inspirers and supporters are very proud of it: This art between in the creed of their religion, Modernity, Light. And so, they love it. Amen.

It is true that next to official art, there is a space of freedom for artists, faithful to the Beautiful and the Meaning is shared, in private art sales and the art of the streets ( not all the art of the streets !!). But the essential question remains : As the art of Egyptian, Greek, Roman, Catholic, Contemporary Art official is a reflection of the thinking of the elite ideological and political current, of his vision of the world, and his project for the peoples. We can say that it reveals its deep intentions. And they are ugly and absurd, that is their art, Their art reserved betrays their public discourse that are democratic.

MODERN ART: THE RENEWAL OF FORMS

Modern Art, announced from the beginning of the 20th century by the romantic painters (Constable, Turner, Delacroix) and pre-impressionists has been a factor quite remarkable renewal of aesthetic forms in European painting. Stis essential characteristic is certainly his invention will, his desire for change, expressed in painting, in the use of colors, in the search for a new design, in the diversity of topics. It can be said that European civilization differs from other great civilizations through the constant research, on the scale of centuries, of innovation. This was not the case for example of Islamic and Chinese civilizations whose values have infinitely more given priority to the sustainability and the maintenance of traditions. Once again we see that art is a developer of the values that drive the societies.

The techniques used by European painters during the 19th century to create a new art, are many. Except by omission, and we can enumerate:
1° "The Flat Painting", for example with Manet, Gauguin, Maurice Denis, the Nabis … This technique reduces gold removes volumes and perspective and focuses on lines. The painter no longer tries to represents the world in three dimensions, as he has done for centuries. The painter offered a vision of the world that accepts the flatness of the table. The artist paints in two dimensions. She returned to an aesthetic that was practiced by the Byzantine painting, Romanesque and Gothic. With other themes obviously, since one of the features of modern art is the increasing scarcity of religious motives gold inspired by Greek and Roman antiquity.
2° The decomposition of light and colors with spots and dots. "The Tachism". The Pre-Impressionists, the Barbizon School, Corot, The Impressionists. the Pointillist (Seurat, Signac)
3° The’arbitratey and symbolic colors. The artist moves away of the colors "real", those perceived by the eye and the human brain, and invents arbitrary colors: Gauguin, the Fauves, symbolism, surrealism … It is a technique that painting Romanesque and Gothic had practiced regularly.
4° The valorization of the Sketch. The sketch was, for centuries, only what its name indicates: a preparatory study for a final painting. In the 19th the sketch becomes a permanent process, terminal, completed, of artistic expression.
5° The Geometrism. The decomposition of space and volumes of the real world into lines and surfaces, more or less, synthetic and significant. (Cézanne, Braque). We also talked about Cloisonnism. Which will lead to abstract art.
6° The "multiplicity of perspectives" on an object. Technique that seeks to make the real, as if you looked at him, at the same time, from several points of space. (The Cubist)
7° Abstract art, finally, a novelty almost complete in the European part

Art has always been a way to dream the real world. Goal news techniques of Modern Art, are moving away from, in a manner very intentional, voluntarist, of the exact representation of reality.
The painters tends to create an art in which the interpretation of reality prevails over sti reproduction.
The "modern" artist reproduces reality, but also the dream and invents it. These tendencies have led to non-figurative art, otherwise known as abstract art.
This renewal forms in painting is total.
It has brought new opportunities, exciting, and beautiful, artistic expression.

It must of not confusing Modern and Contemporary Art. They do not cover the same period. They do not have the same aesthetic characteristics or the same ideological foundations.
The Modern Art covers a period that goes from pre-Impressionists, to 1850 to 1860, until the Second World War. This is at least the periodization the most commonly accepted by art historians.
Other historians begin “Modern Art” a little later with the post-impressionist and abstract art, circa 1900. The broadest definition is certainly the best because Impressionist artists are fully "modern".

We can even think that Modern Art began as soon as the peace returned to Europe after 1815, with some romantic painters like the French Eugene Delacroix, or with William Turner, a fantastic innovator, announcer of impressionism and non-representational art, who died in 1853. These two artists have made with the sketch a privileged means of artistic expression.
The painters of this period are already deeply inspired by the desire for innovation that characterizes modern art. The period of Modern Art, extremely dynamic, is the other, another major feature rich diversity. It fits perfectly in the history of European art, She does not repudiate the past, academic art is quite practiced, but it is also remarkably creative multiple works, inventive forms entirely new of aesthetic expression.

Contemporary Art imposed itself in Europe after 1945. Some historians fixed sti birth in the 1950s. One can also claim, with a lot of reasons, that its date of birth, in any case ideological and political, is the creation in New York. of the Moma by the Rockefellers (1929). The dates are of course approximate and some painters like Picasso gold Miro belong to the spirit of the Modern Art, while they remain very creative after 1945.
In painting and sculpture, diversity gives way to a profound uniformity dissimulated behind the appearances of innovation.
The explosion of originality, freedom, and non-conformism that characterizes Modern Art becomes with contemporary art, a system that congeals in the ideologically correct. And the new ideology wants that aesthetics and the sharing of beauty with the population, is no longer a goal of the official art. Art must be the opposite of everything that has been done in the past. The inversion of the values is total, and totally imposedd.
In painting and sculpture, diversity gives way to a deep uniformity, hidden behind the appearances of innovation and even of the provocation. The explosion of originality and non-conformism that characterizes modern art becomes a system that hard lockups back in the ideologically and aesthetically correct. Contrary to what he claims to be, contemporary art, official, one installed in the permanent collections of museums, or in some specialized exhibitions, is a static, academic, exhausted by a system and an obsession: the New, the Modernity. This is the Art of the clean slate of the Past: an art without roots, reserved for an elite of so-called "Comprenants" who despise the people, that they govern "democratically".
The essential difference between Modern Art and Official Contemporary Art can be understood very simply:
– Modern Art seeks a change of aesthetic order. A new Beautiful. A Beautiful who no longer obeys the standards that are in effect since the end of Gothic and rebirth. Artists are also looking for this new aesthetic in going back to the past: in the Paleo Christian era, Byzantine, Romanesque, and the first Gothic. The artists return in particular to the "flat painting", ie to the flattened volumes and to the reduced perspective. They take up to the aesthetics of two-dimensional painting, to the detriment of the three-dimensional painting that has prevailed since the end of Gothic and rebirth. The artists of modern art also value the sketch, which has always existed, but they make it a terminal part Modern Art, invents a totally new aesthetic: abstract, non-figurative art, which can be considered to have no precedent in Europe. May be in China, but in a different spirit. Nothing geometric in Chinese abstract art, Everything is in the expression of the Breath that animates the Ten Thousand Beings.
– Contemporary Art is at the Antipodes of Modern Art, although it tries to situate itself in its continuity: It won’t Aesthetics. The Beautiful must no longer be a finality of art. With Contemporary Art, the West does not change aesthetics. The West get out of Aesthetics. This is a total break with the earlier European art In short: it’s the Non-Art. This is a first not only in the history of painting and European sculpture, but also in the history of world art
And of course as it is New, "Never Seen", its inspirers and supporters are very proud of it: This art enters into the creed of their religion, that of the Luminous Modernity. And so, they love. Amen.

It is true that alongside the official art, there is a space of freedom for the artists, faithful to the Beautiful and the Shared sense, in the private commercial art and the art of the streets (not all the art of the streets !!). But the essential question remains: Like Egyptian, Greek, Roman, Catholic art, the Contemporary Official Art is a reflection of the thinking of the current ideological and political elite, of its vision of the world, and of its project for the peoples . It can be said that he reveals his deep intentions. And they are ugly and absurd, that’s what their art says. Their reserved art betrays their democratic public speeches.

the
By jean louis mazieres we 2019-03-20 11:15:38
tags

IMG_2050A Hubert Robert 1733-1808 Paris The temple of Diane in Nîmes. Interior ot the Temple of Diana at Nimes in 1783 Madrid Thyssen-Bornemisza Museum

IMG_2050A Hubert Robert 1733-1808 Paris The temple of Diane in Nîmes. Interior ot the Temple of Diana at Nimes in 1783 Madrid Thyssen-Bornemisza Museum
Hubert Robert 1733-1808 Paris
The temple of Diane in Nîmes.
Interior ot the Temple of Diana at Nimes
1783
Madrid Museum Thyssen Bornemisza

THE BEAUTIFUL IS A SHARED EXPERIENCE

"The world discerns the beauty, and, the ugly is revealed. The world recognizes the good and the evil is revealed."
Dao De Jing, the Book of the Way and the Virtue
LAO TZU (Laozi)

“When the people of the world all know beauty as beauty, there arises the recognition of ugliness. When they all know the good as good, there arises the recognition of evil.”
Dao De Jing, The Book of The Way and Virtue
LAO TZU (Laozi)

"All the florentine art, from Giotto and throughout the Quattrocento, has this amazing quality of absolute truth recognized. The immediate effect of a great Giotto or a Masaccio, is to leave the viewer speechless. It was formerly known as the Beauty."
MARY MAC CARTHY "The Stones of Florence" 1956.

“All great Florentine art, from Giotto through the quattrocento, has the faculty of amazing with its unexpected and absolute truthfulness. This faculty was once called beauty The immediate effect of a great Giotto gold Masaccio is to strike the beholder dumb.”
MARY McCARTHY, “The Stones of Florence,” 1956.

"It is impossible to not understand the art of a medieval if we do not understand what is the space of freedom there is granted to the artist. Medieval art offers evidence of a pleasure for shapes that is common to the artists and their public, and who is not to be confused with religious inspiration."
ANDRE CHASTEL. French Art, Flammarion 1993

"It is impossible to understand anything about medieval art if we do not understand what space of freedom is granted to the artist. Medieval art offers evidence of a pleasure of form that is common to artists and their audiences and not confused with religious inspiration."
ANDRE CHASTEL. French Art, Flammarion, 1993

Contrary to popular belief, all-new, considered as an evidence in our times, the Beautiful is not subjective. No, Beautiful is not only a question of personal taste, an arbitrary total, absolutely self-centered. The beautiful is not autistic, it is a share, even if some of its forms may be more accessible to some people than others, some cultures and not others.
The proof that the Beautiful exists, that it is acknowledged and agreed unanimously by public opinion, and that of specialists, for millions of works whose creation dates range from 3000 bc to the present day. The Beautiful is recognized, it is lived as an experience commonly shared, not only in art but in the whole spectacle of Nature.
It is necessary to leave aside the abstract definitions. The Philosophers were never able to give a satisfactory definition, and indisputable beauty. Leave it to Plato his Idea of a Beautiful, transcendent, is impossible to achieve. Remain at a level that is more trivial, the remarkable beauty, concrete : there is absolutely no serious discussion about the existence of the Beautiful, a feeling in common, is an emotion, poetic, shared by millions of men since The Paleolithic Art, Art Egyptian up to Modern Art, from China to Europe and America.
The Beautiful is not defined, it is felt individually and collectively. Individually felt the beautiful is only subjective, it is of no importance to a person, collectively, felt, and shared by the elites and the population, as a whole, it is objective. It’s becoming a reality at the scale of a community more or less wide, and even up to the entire Earth. The Beautiful is simply a fact verified by the experience of thousands of generations of human beings on the whole Earth.
One might even argue that of the three basic ideas that is Beautiful, Good, True, Beautiful, is the first in which we can identify the onset with certainty in the history of men: Because it leaves traces which we see. When appears the idea of Well? When it appears the idea of True ?
The Beautiful is not defined, it is felt and it evolves in function of time. No doubt the error of the Academy of Paris in the 1850s was that of wanting to define the rules of the Beautiful, in the abstract, for all time and all civilizations, profound mistake, and the impressionists were very quickly against him. They have demonstrated that the Beautiful shared could take other forms.
The Beautiful can take different forms depending on the cultures or civilizations. It is recognized as Beautiful within its cultural domain, but also outside often.
The painting of the literati in chinese is very special, it is possible to individually do not enjoy it, but it would be wrong to speak about an Art of the ugly, and it is not considered as such by the test of time and its confrontation with other cultures as the western.
The Beautiful is simply a fact verified by the experience of thousands of generations of human beings on the whole Earth. The painting of Leonardo da Vinci, mona lisa (Mona Lisa) and the success it met among the populations in extreme eastern is a proof of the universality of beauty.
There are "a sense of beauty, common to all humanity" which is independent of the modes, traditions, religions, and ideologies and even cultures. Even if it is not necessary to overlook some specifics or variability relating to such a culture or such a time. The overall finding is that of a sharing of the feeling of the beautiful to the universal scale.
The beautiful is identified by an intense satisfaction, a feeling of happiness, of joy, of sensual or intellectual, which invades the person, it is his point of departure subjective . This point of departure subjective, which is objective in sharing this feeling with a crowd of other people, cultures and from different eras, to achieve the emergence of a quasi-unanimity, and a quasi-universality.
The beautiful is certainly a lived subjective in that it is experienced individually, but it is objective by the opinion convergent, formulated in the course of time, by the peoples and the elites. It is this common judgment of the peoples and elites, this shared experience, objective and proves the Beautiful.
What is subjective are the preferences of individuals. What is subjective is when a person prefers the romanesque frescoes, or the art of the international gothic painting the Italian Renaissance.
When a person prefers to the art of landscape, or the painting of manners to the religious painting.
If we had said to Fra Angelico, Raphael or Rubens that the Beautiful does not exist and is purely subjective, they would have shrugged shoulders.
Not only the feeling of the Beautiful is a fact of experience, a common humanity, which runs through times and cultures, but the Beautiful can be felt as the ideologies that have inspired the works of art at a given time, in a region of the Earth, are dead as beliefs active.
It is not necessary to believe in the Spirits, the Gods of the Egyptians, Greeks, Hindus or Buddhas to appreciate the beauty of the art of the caves of ancient Egypt, Greece, India, or South East Asia.
Similarly, the representations of God and of the world which are those of the churches of chrétiennes, who have been living and deeply significant to the european populations for over a millennium, may no longer have meaning for a very large majority of the populations of Europe of the West and the North in the 21st century. It remains, however, that these populations, like other peoples in other cultures can recognize the Beautiful in works of art whose symbols are more ideologically significant for them, or even their look ridiculous. The beliefs may change, but the feeling of the Beautiful hard.
The Beautiful, therefore, is a fact found throughout the history of civilization.
The Beautiful is certainly an idea, but for centuries this was not an ideology. And still less its opposite, the Ugly. The multiple ideologies, often religious, that have inhabited for thousands of years the minds of men have used the idea of the beautiful to support their beliefs of the most diverse and even opposite.
From the second half of the 20th century, the elites ‘ political and ideological of the West, atheists, have decided to impose the belief that the Beautiful didn’t exist, and to make believe that the Ugly is a value to be advisable. The contemporary art official is the demo: The ugly has become an ideology, the ideology correct globalism. The population in the most "enlightened" is invited to commune with the Ugly, and the Absurd, to wade delightfully, with distinction, and conceptualism.

The assertion that the Beautiful does not exist, is purely subjective, is an idea that is false, designed and spread during the second half of the 20th century, for reasons ideological and economic.
The ideological grounds are, inter alia, that this relativism to justify the Art Ugly official and that art ugly is a criterion of distinction between the Enlightened and those who are not. The man can invent ideologies, beliefs that deny the Beautiful and the Good. The invention capacity of the beliefs of the most diverse and contrary makes the difference between man and animals.
It is an evolution but this is not necessarily a progress. This may be, it is always, inevitably, in some aspects, a regression. The ability to invent the Beautiful encounter its opposite, that of inventing the Ugly. And even, as in the contemporary art official, a rule, a doctrine. The ability to do Good is inseparable from Evil. And the formulation of truths opens wide the door to the lies.
In addition to the ideological grounds, this statement also allows you to make and sell Ugly, which is an excellent deal. And this is not the slightest reason for this success. The Contemporary Art Official, state, the art of big Organizations Cultural International has, of course, partly linked with the great capitalism of the merchants and financiers, and with the Larger Foundations "philanthropic" who are the emanation. Foundations for which the benefit can be about the beautiful, but equally good with the ugly. And if the ugly is the best benefit, they will not hesitate. They may even make you believe that the ugly is beautiful. And in the meantime your conversion, they will make you believe that it is legitimate and above all more intelligent. For the more the potential buyer will remain gaping mouth in front of the work, the greater he will open his wallet.

BEAUTY IS A SHARED EXPERIENCE

Contrary to a widely, yet only recently accepted concept, which is now considered a truism, Beauty is not subjective. No, Beauty is not just a matter of personal taste, total arbitrariness and absolute egocentricity. Beauty is not autistic, it involves sharing, although some of its forms may be more accessible to some people than others, to some cultures and not to others.

The proof that Beauty exists is that it is recognized and unanimously accepted as such by public opinion and by specialists, with regard to millions of works of art created between 3000 B. C. to the present day. Beauty is generally recognized as a shared experience, not just in relation to art, but also in the spectacle that Nature offers.

Abstract definitions should be set aside. Philosophers have never succeeded in giving a satisfactory and unquestionable definition of Beauty. Forget about Plato and his idea of transcendent, unattainable Beauty. Let us stay at a more trivial level, that of outstanding, concrete beauty : there is absolutely no serious dispute as to the existence of Beauty, a shared feeling, a poetic emotion shared by millions of men, from Paleolithic and Egyptian Art to Modern Art, from China to Europe and America.

Beauty does not define itself, it is felt individually and collectively. Individually felt Beauty is only subjective, it only matters to one person ; collectively felt Beauty, shared by the elites and the people alike, becomes objective. Beauty becomes a reality at the level of a larger community that can even extend to the entire Planet. Beauty is simply a fact verified by the experience of thousands of generations of human beings spanning the entire Earth.

One can even argue that of the three fundamental ideas — Beauty, Goodness, and Truth — Beauty is the first that we can discern with certainty in the history of mankind, because Beauty leaves visible traces. When does the idea of Goodness appear ? When does the idea of Truth appear ?

Beauty cannot be defined, it is felt and evolves with the passing of time. The mistake of the Paris Academy around 1850 was undeniably to seek to define Beauty, in abstraction, for all time and all civilizations ; a grievous error, against which the Impressionists very quickly dispelled. They demonstrated that shared Beauty could take other forms.

Beauty can take different forms depending on the culture, golden civilization. It is recognized as Beauty within stis cultural domain, but also often outside it.

Chinese scholarly painting is very particular, it is possible for an individual not to appreciate it, but it would be wrong to speak about it an Art of Ugliness, and it is not deemed as such by the test of time and its confrontation with other cultures, such as the Western. Beautify is simply a fact verified by the experience of thousands of generations of human beings all over the Earth. Leonardo’s painting of the Mona Lisa and its popularity among the peoples of the Far East testify to this universality of the Beauty.

There exists “a sense of beauty, common to all mankind” that transcend fashions, religions, ideologies, and even cultures, even though some variables specific to a certain culture or period should not be disregarded. The bottom line remains a shared feeling of beauty on a universal scale.

Beauty is identified by intense pleasure, a feeling of happiness, of joy, of a sensual gold intellectual nature that overwhelms a person, that is sti subjective starting point. This subjective starting point becomes objective when the feeling is shared with a multitude of other people, of different cultures and eras, giving rise to a near unanimous and universal experience of Beauty.

Beauty is certainly a subjective experience in that it is felt individually, but it is objectivized by the convergence of opinion, formulated in the course of time, between the people and the elite. It is this common opinion of the people and the elites, this shared experience, which objectivizes and verify Beauty.

It is individuals’ preferences that are subjective. Subjective is a person’s preference for Romanesque frescoes gold international Gothic art over Italian Renaissance painting, gold preference for landscape gold genre painting over religious painting.

If someone had told Fra Angelico, Raphael, or Rubens that Beauty does not exist and is a purely subjective matter, they would have shrugged.

The Beautiful is certainly a subjective, individually felt, but it is objectified by the synthesis of the multiple views of peoples and their elites.

Not only is the sense of Beauty a matter of experience, a common heritage of mankind spanning periods and cultures, purpose, Beauty can be experienced even after the ideologies that inspired art works at a certain period of time, in a specific part of the Earth, have died as active beliefs.

There is no need to believe in the Spirits the golden Gods of the Egyptians, Greeks, Hindus or in the Buddhas in order to appreciate the beauty of cave art, or the art of ancient Egypt, Greece, India, or Southeast Asia.

Likewise, the representations of God and the world prevailing in Christian churches, that have been alive and deeply meaningful to the peoples of Europe for over a millennium, may no longer make sense for a very large majority of the peoples of Western and Northern of the Europe in the 21st century. The fact remains, however, that those peoples, like other peoples in other cultures, can recognize Beauty in art works whose symbols are no longer ideologically meaningful or even appear absurd, to them. Beliefs change but the sense of Beauty remains.

Beauty is therefore an experience fact observed throughout the history of civilizations.

Beauty is certainly an idea, but for centuries it was not an ideology. And even less stis polar opposite, Ugliness. The many ideologies, most often of a religious nature, that have inhabited men’s minds for thousands of years have used the idea of Beauty to support the most diverse and even opposite beliefs.

Beginning in the second half of the 20th century, the ideological and political elites of the West, all atheists, decided to impose the belief that Beauty does not exist, and to force people to believe that Ugliness is a positive, commendable quality. Official contemporary art is the proof : ugliness has become an ideology, the correct ideology of globalism. The most “enlightened” segment of the population is urged to commune with the Ugly and the Absurd, to wallow in it with delight, and to revel in its distinction and conceptualism.

The assertion that Beauty does not exist and is purely subjective, is a false idea, conceived and propagated during the second half of the 20th century for ideological and economic motives.

The ideological motives are, in particular, that such relativism allows one to justify the official Art of the Ugly and that Ugly Art is a criterion distinguishing the Enlightened from those who are not. Man can indeed invent ideologies gold beliefs that negate Beauty and Goodness. This ability to make up the most diverse and even contrary beliefs is what sets apart mankind from animals.

Evolution it may be, but not necessarily progress. It can be, in fact from certain aspects it is always and inevitably a regression. The ability to invent Beauty has puts stis opposite, that of inventing Ugliness. And even, as in the official contemporary art, to set it up as a rule, a doctrine. The capability to do Good is inseparable from that to do Evil. And the formulation of truths opens the door wide to the lees.

Beyond ideological motives, this finding also makes it possible to manufacture and sell the Ugly, which is a wonderful deal. And that is not the least reason for its success. The official, state-sponsored Contemporary Art, the art of the great International Cultural Organizations, goes hand-in-hand with the high capitalism of merchants and financiers, and with the “philanthropic” Great Foundations that derive therefrom. Foundations for can benefit from the Beautiful as from the Ugly. And if the Ugly is more profitable than the Beautiful, they will not hesitate for a second. They can even make you believe that ugly is beautiful. And while waiting for your conversion, they make you believe that it is theegitimate and above all supremely intelligent. Because the more the potential buyer gapes open-mouthed at the Work of Art, the deeper he will open his wallet.

the
By jean louis mazieres we 2018-10-03 10:42:16
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Freelance Sketchup+Vray Teacher – JFL Media Training – Toronto, ON

Freelance Sketchup+Vray Teacher – JFL Media Training – Toronto, ON

We are currently looking to expand our team at JFL Media and are looking for SKETCHUP+VRAY freelance teachers.

We offer private courses, either one on one or in a small group at our client’s home or at their work. Lessons are fully customized to our clients needs and level of experience – workshop style – merging theory and practice to offer a very comprehensive learning experience.

Classes can be delivered during the week or weekend, day or evening depending on your availability and the client’s requests. No preparation for your class is required nor do you need to bring class material for the client. Each class lasts 3 hours.

Teachers need to have a laptop and the required program on their computer in order to offer the course. A car is not required but if you have one, please advise us because we do offer classes outside of the city centers, if you are interested in travelling for a bonus amount.

Our company is www.jfl-media.comand we sell private training all over Canada. JFL Media is a very relaxed and flexible environment. Our teachers are our most important asset and love creating opportunities for people on our team.

Please email us here if you’re interested

Job Types: Part-time, Temporary, Contract, Freelance

Experience:

  • Sketchup+Vray: 1 year (Preferred)

Published at Thu, 11 Apr 2019 21:28:54 +0000

IMG_1200KZHN Master of the carnation of Baden. Master at Baden’s carnation.15-16th. Altarpiece of the Passion. Altarpiece of the Passion. Dijon. Museum of Fine Arts

IMG_1200KZHN Master of the carnation of Baden. Master at Baden’s carnation.15-16th. Altarpiece of the Passion. Altarpiece of the Passion. Dijon. Museum of Fine Arts
Master of the carnation of Baden. Master at Baden’s carnation.15-16th.
Altarpiece of the Passion. Altarpiece of the Passion.
Dijon. Museum of Fine Arts
The Master of the carnation is a generic name of a number of painters swiss,
tyrolean or bavarian who sign their works with a grommet.
The Tone Master is a generic name of several Swiss painters,
Tyroleans gold Bavarians who sign their works with a carnation.

THE BEAUTIFUL FACT OF THE PROPERTY

The art of all times and in all societies is a way for the elites to impose a religion (sacred) or an ideology (secular, lay). Art is thus an interesting means of revealing the philosophical and moral, which inspires the elites of a given society in a given time. These religions or ideologies may differ much as to the benefit that the people will, or not, remove it. Some are conducive to the establishment of civilisations in the long course (ancient Egypt, Antiquity, greco-roman, Christianity, Hinduism, Buddhism, Islam,….) others are more or less rapidly fatal ( Companies, Aztec and Inca, Communism, National-Socialism).
In fact, some ideologies, sacred or profane, designed by the elites, have been, more or less short term, will be accepted and fully shared by the people who acceded to it without reluctance. They can then be imposed entirely without offending the feelings and liberties of the people, or at least a majority of widely significant, or even unanimously within their company for a long period of time.
Other ideologies however have been imposed by the elites, but there has not been the unanimous or majority peoples who have entered into resistance, passive or active, with more or less success at the end of a more or less long period.
It is possible to encounter in the history of the world is a different situation: those of ideology, sacred or secular, often from foreign, which have been adopted or have been adopted by people, but have been fought by the elites ‘ political and ideological of the country.

After a passage through the halls of contemporary art museums in the West, there are many people who are having real relief, and say their pleasure, their sense of happiness, wholeness, returning to the ancient art or modern art (1850-1950), in short the Fine Arts.
An English philosopher today, Roger Scruton (Youtube) dare to remind that Beautiful is important to the man.
Actually the Beautiful. It is not a question of high philosophy or to examine the relations, connections and differences between the Beautiful and the Good, the Ugly and the Evil, but a statement of experience and a common sense proposition
It is a fact, the Beautiful, and this is the reason why you should worry, and do not hesitate to protest against a contemporary art which requires the Ugly as a criterion of its choice.
Do not be intimidated by the totalitarian regime of a conception of art that hurts the majority of a population. 70% since the statistics show that it is the percentage of the population, in any case, French is disinterested in contemporary art.
You need to be worried of the existence and legitimacy of the elite that imposes on the peoples of the West, of the hideous features, advocates and love on its modern altars prepared in the halls of contemporary art, huge like cathedrals, this Ugly who wants us to be evil.
Replace the religion of the Beautiful in the Ugly is not innocent, it is un project perverse.
And when this project adds to the harm to the Non-Sense and Absurdity we must dare to say no, this is enough, this is a violation of our consciences and a violation of our conception of life and our environment.
This choice of the elites had perverse effects, not only on the visitors of museums, but also in our contemporary art spaces, by way of example that it offers to the people justifying the ugly and non-sense. By contagion.
It should be noted that outside the circles of officials, in the middle classes, is clearly appeared, in painting, sculpture, photography, even, after the 1960s, a stream pretending to be artistic, but very oriented to the expression of the ugly and the absurd. In the portrait and the representation of the man and the woman in particular. This fascination for the ugly, which is spreading, is certainly the expression of a malaise of existential, despair daily located at a more comprehensive level: that of contemporary western society.
It is a fact that street art, popular and spontaneous, is usually more various, more imaginative, more beautiful and more meaningful than art that is elitist, formal and directed the museum of contemporary arts.
But it is also a fact that the streets of our cities and major roads are the place of expression of a vandalism of the beautiful and meaning, a desire for provocation and a blatant disregard of the other. The Non-art does not exist only in museums of contemporary art is also very present in our streets and perfectly tolerated and even encouraged in some areas. Not the "uptown" of course, that are protected. This not-street art works borrowed heavily from the example given by the non-art of the elites.
The fish starts rotting from the head, but the fish eventually rot entire.

BEAUTY IS GOOD FOR YOU

The art of all times and in all societies is a means for the elites to impose a (sacred) religion or an ideology (secular, secular). Art is therefore year interesting revealer of the philosophical and moral thought that inspire the elites of a given society in a given time. These religions gold ideologies can differ a lot as to the benefit that peoples will or will not withdraw. Some are conducive to the establishment of long-term civilizations (ancient Egypt, Greek-Roman antiquity, Christianity, Hinduism, Buddhism, Islam …) others are more or less rapidly mortal (the Aztec and Inca society, Communism, national Socialism).
Indeed, certain ideologies, sacred gold secular, conceived by the elites, have been, more or less short term, accepted and totally shared by the peoples who adhered to it without reluctance. They can then impose themselves completely without hurting the feelings and freedoms of the people, or at least a largely significant majority, even unanimity within their society for a long period of time.
Other ideologies, on the other hand, have been imposed by the elites, the goal did not generate the membership unanimous gold majority of peoples that cam into resistance, passive gold active with more or less success after a shorter’or longer period.
It is possible to encounter a different situation in the history of the world: those of ideologies, sacred gold secular, often of foreign origin which have been adopted, or would have been adopted by peoples, purpose were fought by the elites, ideological and political of the country.

After a passage through the contemporary art galleries of the museums of the West, many people are experiencing real relief, and say their pleasure, their feeling of happiness, fullness by returning to ancient art or to Modern Art (1850-1950), in brief at the Fine Arts.
A current English philosopher, Roger Scruton (Youtube) dares to recall that ” the Beautiful is important for humans.
Indeed Beauty is good for you . The point is not highly philosophical. It is not a question of interrogate the relations, correspondences and differences between Beauty and the goodness, the ugly and the Evil, but to note and recall a fact of experience and a proposal of common sense.
It is a fact, Beauty does good, and that is why we must be concerned, and not hesitate to protest against a contemporary art that fixed the Ugliness as a criterion of its choices.
We must not be intimidated by the totalitarianism of a conception of art that hurts the majority of a population. 70% since statistics show that it is the percentage of the population, at least in France, that is losing interest in contemporary art.
We must be concerned about the existence and legitimacy of an elite that imposed ugliness we the peoples of the West, advocates and love for its modern altars erected in huge contemporary art rooms like cathedrals, this ugliness that wants to hurt us.
Replace the religion of beauty with that of the ugly is not innocent, it is a perverse project.
And when this project adds to its harmfulness the Non-Sense and the Absurdity, one must dare to say no, it is enough, it is a violation of our consciences and an attack on our conception of the life and simply to our environment.
This choice of elites has perverse effects, not only on visitors to museums, but also elsewhere than in our contemporary art spaces, by the example he offered to the people by justifying the ugly and nonsense. By contagion.
It must be noted that outside the official circles, in the middle classes, clearly appeared, in painting, in sculpture, in photography even, after the 1960s, an artistic current, very oriented towards the expression of the ugly and The absurd. In the portrait and representation of man and woman in particular. This fascination with the ugly, which is spreading, is certainly the expression of an existential malaise, of a daily despair situated at a more global level: that of contemporary Western society.
It is a fact that the art of the streets, popular and spontaneous, is generally more diverse, more imaginative, more beautiful and more meaningful than the elitist, official and directed art of contemporary art museums.
But it is also a fact that the streets of our cities and our great roads are the place of expression of a vandalism of the beauty and meaning, a will to provoke and a blatant disregard for others. Non-art does not exist only in museums of contemporary art, it is also very present in our streets and perfectly tolerated and even encouraged in certain neighborhoods. Not the "uptown" of course, which are protected. This non-art of the street art borrows much from the example given by the non-art of the elite.
The fish begin to rot by the head, but the fish ends up rotting whole.

the
By jean louis mazieres on 2013-06-05 14:48:48
tags

IMG_8034 Jean Metzinger 1883-1956 Paris. Book and pipe red. Book and red pipe 1921 Madrid Museum Reina Sofia

IMG_8034 Jean Metzinger 1883-1956 Paris. Book and pipe red. Book and red pipe 1921 Madrid Reina Sofia Museum
Jean Metzinger 1883-1956 Paris.
Book and pipe red. Book and red pipe 1921
Madrid Reina Sofia Museum

MODERN ART : THE RENEWAL OF FORMS

Modern Art, announced at the beginning of the 20th century by the romantic painters ( Constable, Turner, Delacroix ) and the pre-impressionists has been a factor in a remarkable renewal of aesthetic forms in european painting.
Its essential characteristic is definitely its commitment to invention, change, which expresses itself in painting, in the use of color, in search of a new drawing, in the diversity of the topics covered. We can say that european civilization is distinguished from other major civilizations by this constant search, at the scale of centuries, of innovation. This has not been the case, for example, the islamic civilizations, or the chinese whose values have infinitely more priority to sustainability and to the maintenance of traditions. Once again we see that art is a revealing of the values that drive societies.

The techniques used by european painters during the 19th century, to create a new art are multiple, except in the omission, one can the identify as well :
1°"The Painting Flat": for example, with Manet, later Gauguin, Maurice Denis, and Raoul Dufy, the Nabis… This technique reduces or eliminates the volume and the perspective and emphasizes the lines. The painter strives more to make the world in three dimensions, as it has done for centuries. The artist offers a vision of the world that accepts the flatness of the table. The artist paints in two dimensions. It is a return to an aesthetic that was one of the paint Byzantine, Romanesque and Gothic. With other themes, of course, because one of the characteristics of modern art is the scarcity of religious reasons, or inspired by Greek and roman antiquity.
2° The decomposition of the light and of the colours, spots and dots."Tachism". The Préimpressionnistes (Barbizon School, Corot) The Impressionists. The Pointillists (Seurat, Signac)
3° The colors arbitrary or symbolic. The artist departs from the colors "real", those received by the eye and the human brain, and makes colors seem arbitrary: Gauguin, the Fauves, the symbolism, the surrealism … It is a technique that the painting of the romanesque and gothic were put into practice very regularly.
(4) The valuation of the Sketch. The sketch has been for centuries, and only, what its name suggests : a Study preparatory to a definitive painting. In the 19th the sketch is a process, final, terminal, artistic expression.
5° The Geometrism. The decomposition of the space and volume in the real world, lines and surfaces, more or less, synthetic and meaningful. (Cézanne, Braque). We also talked of Cloisonnisme. That will lead to abstract art.
6° The "multiplicity of points of view" on an object or a subject. Technique that seeks to make the real as if it stared at him, at the same time, since several points in space. (The Cubists)
7° Abstract art, finally, a novelty to almost total in the european art.

Art has always been, a way of dreaming the real world. But the new techniques of Modern Art, depart all of them, in a very intentional, proactive, accurate representation of the real.
Painters tend to create an art in which the interpretation of reality prevails on its reproduction.
The artist’s "modern" reproduces the real, but also the dream and the invents. These trends have resulted in non-figurative art, otherwise known as abstract art.
This renewal of forms in painting is total.
It has brought new possibilities, very interesting, and very beautiful, artistic expression.

It must not be confused with Modern Art and Contemporary Art. They do not cover the same period. They do not have the same aesthetic characteristics nor the same ideological foundations.
Modern Art covers a period that goes from the pre-impressionists, circa 1850-60, until the second world war. At least this is the periodization the most commonly accepted by historians of the item
Other historians do start a little later with the post-impressionist and abstract art, circa 1900. The broadest definition is probably the best because the impressionists are artists fully "modern". One may even think that Modern Art begins with the return of peace in Europe after 1815, with some romantic painters such as the French Eugène Delacroix, or with William Turner, fantastic, innovative, a harbinger of impressionism and non-representational art, who died in 1853.
These two artists have made the sketch a means of artistic expression of choice.
The painters of this time are already deeply inspired by the commitment to innovation that characterizes Modern Art. The period of Modern Art, extremely dynamic, on the other hand, another major characteristic, rich of diversity. It fits perfectly in the history of european art. It does not deny the past, academic art is practiced, but it is also remarkably creative works in multiple, inventive forms entirely new aesthetic expression.
.
Contemporary Art has been established in Europe after 1945. Some fix his birth in the 1950s. One can also claim, with much reason, that his date of birth, in any case, the ideological and political, is the establishment of a New York Moma by the Rockefeller (1929). The dates are of course approximate, and some painters such as Picasso and Miro belong to the spirit of Modern Art, while they remain very creative after 1945.
In painting and sculpture, the diversity is then place in a deep consistency that is concealed behind the appearances of the innovation. The explosion of originality, freedom, and non-conformism that characterizes the Modern Art becomes Contemporary Art, a system that freezes in the ideologically correct. And the ldéologie new is that the aesthetic and the sharing of the beautiful with the population, is no longer a goal of the official art. The art must be the opposite of what has been done in the past. The inversion of values is complete, and totalitairement imposed.
Contrary to what it claims to be the Contemporary Art, it’s official, the one that is installed in the permanent collections of museums, or in some specialized exhibitions, is an art frozen, academic, exhausted by a system and an obsession : the New Modernity. It is the Art of the clean slate of the Past : an art without roots, reserved to an elite of so-called "Comprenants" who despise the peoples, they rule "democratically".
The essential difference between Modern Art and Contemporary Art Official can be understood very simply :
– Modern Art is seeking a change of aesthetic. A Beautiful new. A Beautiful one that no longer complies with the standards are those in force since the end of the gothic and the renaissance. The artists seek also this new aesthetic up top in the past : the periods of Paleo-christian, Byzantine, Romanesque, and early Gothic. The artists are going back in particular to the "paint platform", that is to say, the volumes flattened and the perspective reduced. They take the aesthetics of painting in two dimensions, to the detriment of the painting in three dimensions that has prevailed since the end of the gothic and the renaissance. The artists of the modern art value sketch, which has always existed, but they make it an art terminal. Modern Art has invented a wholly new aesthetic : abstract art, non-figurative, which we can consider that there is no precedent in Europe. May be in China, but in quite another spirit. Nothing geometric in abstract art chinese. Everything is in the expression of the Breath that animates the Ten Thousand Beings.
– The Contemporary Art is the antithesis of the Modern Art, though it is tempting to lie in its continuity : It denies the Aesthetic. The Beautiful must not be a purpose of the item With the Contemporary Art, the West does not change aesthetics. The West comes out of the Aesthetic. It is a total break with the art of the european past. In short : it is Non-Art. This is a first not only in the history of painting and sculpture in europe, but also in the history of world art.
And of course as it is New, "Never Seen", its inspirers and supporters are very proud of it: This art between in the creed of their religion, Modernity, Light. And so, they love it. Amen.

It is true that next to official art, there is a space of freedom for artists, faithful to the Beautiful and the Meaning is shared, in private art sales and the art of the streets ( not all the art of the streets !!). But the essential question remains : As the art of Egyptian, Greek, Roman, Catholic, Contemporary Art official is a reflection of the thinking of the elite ideological and political current, of his vision of the world, and his project for the peoples. We can say that it reveals its deep intentions. And they are ugly and absurd, that is their art, Their art reserved betrays their public discourse that are democratic.

MODERN ART: THE RENEWAL OF FORMS

Modern Art, announced from the beginning of the 20th century by the romantic painters (Constable, Turner, Delacroix) and pre-impressionists has been a factor quite remarkable renewal of aesthetic forms in European painting. Stis essential characteristic is certainly his invention will, his desire for change, expressed in painting, in the use of colors, in the search for a new design, in the diversity of topics. It can be said that European civilization differs from other great civilizations through the constant research, on the scale of centuries, of innovation. This was not the case for example of Islamic and Chinese civilizations whose values have infinitely more given priority to the sustainability and the maintenance of traditions. Once again we see that art is a developer of the values that drive the societies.

The techniques used by European painters during the 19th century to create a new art, are many. Except by omission, and we can enumerate:
1° "The Flat Painting", for example with Manet, Gauguin, Maurice Denis, the Nabis … This technique reduces gold removes volumes and perspective and focuses on lines. The painter no longer tries to represents the world in three dimensions, as he has done for centuries. The painter offered a vision of the world that accepts the flatness of the table. The artist paints in two dimensions. She returned to an aesthetic that was practiced by the Byzantine painting, Romanesque and Gothic. With other themes obviously, since one of the features of modern art is the increasing scarcity of religious motives gold inspired by Greek and Roman antiquity.
2° The decomposition of light and colors with spots and dots. "The Tachism". The Pre-Impressionists, the Barbizon School, Corot, The Impressionists. the Pointillist (Seurat, Signac)
3° The arbitraries and symbolic colors. The artist moves away of the colors "real", those perceived by the eye and the human brain, and invents arbitrary colors: Gauguin, the Fauves, symbolism, surrealism … It is a technique that painting Romanesque and Gothic had practiced regularly.
4° The valorization of the Sketch. The sketch was, for centuries, only what its name indicates: a preparatory study for a final painting. In the 19th the sketch becomes a permanent process, terminal, completed, of artistic expression.
5° The Geometrism. The decomposition of space and volumes of the real world into lines and surfaces, more or less, synthetic and significant. (Cézanne, Braque). We also talked about Cloisonnism. Which will lead to abstract art.
6° The "multiplicity of perspectives" on an object. Technique that seeks to make the real, as if you looked at him, at the same time, from several points of space. (The Cubist)
7° Abstract art, finally, a novelty almost complete in the European part

Art has always been a way to dream the real world. Goal news techniques of Modern Art, are moving away from, in a manner very intentional, voluntarist, of the exact representation of reality.
The painters tends to create an art in which the interpretation of reality prevails over sti reproduction.
The "modern" artist reproduces reality, but also the dream and invents it. These tendencies have led to non-figurative art, otherwise known as abstract art.
This renewal forms in painting is total.
It has brought new opportunities, exciting, and beautiful, artistic expression.

It must of not confusing Modern and Contemporary Art. They do not cover the same period. They do not have the same aesthetic characteristics or the same ideological foundations.
The Modern Art covers a period that goes from pre-Impressionists, to 1850 to 1860, until the Second World War. This is at least the periodization the most commonly accepted by art historians.
Other historians begin “Modern Art” a little later with the post-impressionist and abstract art, circa 1900. The broadest definition is certainly the best because Impressionist artists are fully "modern".

We can even think that Modern Art began as soon as the peace returned to Europe after 1815, with some romantic painters like the French Eugene Delacroix, or with William Turner, a fantastic innovator, announcer of impressionism and non-representational art, who died in 1853. These two artists have made with the sketch a privileged means of artistic expression.
The painters of this period are already deeply inspired by the desire for innovation that characterizes modern art. The period of Modern Art, extremely dynamic, is the other, another major feature rich diversity. It fits perfectly in the history of European art, She does not repudiate the past, academic art is quite practiced, but it is also remarkably creative multiple works, inventive forms entirely new of aesthetic expression.

Contemporary Art imposed itself in Europe after 1945. Some historians fixed sti birth in the 1950s. One can also claim, with a lot of reasons, that its date of birth, in any case ideological and political, is the creation in New York. of the Moma by the Rockefellers (1929). The dates are of course approximate and some painters like Picasso gold Miro belong to the spirit of the Modern Art, while they remain very creative after 1945.
In painting and sculpture, diversity gives way to a profound uniformity dissimulated behind the appearances of innovation.
The explosion of originality, freedom, and non-conformism that characterizes Modern Art becomes with contemporary art, a system that congeals in the ideologically correct. And the new ideology wants that aesthetics and the sharing of beauty with the population, is no longer a goal of the official art. Art must be the opposite of everything that has been done in the past. The inversion of the values is total, and totally imposed.
In painting and sculpture, diversity gives way to a deep uniformity, hidden behind the appearances of innovation and even of the provocation. The explosion of originality and non-conformism that characterizes modern art becomes a system that hard lockups back in the ideologically and aesthetically correct. Contrary to what he claims to be, contemporary art, official, one installed in the permanent collections of museums, or in some specialized exhibitions, is a static, academic, exhausted by a system and an obsession: the New, the Modernity. This is the Art of the clean slate of the Past: an art without roots, reserved for an elite of so-called "Comprenants" who despise the people, that they govern "democratically".
The essential difference between Modern Art and Official Contemporary Art can be understood very simply:
– Modern Art seeks a change of aesthetic order. A new Beautiful. A Beautiful who no longer obeys the standards that are in effect since the end of Gothic and rebirth. Artists are also looking for this new aesthetic in going back to the past: in the Paleo Christian era, Byzantine, Romanesque, and the first Gothic. The artists return in particular to the "flat painting", ie to the flattened volumes and to the reduced perspective. They take up to the aesthetics of two-dimensional painting, to the detriment of the three-dimensional painting that has prevailed since the end of Gothic and rebirth. The artists of modern art also value the sketch, which has always existed, but they make it a terminal part Modern Art, invents a totally new aesthetic: abstract, non-figurative art, which can be considered to have no precedent in Europe. May be in China, but in a different spirit. Nothing geometric in Chinese abstract art, Everything is in the expression of the Breath that animates the Ten Thousand Beings.
– Contemporary Art is at the Antipodes of Modern Art, although it tries to situate itself in its continuity: It won’t Aesthetics. The Beautiful must no longer be a finality of art. With Contemporary Art, the West does not change aesthetics. The West get out of Aesthetics. This is a total break with the earlier European art In short: it’s the Non-Art. This is a first not only in the history of painting and European sculpture, but also in the history of world art
And of course as it is New, "Never Seen", its inspirers and supporters are very proud of it: This art enters into the creed of their religion, that of the Luminous Modernity. And so, they love. Amen.

It is true that alongside the official art, there is a space of freedom for the artists, faithful to the Beautiful and the Shared sense, in the private commercial art and the art of the streets (not all the art of the streets !!). But the essential question remains: Like Egyptian, Greek, Roman, Catholic art, the Contemporary Official Art is a reflection of the thinking of the current ideological and political elite, of its vision of the world, and of its project for the peoples . It can be said that he reveals his deep intentions. And they are ugly and absurd, that’s what their art says. Their reserved art betrays their democratic public speeches.

the
By jean louis mazieres we 2018-10-04 10:19:06
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Freelance Revit Teacher – JFL Media Training – Toronto, ON

Freelance Revit Teacher – JFL Media Training – Toronto, ON

We are currently looking to expand our team at JFL Media and are looking for REVIT freelance teachers.

We offer private courses, either one on one or in a small group at our client’s home or at their work. Lessons are fully customized to our clients needs and level of experience – workshop style – merging theory and practice to offer a very comprehensive learning experience.

Classes can be delivered during the week or weekend, day or evening depending on your availability and the client’s requests. No preparation for your class is required nor do you need to bring class material for the client. Each class lasts 3 hours.

Teachers need to have a laptop and the required program on their computer in order to offer the course. A car is not required but if you have one, please advise us because we do offer classes outside of the city centers, if you are interested in travelling for a bonus amount.

Our company is www.jfl-media.comand we sell private training all over Canada. JFL Media is a very relaxed and flexible environment. Our teachers are our most important asset and love creating opportunities for people on our team.

Please email us here if you’re interested

Job Types: Part-time, Temporary, Contract, Freelance

Experience:

  • Revit: 1 year (Preferred)

Published at Thu, 11 Apr 2019 21:30:46 +0000

Freelance Video Editor Teacher for After Effects and Adobe Premiere – JFL Media Training – Toronto, ON

Freelance Video Editor Teacher for After Effects and Adobe Premiere – JFL Media Training – Toronto, ON

We are currently looking to expand our team at JFL Media and are looking for VIDEO EDITOR freelance teachers for AFTER EFFECTS and ADOBE PREMiERE.

We offer private courses, either one on one or in a small group at our client’s home or at their work. Lessons are fully customized to our clients needs and level of experience – workshop style – merging theory and practice to offer a very comprehensive learning experience.

Classes can be delivered during the week or weekend, day or evening depending on your availability and the client’s requests. No preparation for your class is required nor do you need to bring class material for the client. Each class lasts 3 hours.

Teachers need to have a laptop and the required program on their computer in order to offer the course. A car is not required but if you have one, please advise us because we do offer classes outside of the city centers, if you are interested in travelling for a bonus amount.

Our company is www.jfl-media.comand we sell private training all over Canada. JFL Media is a very relaxed and flexible environment. Our teachers are our most important asset and love creating opportunities for people on our team.

Please email us here if you’re interested

Job Types: Part-time, Temporary, Contract, Freelance

Experience:

  • After Effects and Adobe Premiere: 1 year (Preferred)

Published at Thu, 11 Apr 2019 20:57:34 +0000