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Freedom and Other Illusions Revisited: or, when Life imitates / copies Art – the "total art work"
7460 Views October 30, 2018 63 Comments	Guest Analyses The Saker
Freedom and Other Illusions Revisited
(or, when Life imitates / copies Art – the "total art work")
With a Postscript: Meditations on Representationalism
by David A. Powell for The Saker Blog
"In disciplinary and industrial society, system-preserving power was repressive. Factory workers were brutally exploited by factory owners. Such violent exploitation of others' labor entailed acts of protest and resistance. There, it was possible for a revolution to topple the standing relations of production. In that system of repression, both the oppressors and the oppressed were visible. There was a concrete opponent – a visible enemy – and one could offer resistance.
The neoliberal system of domination has a wholly different structure. Now, system-preserving power no longer works through repression, but through seduction – that is, it leads us astray. It is no longer visible, as was the case under the regime of discipline. Now, there is no longer a concrete opponent, no enemy suppressing freedom that one might resist. Neoliberalism turns the oppressed worker into a free contractor, an entrepreneur of the self. Today, everyone is a self-exploiting worker in their own enterprise. Every individual is master and slave in one. This also means that class struggle has become an internal struggle with oneself. Today, anyone who fails to succeed blames themselves and feels ashamed. People see themselves, not society, as the problem."
From: "Why revolution is no longer possible" – Byung-Chul Han (Oct. 23, 2015)
https://www.opendemocracy.net/transformation/byung-chul-han/why-revolution-is-no-longer-possible
During my university time (late 1960's‒early 1970's), I learned about the Italian Futurists – and specifically about Filippo Tommaso Marinetti:
https://en.wikipedia.org/wiki/Filippo_Tommaso_Marinetti
The book I consulted was my new copy of Herschel B. Chipp's "Theories of Modern Art – A Source Book by Artists and Critics"; with contributions by Peter Selz and Joshua C. Taylor, published 1968. Included in this remarkable anthology is Filippo Tommaso Marinetti's essay "The Foundation and Manifesto of Futurism" written in 1908.
About 34 years later, the novelist / essayist Mark Slouka wrote an essay called "Quitting the Paint Factory" (2004) in which he relates how he first came across the Italian art movement known as Futurism along with perhaps its most prominent exponent, Marinetti (all of which reminded Slouka – however indirectly – of one George W. Bush); Marinetti, who was a staunch supporter of Mussolini, and considerably more along an entirely official Fascist trajectory. Marinetti glorified war and violence from top to bottom along with holding a large number of very nasty, poisonous Fascist ideas; all entertained in an extremely serious manner which should never be underestimated and lightly dismissed as "simply a gesture of adolescent rebellion", as Slouka admits to doing:
"I recalled reading about an Italian art movement called Futurism, which had flourished in the first decades of the twentieth century. Its practitioners had advocated a cult of restlessness, of speed, of dynamism; had rejected the past in all its forms; had glorified business and war and patriotism. They had also, at least in theory [my emphasis], supported the growth of fascism. […]
"… it was not until I'd returned to the States and had forced myself to wade through the reams of Futurist manifestos – a form that obviously spoke to their hearts – that the details of the connection began to come clear. The linkage had nothing to do with the Futurists' art, which was notable only for its sustained mediocrity, nor with their writing, which at times achieved an almost sublime level of badness. It had to do, rather, with their ant-like energy, their busy-ness, their utter disdain of all the manifestations of the inner life, and with the way these traits seemed so organically linked in their thinking to aggression and war." […] (my emphasis)
'Militarism, patriotism, the destructive gesture of freedom-bringers,' 'a feverish insomnia,' 'great crowds excited by work' … I knew that song. And yet still, almost perversely, I resisted the recognition. It was too easy, somehow. Wasn't much of the Futurist rant ('Take up your pickaxes, your axes and hammers and wreck, wreck the venerable cities, pitilessly') simply a gesture of adolescent rebellion, a F*** YOU scrawled on Dad's garage door? I had just about decided to scrap the whole thing when I came across Marinetti's later and more extended version of the Futurist creed [1913]. And this time the connection was impossible to deny." […]
http://www.molvray.com/ebooks/Quitting_the_Paint_Factory_Mark_Slouka.html
Nevertheless, Slouka seems to missed Marinetti's co-authorship of the original Fascist Manifesto in 1919 … which is sort of a "major issue" in this particular art historian's estimation – especially in view of what Slouka tells us that he "forced [himself] to wade through" (i.e., "reams of Futurist manifestos") … while Slouka also apparently remained (in spite of all his "wading") either unaware (or completely unimpressed by) Marinetti's essay, "The Foundation and Manifesto of Futurism", which makes it abundantly clear that Marinetti's ideology of technology-on-steriods, war and violence – plus his glorification / fanatical advocacy of all forms of nihilistic destruction known to humanity – was already spiritually alive and kicking in 1908 … all throwing into considerable question the thoroughness – not to mention the "insight" informing Slouka's self-professed manifesto reading.
But, there is more: Slouka's flippant, unprofessional-sounding evaluation of the "quality" of Futurist writing (which, in his words, "achieved an almost sublime level of badness"); a "judgement" functioning, on another level, as a clumsy, career-promoting stab at reminding the reader that he – Mark Slouka – is what's known as a genuine "professional writer (read: artist)" as opposed to all the pretentious art bozos historically known as "the Italian Futurists" (artists who Slouka appears to think only deserved to be exploited for his own puposes, instead of what was once known as a "fair and impartial hearing"; one informed by a sincere effort to actually listen to whatever is being said in contrast to the impatient condescension doled out by Slouka.)
What we are finally left with regarding Slouka's superficial and art-historically shakey conclusions about Futurist art and thought (to put it mildly), is the author's highly selective account of a phenomenon which the author obviously wanted to describe to his readers as one which only shares and thus reinforces the author's own chosen themes which he'd already addressed in his essay such as "ant-like energy", "busy-ness", along with "utter disdain of all the manifestations of the inner life".
Here is the brief, "essential information" which is given in the above Wikipedia entry concerning Marinetti: "In early 1918 [Marinetti] founded the 'Partito Politico Futurista' or Futurist Political Party, which only a year later merged with Benito Mussolini's 'Fasci Italiani di Combattimento.' Marinetti was one of the first affiliates of the Italian Fascist Party. In 1919 he co-wrote with Alceste di Ambris the Fascist Manifesto, the original manifesto of Italian Fascism."
Contrary to popular belief along with the (mis)conceptions of some "professional writers," however, nothing can change the fact that THEORIES, along with IDEAS (not to mention the representational images our medial culture manufactures and sells to us of Theories and Ideas), are not pies-in-the-sky we don't have to take seriously in our "real world" of grown-up people, journalists, professional writers, and the like. Theories / Ideas are very real and tangible THINGS whether proven, acknowledged or not … and even when not exactly material objects like machine guns or iPhones. Theories / Ideas are made by humans and exist squarely on our earth. Consequently, Theories / Ideas have a profound influence over many THINGS within our material world including other humans plus their thoughts, ways of seeing, as well as their actions … yes, in spite of all of this happening essentially undetected by the materialist / reductive worldview.
Outside of how politically-specialized thinking regards what it judges to be "Genuine Fascism" – oversights and thought failures, along with the kind made by Slouka as he attempted to come to terms with Marinetti and the Italian Futurists … these remain largely the natural outcomes of not considering the fact that historical events / developments do not exclusively result from mere "political / economic / non-aesthetic cultural factors"; that historical events can also be the "born results" of something like a "total art work" (Gesamptkunstwerk); one employing numerous media and forms simultaneously – and one which in some cases appears on this earth with the paramount purpose of producing precisely such a world-changing force.
Quite uncoincidentally, therefore, a "total art work" turns out to have been what Richard Wagner created with his music dramas (while "created entirely originally" would be a somewhat inappropriate term here) … but one which is also exactly parallel with what our mass / popular culture – in a multi-medial, all-encompassing form – both accomplishes and in fact comprises … but operating in an entirely converse sense, i.e., in terms which are totally opposed in every detail and aspect of its existence as well as its methods, to art itself.
The idea of the Gesamptkunstwerk is a specifically German concept originating in the writings of philosopher Friedrich Schelling in 1802. Schelling wrote about the "necessary deification of the human being" allowing the artist's creations to be equated with the creations of nature; while the term Gesamptkunstwerk first appeared in the work of writer / philosopher Eusebius Trahndorff in 1827.
In 1849, the term Gesamptkunstwerk shows up again in a text with the title "Art and the Revolution" by (you guessed it) Richard Wagner (it is unknown, however, whether Wagner knew Trahndorff's work). In Wagner's following book, The Artwork of the Future, he developed his thesis of the Gesamptkunstwerk still further – a conception of an all-encompassing artwork in which Wagner arranged and subordinated the individual "sister arts" for the common purpose / task of serving the music drama. (Wagner's well-known incorporation of what Hitler later called "the heroic" elements of Germanic mythology and folklore in his music dramas, on the other hand, eventually earned Wagner the "distinction" of becoming – as well as remaining – the favored composer of Der Führer.)
Thus Wagner made the term "Gesamptkunstwerk" known even outside Germany, which naturally connected it, in the process, with his name alone. Far more importantly, though, Wagner's entire grandious, foundation-shaking, Musical-Dramatic-and-World-Historical THEORY of the "total art work" was finally brought to vivid life and executed by an extraordinarily vivid human imagination working hand-in-hand with none other than a "real life," down-to-earth Ancient Human Activity straight out of nature called art (which, in keeping with its source – that is, nature itself – can intrinsically be seen as neither moral nor immoral, et cetera … but only ultimately seen as "moral / immoral, et cetera" in terms depending entirely upon which art work / art theory / art practitioner is meant).
Marina Tsvetaeva (1892-1941): "What is art? Art is the same as nature. Don't seek in it other laws than its own (don't look for the self-will of the artist, which isn't there – only look for the laws of art). Perhaps art is just an offshoot of nature (a species of its creation). What is certain: a work of art is a work of nature, just as much born and not made."
(From: "Art in the Light of Conscience" (1932); from, Art in the Light of Conscience – Eight Essays on Poetry; trans. Angela Livingstone; Bloodaxe Books, 2010.)
https://www.abebooks.com/9781852248642/Art-Light-Conscience-Eight-Essays-1852248645/plp
It is this subliminally highly potent manifestation of the "total art work" which initially informs, inspires, gives birth to, and finally supplies the complete Wardrobe and Playbook of "Evil" and "Destruction." What is meant here, in other words, by a "highly potent manifestation" is none other than a nearly limitless unconscious appeal to a sense of profoundly irrational, elemental power reaching below the conscious mind of those who consciously feel completely deprived of power (specifically belonging, for example, to a "prophetic-but-not-to-taken-seriously [mere] art movement" such as Italian Futurism).
And after all these only seemingly innocent theatrical elements are fashioned, arranged and assembled behind the scenes to make a "total art work" – only seemingly invisible to the sight of everyday political / economic / non-aesthetic cultural life – these Wardrobes and Playbooks, etc. simply WAIT … they wait for the actual "real life" Actor / Performers to appear and rehearse for the Big Historical Stage Production … after which Necessity in the Thoroughly Scripted Role of the political / economic / non-aesthetic cultural gives the Final Stage Cue for all the "real life" action to begin in earnest …
… while what only appears as an "unplanned, unanticipated, totally surprising process of change and 'world-becoming' transformation" has as its RESULT (having no relation whatsoever to the kind which COUNTS) … the lightning-speed Instant Creation of a New Reality previously never existing at all within the materialist / reductive worldview belonging to "political / economic / non-aesthetic cultural life" … whether it amounts to an overwhelmingly beautiful stage work exerting a trance-like "spell" over its audience (yes – thanks to the music – in spite of its "unrealistic," clumsy, and unconvincing nineteenth century stage effects); or, a "real life" existential nightmare for all of humanity without end; or, the "dawning / creation of a new world / projected arrival in some 'Promised Land'," it matters not … or, indeed, how long it takes for such New Realities / pseudo-Realities to materialize (or to not materialize).
Satan sneered: "The Good Lord copies
his own work! It makes me laugh!
In the image of his oxen
He will yet create a calf!"
And the god said to the Devil:
I, the Lord, ape myself – laugh!
First I made the sun, then stars,
first the oxen, then the calf,
first the lion autocrats,
then the little darling cats,
first man, then a monkey string;
but you cannot make a thing. […]
Once I commenced the work of creation,
it was done a week after I began.
Yet previous to that came excogitation,
for thousands of years, the whole plan.
Creating itself is simple motion
and bungled together at will;
the plan, however, the whole notion,
is what shows the artist's skill.
I worried every single day
for easily three centuries
how to make men with law degrees,
and how to fashion little fleas. […]
How the sun shines on the sea,
and the sea seems crimson-tainted!
How the trees look green and splendid!
Does it not look as if painted?
Are not white as alabaster
the small lambs there on the pasture?
Is not beautiful and perfect
and quite natural, too, nature? […]
The reason for the whole creation
I am quite willing to impart:
I did feel burning in my heart
like flaming madness the vocation.
Disease was the most basic ground
of my creative urge and stress;
creating I could convalesce,
creating I again grew sound.
(From: Heinrich Heine, "Songs of Creation" [Schöpfungslieder, 1832-39], trans. Walter Kaufmann.)
Life imitates / copies Art equally as much as the other way around … unless, of course, one subscribes to a materialist / reductive worldview which has reversed everything from time immemorial in favor of the material account of reality out of very real – and very material – vested interests having to do with Things like material survival along with gain (to name only two).
What I've attempted to outline above concerning the form-giving capacity and potential of Art over Life, of course, has been addressed by Kazimir Malevich throughout his writings – comprising the as-yet-unacknowledged "missing link" for the understanding of what goes on in our day-to-day world of the so-called Geo-Political:
(1) The ongoing manipulation / instrumentalization of Abstract Representations of our world in order to dominate (repress) our world along with every Being and Thing in our world. This ongoing process is accomplished, in turn, by means of abstract representational image-making which converts all Beings and Things in our world into OBJECTS (including those amounting to the Religious Idols of a Materialist Belief System) as accomplished through Human Art = Nature (which, in keeping with its source – that is, nature itself – can intrinsically be seen as neither moral nor immoral, et cetera … but only ultimately seen as "moral / immoral, et cetera" in terms depending entirely upon which art work / art theory / art practitioner is meant).
(2) The creation of a world which is set free from objects; a world liberated, in this way, from the concept of domination (repression) itself … set free from the ongoing manipulation / instrumentalization of Abstract Representations of our world in order to dominate our world along with every Being and Thing in our world … an ongoing process, in turn, accomplished by means of abstract representational image-making which converts all Beings and Things in our world into OBJECTS (including those amounting to the Religious Idols of a Materialist Belief System) as accomplished through Human Art = Nature (which, in keeping with its source – that is, nature itself – can intrinsically be seen as neither moral nor immoral, et cetera … but only ultimately seen as "moral / immoral, et cetera" in terms depending entirely upon which art work / art theory / art practitioner is meant).
Note: under the heading of (2), an exception by way of an example can be given. I do so in this particular case because the composer / critic Robert Schumann (1810-1856) has given it to us in very straightforward, unambiguous terms in one of his many aphorisms:
"The laws of morality are also those of art." ("Die Gesetze der Moral sind auch die der Kunst.")
In this case the words come from an artist who was a Romantic from beginning to end in the true sense of the word. Schumann's art and artistic practice was fully consistent with his thoughts as well as his life, allowing the statement "The laws of morality are also those of art" to make perfect sense (in addition to examples which could be given, in any event, concerning other artists who resemble Schumann; as well as vice versa.)
A further aphorism from Robert Schumann reads: "Art is not there to gain wealth. Only strive to be an ever greater artist; everything else falls to you of itself." ("Die Kunst ist nicht da, um Reichtümer zu erwerben. Werde nur ein immer größerer Künstler; alles andere fällt dir von selbst zu.")
Both of the paths named above continue as now-ancient phenomena which are, as already mentioned, (in some cases, depending) neither moral nor immoral, et cetera … and even less to be seen or understood as always "expedient" or "useful" … no, just as often as inexpedient and / or useless; which doesn't mean, at the same time, that art cannot be exploited (instrumentalized) to the point of complete nonexistence like any other Thing found in nature.
"Art advances between two chasms which are propaganda and frivolity." – Albert Camus, from "Create Dangerously"
Yet, the only phenomena which remain fixed in our spotlight are the old-fashioned methods of what can be legtitimately called "propaganda"; a completely out-of-date phenomenon in spite of it being correctly seen as amounting to "either political Lies and / or Truth to be either eradicated and / or supported" (while our "frivolity" – but only if and when it manages to primarily exist in the best cases as "a healthy sense of humor" – should remain as something to be cultivated and valued … because, as God knows, we need a healthy sense of humor now more than ever before for reasons which should be more than obvious).
However, the real "propaganda" of our present age, to the contrary, remains largely unseen: an entirely new manifestation separate from how "propaganda" has been traditionally viewed; one which propagates and sells a new form of unfreedom – an all-enveloping space which gives us our very Life and Everything in it – but one which we cannot escape (that is, not yet); one which is fashioned, in the end, by what we ourselves are led to continually choose as the only thing which can ever possibly sustain us; an unfreedom whose veracity is impossible to blunt by repeatedly calling its name while attempting to make its outlines visible; but which no culture – not even America's – has ever been able to monopolize: Universal Materialism as dictated by the Law of Materialist Expediency … the major threat in our present to the notion of Freedom.
Postscript: Meditations on Representationalism
When I unexpectedly encountered my former university painting professor during the opening reception for his retrospective exhibition at a famous New York museum, the exhibition I had just viewed in another part of this museum was an exhibition of paintings belonging to the art direction known as German Expressionism. [see: Parts 2 & 3 of "Freedom and Other Illusions"] I won't comment on this outstanding exhibition except to say that it contained a very impressive painting: Dance Around the Golden Calf (1910) by Emile Nolde (1867-1956), a painting I'd only known from art history texts:
https://www.wikiart.org/en/emil-nolde/dance-around-the-golden-calf-1910
Emile Nolde's Bible-story-inspired Dance Around the Golden Calf represents the rollicking good-time-get-down fervor of worshipping Objects placed on elevated pedestals and possessing the status of (pagan) religious idols. Nolde painted numerous works based on other specifically religious themes taken from the Bible. Furthermore:
"Nolde was a supporter of the Nazi party from the early 1920s, having become a member of its Danish section. He expressed anti-semitic, negative opinions about Jewish artists, and considered Expressionism to be a distinctively Germanic style. This view was shared by some other members of the Nazi party, notably Joseph Goebbels and Fritz Hippler.
However Hitler rejected all forms of modernism as 'degenerate art', and the Nazi regime officially condemned Nolde's work. Until that time he had been held in great prestige in Germany. A total of 1,052 of his works were removed from museums, more than those of any other artist. Some were included in the Degenerate Art exhibition of 1937, despite his protests, including (later) a personal appeal to Nazi gauleiter Baldur von Schirach in Vienna. He was not allowed to paint – even in private – after 1941. Nevertheless, during this period he created hundreds of watercolors, which he hid. He called them the 'Unpainted Pictures'. In 1942 Nolde wrote:
'There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colors are colors, tones tones … and that is all. All their consequences for the human spirit, which range between heaven to hell, just go unnoticed.'
After World War II, Nolde was once again honored, receiving the German Order of Merit, West Germany's highest civilian decoration. He died in Seebüll (now part of Neukirchen)."
https://en.wikipedia.org/wiki/Emil_Nolde
Aage A. Hansen-Löve, the notable scholar of the Russian avant-garde, has written: "For Malevich there is a direct relationship between representationalism, representationality, deceptiveness and image cults in art – and a false consciousness, a dangerous capitulation of man to the world of objects, possession and power greed which ultimately all merge into a totalitarian cult of the leader, enslavement and war." (my translation; from: Aage A. Hansen-Löve, Kazimir Malevič – Gott ist nicht gestürzt! – Schriften zu Kunst, Kirche, Fabrik; Munich: Hanser Verlag, 2004; Kazimir Malevich – God is Not Cast Down! – Writings about Art, Church, Factory, p. 444.)
So – can this "story" concerning Emil Nolde be described as having a "moral"? Whether there exists an actual moral or not, it does seem that what is related in this story might lend a couple of grains of veracity to what Hansen-Löve has written above about Malevich's view of "a direct relationship between representationalism, representationality, deceptiveness and image cults in art – and a false consciousness" – i.e., relative to the above facts concerning Nolde as well as to what follows below.
It should be be made clear at the outset, however, that in Hitler's eyes, the problem with Nolde was not, in the first instance, only his "modernity" – but specifically that Nolde was not nearly representational enough with his representations (along with another factor seen by Hitler as an equally colossal "artistic offense" to be mentioned below) – making the Wikipedia article on Nolde a bit unspecific in its description of "all forms of modernism" as the "cause / reason" behind Nolde's problems with Der Führer.
But this sort of generalizing should be expected not only from Wikipedia, but from mainstream art-historical commentary as well since both are basically equivalent. This is all depending, of course, upon who is writing; and in this case, the author of the above Wikipedia article does mention that Goebbels and Hippler shared Nolde's view of German Expressionism. Nevertheless, what is often not addressed in mainstream accounts (whether intentional or not; or, resulting from the prevalent art-historical habit of only parroting what has already been written by others), has to do with the precise characteristics of the elements of "modernism" which Hitler / other National Socialists, objected to (or didn't object to). More importantly, these elements, in turn, continue to be seen in our culture as matters of "personal taste in 'art appreciation' / the artist's artistic free-choice" within a "free society" rather than "mistaken and / or questionable notions" of Hitler and / or the Nazi leadership.
If such omissions are somehow deliberate, the general term "modernism" functions as a convenient "cover" for glossing over specificities potentially revealing or questioning the "sacred-cow" reality of our onging mass / popular culture; one which has long ago absorbed and neutralized all art – "modern" or otherwise; a culture in which "freedom amounts to the freedom of the stupid to starve"; a culture in which almost nothing is officially prohibited – except that if one does not do exactly what's expected within our culture, one rapidly – and literally – no longer exists. (see: T. W. Adorno / Max Horkheimer: "The Culture Industry: Enlightenment as Mass Deception" https://web.stanford.edu/dept/DLCL/files/pdf/adorno_culture_industry.pdf)
Not long ago, I challenged an art historian (from an anglo-saxon country) per email over his published formulation that "modern art" didn't fit the Nazi regime's "taste in art" – implying that "taste differences" were what triggered the highly extreme persecution of art / artists carried out by the Nazis and ending with the unprecedented "degenerate art" exhibitions. The historian answered saying that he'd have to think about it and get back to me; but somehow he never did this (which, on the other hand, was no surprise for me).
Further, Nolde's "shortcomings" as an artist amounted to things which Hitler could clearly see – yet Nolde, for his part, could apparently see absolutely none of it. Nolde was for all purposes blind regarding what was not permitted when it came to the National Socialistic Aesthetic Position – at least, in Hitler's conception of what was not permitted in art as well as within the art world falling under the jurisdiction of Hitler's Reich:
(1) Any kind of compromise in terms of representationalism – in spite of what this compromise was called in the degenerate "art lingo" of the Enemies of the German People, German Culture, and the German State. (2) Any violation of a Solidly Artistic / Academic Display of Technically Immaculate Manual Skill … i.e., what everyone wanting to stay on Hiter's good side understood as reflecting the "unparalleled achievements in all fields of human endeavor" of the supposed "Germanic Race as a Superior Totality" … making Nolde's "free brushwork" equal in the eyes of someone like Der Führer – who was also a failed academic painter – to that of a "painting monkey" or worse (all bearing more than a passing resemblance to some other "Superior Totalities" of our present moment which might be mentioned).
So, if anyone possessed something resembling a delusive "false consciousness," it was the totally committed (when not somewhat naïve) Nazi, Emile Nolde … while Hitler's "understanding" of his own thoroughly false consciousness could not have been more unequivocably clear.
Nolde, aiming for emotional effect above all else, produced what amounted to self-representations. In other words, Nolde saw himself as "expressing" only himself with colors which had stimulated nothing outside his own inner ways of seeing … but who also saw himself as having art within himself, as the above quote from Nolde reveals.
Hitler, on the other hand, demanded, above all else: representations of objects found in the (outer) world which reproduce the appearances of these objects with an imitative illusionism not significantly departing from European Renaissance painting; representations whose "meanings" were not to be missed by anyone (… and this, just by the way, is how our medial culture of the present fundamentally operates, making Hitler's demands rather prophetic for us, if one asks this particular artist / art historian).
But maybe, in the end, there is a moral to this story: committed Nazis can be completely forgiven for being committed Nazis … that is, if they make us feel really good with happy colors, etc. which we can't ever get enough of … because, in the end, in spite of all his flaws as a human being, Emile Nolde belongs, beyond any doubt, within that art category which includes what is universally known and accepted as constituting "a great painter" … one also perfectly coinciding with what Marina Tsvetaeva meant when she wrote: "Don't seek in [art] other laws than its own (don't look for the self-will of the artist, which isn't there – only look for the laws of art)." … primary laws which Nolde had no choice but to follow, regardless of how he saw himself as an artist – along with everything else which made demands on him.
Realistically speaking, though, this is finally the way the world is … that is, until the world changes / becomes changed once again by an Ancient Thing called art.
"Art is that which becomes world, not what world is." ("Kunst ist das, was Welt wird, nicht was Welt ist.") – Karl Kraus
About the author: David A. Powell is an American artist living in Germany since 1990. In addition to having a lifelong, ongoing involvement and fascination with the most radically unpopular ideas and concepts capable of being imagined by anyone, he has a degree in art history and literature and – along a number of other occupations and activities throughout his life – has also exhibited his paintings (in Germany, at least).
BiloxiMarxKelly on October 30, 2018 · at 2:12 pm EST/EDT
Rothko supposedly committed suicide, along with other American artistes' ~~ inexplicable deaths (e.g., Gorky, Pollock, Et Al).
The Chapel in Houston, Texas, honoring Rothko's "BLACK" Paintings is a mind altering experience. MOMMA in NYC was a concoction of Rockefeller, Abby Aldrich – wife and daughter of the/a Senator Aldrich.
The USA in 1897, was hijacked via the World Zionist Congress.
>> Louis Brandeis was part of that coup as a CHOSENITE Supreme Court Black Robed Tyrant~~ penned in the Federal Reserve.
Slavery was George Washington's wife Martha's most lucrative asset.
A BLOODLESS REVOLUTION, Malcomb X.
United Slums of Apartheid (USA) has slavery in a PONZI form forever. A series "Boardwalk Empire" is quite revealing about the structures of mob rule ruling the USA.
Gandhi beat the British after a fashion and yet, as with the Kennedy men (John, Robert, John Jr.), the tragic truth continues.
How to "be the change" we the species can imagine as higher consciousness? The artistes, creators, creating our lives~realities unseen & seen ~~ compositions in balanced energy/ies?!
We cultivate the faith that the worst of our species becomes a past frequency in the element "time". Tesla, Brauncusi, Hepworth, Twain, Melville, O'Keefe, Claudet, Frida & Diego, Et Al Et Al did not allow the propaganda, brainwashing, utter and complete lies deter the courage to create.
David Powell on October 30, 2018 · at 3:47 pm EST/EDT
"We cultivate the faith that the worst of our species becomes a past frequency in the element 'time'."
(AMEN, Brother … well said)
tanto on October 30, 2018 · at 4:52 pm EST/EDT
Tanto here.
I thought, You might have revisited some of Your conceptions in light of our previous exchange, but it doesn't appear so.
Since you are an author to respond to your audience around here, let me ax You a favor.
You let me make my points – and I will be civil.
I believe, that I have already demonstrated empathy during our last exchange.
In order to lift the responsibility from the shoulders of the mods, I will email my responses to you privately if you wish, and let you hang them yourself as they come in.
This way we do not poison the venue.
Some of my contentions:
We ARE in a revolution. It is…here.
demodok on October 30, 2018 · at 7:28 pm EST/EDT
Contemplative essay with certain vigor, but also with the touch of nostalgia . Hegel said : "In all these respects art is , and remain for us , on the side of its highest destiny , a thing of the past, "
Thanks for the compliment for the vigor. (And for the reminder of why I've never had much interest in Hegel.)
Chris k on October 30, 2018 · at 9:30 pm EST/EDT
Because culture is a good thing, but culture must serve oppression and not freedom.
A.S. The White Kitten
milan on October 30, 2018 · at 9:34 pm EST/EDT
life imitating art?
and then there's this?
https://vigilantcitizen.com/vigilantreport/inside-unicefs-bizarre-2018-masquerade-ball/
David Powell on October 31, 2018 · at 1:43 am EST/EDT
Offhand, I don't know what to say about the lion … but I think you have a point about the masquerade ball. In fact, as I was writing these things, the idea of the masquerade went through my mind several times.The masquerade is a self-contained cultural phenomenon in itself with a long history (a topic of it's own) so, I left it aside. But I think you're on to something by mentioning it.
Vasilios on October 30, 2018 · at 10:10 pm EST/EDT
Fascinating…ties together your long meditations from before, thank you for the work.
You're very welcome. I felt fortunate that it tied together (but it's probably because I've had a lot of it banging around in the back of my head for a long time without being directly aware of it). The opportunity of the first three parts allowed the last part to come out on it's own, so to speak. (Of course, you never see these kinds of things until later.)
… and I'd like to take the opportunity to share something concerning an absolutely amazing artist I've just "met."
Here is his site: https://johnrossmcglade.wordpress.com/
And here is a quote from this artist:
"Art is never finished, it is a series of beginnings and we are the same. I came to this realization in about 1973. ('Reduced to thinking and doubt") I then realized, that although I enjoyed many things, ultimately, if I was not to waste time, my interest was not to produce finished art works, but to be in an ongoing process between myself, and what I might find, keep, or make. Any pieces of work were perhaps kept puzzles that I could casually come across sometime later and perhaps a penny would drop. I would fit these insights into an on going jig-saw. Over the years I wander through this accumulation, returning to familiar things with a different mind, perhaps seeing the obvious, that I missed before or wasn't ready for. This is a slow pleasure, and finding and building these connections and cross connections is what I enjoy. Triggers and interests can come from anywhere. As I do this I am continually, by intuition and conscious choice, constructing myself and leaving a trail of curiosities behind me. At different times, I have experimented, trying not to do this and be sensible or so called, responsible (?) I have found that the further I am removed from this activity the more unsettled and discontent I become. It doesn't work! Since my late teens I have realized, that, no matter how small, I can't go to bed without finding or doing something toward this task. It may only be a word overheard or a simple idea or a page from a book, but if it is intriguing me, that is enough, I sleep."
Dr NG Maroudas on October 31, 2018 · at 2:09 am EST/EDT
Re quotation from Sino-German philosopher Byung-Chul Han: "Now, system-preserving power no longer works through repression, but through seduction".
Reminds me of Tolstoy on the "mighty handful" at the exclusive Club who formed "public opinion". After the Russian defeat at Austerlitz, club members had no definite opinion on that mighty event; meanwhile the "mighty handful" of top members were nowhere to be seen but were meeting in private in one another's houses. Then they emerged and talked among the ordinary members. And soon public speech concerning the event became clear: who was to blame and who was to be praised. One thing was especially clear: whatever had happened, the Lads in the Army fought gallantly.
I'm not sure what you're getting at here (maybe you could explain a bit further?). Have you read (South Korean / German) Byung-Chul Han's entire essay? (it's not all that long):
(… and actually, Byung-Chul Han's many books (which have only begun to recently appear in English) are not all that long either … but they're pretty substantial in terms thought.)
Dr. NG Maroudas on October 31, 2018 · at 5:18 am EST/EDT
What I'm getting at is, that contrary to confident claims about The End of History and The Impossibility of Revolution, one finds Tolstoy describing Leadership by Seduction in full swing in Russian society _before_ the Revolution. War & Peace Book 2, end of Chapter 2: the English Club.
Some things I've noticed since I've entered the Digital (Neo-Liberal) World: (1) No one has time for anything anymore outside of work. (2) Most of the mail I get (either virtual or non-virtual) has to do with (a) something I've bought (b) something someone wants me to buy (3) I no longer get vacation postcards from anyone in either my virtual or non-virtual mail (4) I spend almost all of my time alone … except for the times I buy food and can say "thank you" or "good day" to the person who takes my money; or I go for such things as doctor's appointments during which time my doctor is looking at her watch all the time in anticipation of getting my consultation over with so that she can get her next patient in (5) Since I don't work a job, I no longer "exist" for most people. (6) I try to stay as busy as possible with whatever I can invent for myself to do in order to not think of Nos. 1 – 5 above (… there are other things I could probably add to the list, but this is enough for now).
Sorry, I forgot: Happy Halloween!
ioan on October 31, 2018 · at 12:44 pm EST/EDT
I'm alone, I'm alone
With my dog on my throne,
Waiting for a walk
And with him to talk
In this silent world
Edging on its sword
Pushing us to solitude
Out of empty multitude
All alone, with time to think
On the fault lines near, afar
All alone, it's time to drink,
And salute the lonely star.
First off – if you're translating what you see in my comment into a set of rhymes, you've missed my point entirely (but maybe I've missed what you're getting at; if I do, I apologize). In what I wrote, I'm only citing a few facts as opposed to how I "feel" about any of these facts.
I have absolutely no problem with being alone – or solitary – or any of the rest. In fact, I enjoy being alone quite a lot (but this is my own thing which I won't get into here). What I have a problem with is being seen as an object – which is equal to not being seen at all; being seen and treated as simply a means for someone's ends (it doesn't matter who it is or what the ends are). And after my "usefulness" is used up, I'm seen as just some packing that gets thrown into the recycling or whatever. (But maybe that's all "life" amounts to after all… so, what's the big deal, anyway? right?)
And I feel very fortunate in this world of somewhat less-than-universal health care to HAVE a doctor who sees me to begin with – even though she could care less about what is actually making me ill.
It's only that I can't help remembering that the world was not quite yet what it is now when I was born. Then, even your enemies cared enough about you that they seriously tried to destroy you out of principle (and if you survived this, you were, in the long run, a bit more "survival fit" than before). Now, you only risk being destroyed if you happen to occupy some "land" someone wants (it doesn't matter WHO wants it – or, indeed what this "land" amounts to). Otherwise, people are just waiting for your space to become empty so that it can be filled with something which brings in a bit more cash than when you occupied it.
ioan on October 31, 2018 · at 6:06 pm EST/EDT
Oh, you missed it, but don't have to apologize. In fact is about me and my dog, those who know me better are probably not surprised. Though, I salute the lonely star – which is an allusion to you – with good intention and understanding. This site may differ from others, the attack on fellow posters is not viewed with good eyes, my person is one of those who promotes friendship and openness and would like to do more but lack of time and other issues around me have their impact. I was born and raised in an opposite part of the world, in Eastern Europe, in Socialism/Communism living there my first 30 years. It wasn't so bad as it is told or had been told in the West at that time. That feeling what you wrote above, I used to learn it only after the Fall of the Wall, that is The New Brave World of today, as you succinctly describe it. I live in such a world also, in another country. For me, this had been a radical change which is very hard to digest until today. "Damals" I never had the feeling that I'm hated or "exploited" in this or that way. Maybe the passing time is also contributing to a "besserung" of that image, or my somehow romantic, melancholic character puts some lighter colors to the picture, The reality though, cannot be erased by history books written by victors. What I lived was real and what I live today is also real, with both experiences I can draw a conclusion, a personal one, both on political and on cultural issues which I shared here in this blog in the past. I tell you one thing about artists : an artist could live much better and act much freely in that past, people had time for culture, they were interested in art, they visited exhibitions and simply workers could buy pieces of art. Nobody had to tell them what is art and what is not, what to buy or what not, what has value and what not. Of course, there were "arranged" exhibitions, with propaganda purpose, where the objective was set in advance, like "working class", "construction of socialism", etc., where some artists have "jumped" to make something for a title. Guess who bought those paintings, sculptures ? of course, the state, they landed in factories, in administrative buildings, schools, theaters, etc., but not in private hands, no one wanted them. Ironically, today those paintings and sculptures have a big value in the market, as relics.(in the same way, as Hitler's paintings). Socialism gave the people in the first place : education (and that for free) so that many, many people could discern themselves on matters of art. Today, people are working (including in Germany) not 8 but 10 – 12 hours to live, do they have time to educate themselves ? the short time the have, is spent on entertaining themselves in front of TV or in a beer garden or disco. The Brave New World is educating people in reverse. Thank you for your articles and openness.
David Powell on November 01, 2018 · at 6:19 am EST/EDT
ione,
I thank you a million times for your outstanding response (you sound like you live in former East Germany … I live in a small town not far from the former border on the western side… driving distance from Quedlinburg). I would like to correspond with you – but this is your decision. You can leave a message at my blog: https://insignificantattempt.blogspot.com/ (maybe we can connect somehow).
PS: I now see that you probably don't currently live in the former East; you only grew up there (I missed this … but it doesn't matter).
Right after the fall of the Wall (this was in 1989), I went on an auto trip from where I currently live in Germany not far from the former border separating East from West. The first stop was Quedlinburg and the destination was Liepzig. This trip turned out to be the most "surreal" experience of my entire life (but in a positive sense). It was like I was suddenly transported 40 years back in time to my boyhood in Arkansas, USA – that is, in terms of how the world looked and felt. People appeared actually relaxed and friendly and open. In the country, there were no large illuminated signs advertising things like cars. At night, it actually became dark outside and one could sleep better because of this. It was like a movie of what outer life had consisted of during the 1950's – but it was all real and you were in it … and after it was over, you asked yourself: "did that really happen?" … yes, it definitely happened (but now that real-life movie is mostly gone back to a memory fewer and fewer people will have over time).
ioan on November 01, 2018 · at 8:38 am EST/EDT
@David Powell
Dear David, I was born and raised in Romania, precisely in Transylvania. I came form a mixed family, my mom is Hungarian, dad was German, my mom's father was Romanian with Armenian roots. A real typical Transylvanian mixture. If you are so kind and ask the Saker for my email address at vineyardsaker@gmail.com
I would be glad, thank you !
Having always had a "practical joker" streak in me since I was a kid, I used to like to send reproductions of Hitler's "better" paintings to certain unsuspecting people without revealing who painted the painting. I'd get responses like "Wow! that's really nice. Did YOU paint that?" (an enthusiasm which soon turned to complete silence after I revealed who really painted the nice painting).
David Powell on November 01, 2018 · at 12:38 pm EST/EDT
I've done as you requested (it may take the Saker some time, but I'm sure it will happen).
ioan on November 01, 2018 · at 5:42 pm EST/EDT
Thanks David, its just on the way. A small request : I am " ioan " and not " Ioan " because there is another blogger with the name of " Ioan " (from time to time)
JJ on November 01, 2018 · at 4:35 am EST/EDT
Check out intentional communities! !!!!!!!! !!
And take your pick from the kaleioscope of "0pportunities"…
milan on November 03, 2018 · at 5:55 pm EST/EDT
@ David Powell
Wow, I can sure relate to these words of yours.
Your not alone.
_smr on October 31, 2018 · at 6:58 am EST/EDT
The Jewish Mafia works with two main propaganda scripts along the divide & destroy template:
1) repression (thanatos)
Fake Nazis, Orwell's 1984, Fake Fascists, police state, full-spectrum surveillance …
2) seduction (eros)
Fake Socialism, Fake Communism, Fake Anarchism, Fake Liberalism, Fake Feminism, Huxley's Brave New World, designer drugs, fake news, toys & gadgets, mass mind control …
JJ on October 31, 2018 · at 5:58 am EST/EDT
https://www.treehugger.com/culture/top-5-environmental-artists-shaking-up-the-art-world.html
Probably quite a few more…
https://tcf.ua.edu/Classes/Jbutler/T340/SurManifesto/ManifestoOfSurrealism.htm
Has always been an influence on me….Amarynth….perhaps a community page with a submitted selection of peoples meaningful art?
amarynth on October 31, 2018 · at 7:48 am EST/EDT
I'm all for it JJ.
Andrei Rublev on October 31, 2018 · at 11:04 pm EST/EDT
First, a big thanks for the saker for given to us this kind of topics or authors -theology or post-modern Pepe Escobar- and now art or aesthetic theory, not to mention the bohemian cafe.
"the power of seduction is stronger than the power of production" (Baudrillard) in the sense that the class struggle of political economy and society as a whole had entered a kind of hypertelia, something like a virtual limbo that went beyond our values, the kind of virtual reality as we are kind of experiencing now days.
As we go -suffer- this new-tech destruction of our everyday lives we experience also the totality gets effects of the culture industry which is also the expression of total oppression.
Walter Benjamin already warned us of this -art has lost it's aura- but we here would like to ask, what is an artwork? Or what makes an artwork art?
Re paragraph of modernism…..so much of post modern art -yes it is oft stated-seems so meaningless…sensless so temporary…. I have seen art students wrung out during the course of their education of their initial verve and inspirations….trying to be moulded into the "gallery system"…instead of developing the self awareness individuality of the person in the way they could think and feel and interact…yup 3 years is maybe too short a time to end with a degree with a glimpse of what might be possible if you could become one of the 5% that might "make it" in the commodity system….however I do feel there have never been so much opportunity for art outside the mainstream of education ….fantasy mystical spiritual outsider art(education seems to discourage absolutely the deep inner qualities of a soul that makes it creative) performance art…use of internet to get it out there….travel opportunities eg participation in the extravagence of burning man..or just on tv seeing orher cultures art programmes..the free flow of information that is virtually instantaneous instead of book bound and time bound……..maybe there is too much…confusing…what needs to be learrned by exploring not being taught for a lifetime soul journey of being are values of assessment and discernment..(thinking of eg Cecil Collins….symbolic art…Ensor….surrealism is not dead..).adventure thinking and being…proper appreciation of things like multiple intelligences..multiple cultures and influences…the understanding of the experiential self creating a creative self identity which will be ever continuing in a world that can seem increasingly irrational and nonsensical yet new or revised truths are being discovered almost every day….is there now a solid interest or movement in the honesty of art than a pretentiousness….qualities of perception I still love that realist movement from the last century but now we have hyperrealism….but depiction can just be a form of illustration without an " essence" …maybe such things as Hadron colliders are the new ways of creating art forms……..but we can do that in our imaginations too.
David Powell on November 01, 2018 · at 1:20 pm EST/EDT
JJ,
re: "post-modernism" (which is a big subject) … but which is already "history" as far as the official "art world" is concerned (whatever that might mean … I'm not really sure myself). Anyway, I don't know if you know Frederick Jameson's book "Postmodernism, or the Cultural Logic of Late Capitalism" from 1991. HOWEVER I WAS ASTOUNDED TO FIND THAT YOU CAN DOWNLOAD AT NO COST WHATSOEVER AN EXCELLENT PDF SCAN OF THE ENTIRE BOOK (ALL 470 PAGES WITH ILLUSTRATIONS)
https://warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/modules/fulllist/second/en229/jameson_postmodernism.pdf
This book is very useful – especially the beginning (but, as I say, Postmodernism is – fortunately – apparently "history" at this point).
Or – you have the satirical definitions from Rudolf Baranik's "Dictionary from the 24th century"
https://www.printedmatter.org/catalog/4831/
POST•MOD•ERN•ISM n. 1. A movement within the "arts" (obsolete) of the second half of the 20th Century closely related to the "Je sais mieux que toi" [I know better than you] games in the kindergartens of Belgium and France during the 6th and 7th decades of the same century. Post-modernism opposed itself to "modernism", an ideology which entered the arts in force from the areas of the mundane where advance of fashion was considered important.
POST-MODERNISM 2. A range of styles in "painting" (archaic), "sculpture" (archaic) and other visual arts which were presumed to have ended the hegemony of the formalist tendencies and concerns of the modernist movement of the first six decades of the 20th Century. Post-modernism fostered the impulse to restore the importance of the subject, but the impulse ran counter to a determination to remain skeptical. Preserved documentation in the archaic media of "video" (obsolete), "holography" (obsolete), "lasers" (obsolete) and "diapositives" (archaic) show a merger between post-modernism and "pluralism", a tendency which remains un-analyzed.
Baranik is an artist who has been passed over … but when you get to know him and his work, this is not surprising. There has been a decent study of Baranik (I have it and can say that it's OK… but I think it's the only one so far):https://www.abebooks.com/servlet/BookDetailsPL?bi=10058539036&searchurl=sortby%3D17%26an%3Drudolf%2Bbaranik&cm_sp=snippet-_-srp1-_-title2
Of course, the "official art world" pays a bit more attention (sort of) to Baranik now as opposed to before … but, you know, there's only so far one can go with an artist like Baranik who did a series of extremely powerful anti-Vietnam war paintings during the time the Vietnam war was happening.
Here's the short Wiki article on Baranik:
Rudolf Baranik (1920–1998) was an artist, educator and writer.https://en.wikipedia.org/wiki/Rudolf_Baranik
Born in Lithuania, he immigrated to the United States in 1938. He was well known in the art world for his political advocacy,[1] and was one of the first artists to organize protests against the war in Vietnam. Some of his best known works are the Napalm Elegies, a series of 30 antiwar paintings created between 1967 and 1974. His art was inspired by his sense of the gross inequities around the world,[2] and he led virtually every progressive political movement within the New York art world from the 1960s to the mid-1990s.[3] Significant exhibitions and awards include:1981 Guggenheim Fellowship in Fine Arts, 1982 "Art Couples 1: May Stevens and Rudolf Baranik," P.S. 1, New York, NY, and 1966 Peace Tower. Baranik's art is included in many collections, including the Museum of Modern Art in New York, the Whitney Museum of American Art and the Hirshhorn Museum.
Baranik died in Eldorado, New Mexico in 1998.
The paintings of Rudolf Baranik are increasingly thought to be among the most important works of the New York School painting of the 1960s and 1970s,[4] with the late paintings in particular considered by American art critic, Donald Kuspit, "the true climax of fifty years of Western abstract painting."[5]
Some more links for Rudolf Baranik:
http://www.nytimes.com/1998/03/15/nyregion/rudolf-baranik-dies-at-77-artist-and-a-political-force.html
http://books.google.de/books?id=m4WP-3ppltgC&pg=PA93&lpg=PA93&dq=rudolf+baranik&source=bl&ots=jjUJExKVKf&sig=DdBMa3zl7vz_j3kPIKModZ_apFA&hl=de&sa=X&ei=Rl8KVK7BKKiaygOf8YKoAw&sqi=2&ved=0CFQQ6AEwCQ#v=onepage&q=rudolf%20baranik&f=false
Art n. A generic term for objects and activities of the pre-telepathic communication era which conveyed largely non-cerebral impulses and activities through sound or image. The communicators, a caste believed to be endowed with the capability of expressing mood, emotion, and quasi-cognition, were referred to as artists (archaic). The gradual development at the end of the 21st Century of micro and mega telepathic perception obviated the primitive method of the earlier less sensitive channels of image and sound, giving way to the selective telepathic perception activated by interest/desire at will unidirectionally or in mutual formation.
By the end of the 23rd Century all art objects ceased to be comprehensible and were either discarded, filed on laser prints, or deposited for study by specialists in museums of natural history.
Rudolf Baranik, "A Dictionary of the 24th Century"
(sorry for the wrong spelling of Jameson's name: it's Fredric – not Frederick … sometimes I type from memory and the memory sometimes fails)
"What has happened is that aesthetic production today has been integrated into commodity production generally: the frantic economic urgency of producing fresh waves of ever more novel-seeming goods (from clothing to airplanes), at ever greater rates of turnover, now assigns an increasingly essential structural function and position to aesthetic innovation and experimentation. Such economic necessities then find recognition in the varied kinds of institutional support available for the newer art, from foundations and grants to museums and other forms of patronage. … Yet this is the point at which I have to remind the reader of the obvious: namely, that this whole global, yet American, postmodern culture is the internal and superstructural expression of a whole new wave of American military and economic domination throughout the world: in this sense, as throughout class history, the underside of culture is blood, torture, death and terror." (From Fredric Jameson: "Postmodernism, or, The Cultural Logic of Late Capitalism"; pp. 4-5.)
As far as terms / names / labels such as "modernism", "postmodernism" etc., ad infinitum (which finally function as product brand-names allowing one to better locate them in the culture supermarket where they can be picked up, bought and taken home), maybe we should adopt Feldman's suggestion to turn things around somewhat:
"Suppose we want a human action that doesn't have to be legitimized by some type of holy water gesture of baptism? Why must we give it a name? What's wrong with leaving it nameless? – Morton Feldman, "Neither / Nor" (1969)
Just a thought here : what if you write an essay on the Filmography as an extension of US cultural expansionism in the world and the influence it had (and has) on the Filmography in other parts of the world, for example Europe (Italy, France, Germany) and Asia (India, China).
I tried to do this – though not from the specific category of "filmography" in an earlier essay "Bruckner, Hitler, Malevich" Bruckner, Hitler, Malevich
https://insignificantattempt.blogspot.com/2017/08/bruckner-hitler-malevich-adolf-hitler.html
I've come from a broader perspective which is usually called "cultural criticism" – which is a term as good as any other if you need a term – but I'd rather concentrate on the material itself rather than the name one classifies (and objectifies) what one is trying to understand (PS – you've gotten a message from me).
I've just posted Morton Feldman's essay Neither / Nor at my blog. It's 3 pages long and very much worth reading:
https://insignificantattempt.blogspot.com/2018/11/blog-post.html
I've now posted scans of these two very important essays from
Morton Feldman:
Morton Feldman: Between Categories (1969)
https://insignificantattempt.blogspot.com/2018/11/blog-post_1.html
Morton Feldman: After Modernism (1967)
https://insignificantattempt.blogspot.com/2018/11/blog-post_71.html
Note: one has to substitute what Feldman means when he uses his own term "the abstract experience" for Malevich's "objectlessness" (the Russian "bespredmetnos") due to the fact that an understanding in America over Malevich's objectlessness did not exist in 1967 (except that Feldman has intuitively "deduced" Malevich's objectlessness in "After Moderism" and called it "the abstract experience").
Hiya David….much appreciate all your replies with content I will try to get through…as a previous educator in art my own education stopped at modernism…post modernism had not been invented yet and what little info came to me about it seemed to suggest a reflective attitude of todays society of a form of nihilism and absurdity and pointlessism …..Robert Hughes Shock of the New brilliant series phrase "in the end art is just a way of thinking"(which is why perhaps I have more afgiliation with european artists who express a sense of the philosophical) ….and Gerhard Richter…."the way a thing is made becomes the thing" I took to mean as just start with anything even a simple brushstroke or selection of a colour
encompass a spectrum of being an artist or an artist of being (hence my references to learning styles…multiple intelligences and other representations of the learning of being and the being of learning)….very fond of Richter for his self honesty
https://www.azquotes.com/author/12331-Gerhard_Richter
Plus such giants as Anselm Kiefer etc….
Apologies…"the way the work is made becomes the work"….
..ie it need not be a thing but the process of making.. process of learning…the way of being……as alchemists said growth of the soul alchemical process was "the work"………..I think….
demodok on November 01, 2018 · at 7:38 pm EST/EDT
To define post modernism we have to define modernism . Modernism , Modernity ? Word comes from
latin modo – just recently , new , fresh . Not old and antiquated. What about what has been and is still being , yet not obvious but hidden ? . What about traditions, archetypes , eternal truths , what about Plato and Praxiteles and Giotto di Bondone and Dante Alighieri , and Catherdals and Johann Sebastian Bach ? Cultivated (post) modern mind will preserve all this as cultural treasure . Rest in peace in Museums and Libraries !
demodok,
Sure, modernism and postmodernism have been defined at quite some length – but what has gotten (is getting) left out … THIS to my mind is what's REALLY interesting (as I think you are saying … or, correct me if I'm wrong).
Anyway, I've posted for you and ioan Morton Feldman's Neither / Nor (it's only 3 pages long):
Note: one has to substitute what Feldman means when he uses his own term "the abstract experience" for Malevich's "objectlessness" (the Russian term, bespredmetnos) due to the fact that an understanding in America over Malevich's objectlessness did not exist in 1967 (except that Feldman has intuitively "deduced" Malevich's objectlessness in "After Moderism" and called it "the abstract experience").
Forgetfulness is the word that is left out and is worthy of attention.
As our Epoch is soaked in the Greek river of forgetfulness named -Λήθη, Lethe .
Hesiod said that Lethe was daughter of Eris (Strife) . But Lethe's siblings are disturbing :
Ponos (Hardship), Limos (Starvation) , Alge (Pain) , Makhai (Wars), Phonoi (Murders),
Pseudea (Lies) , Dysnomia (Anarchy) , Ate (Ruin) .
Thanks for offering abundant food for thought .
You make an excellent point … yes, it is forgetfulness (Lethe). Thank YOU.
… but Morton Feldman died way too early at the age of 61 in 1987… and it would have been really interesting to learn what he would have thought and said had he lived at least 20 – 25 years longer. Something quite different is my guess (which also goes for his friend John Cage
… I mean in light of what we now know which neither Feldman nor Cage knew (i.e., a few real game changers).
To what extent an understanding of Malevich's objectlessness exists in 2018 is very difficult to say (in 1969, someone like Barnett Newman said things about Malevich which are almost too embarassing in their ignorance and flippancy to repeat… at any rate, I have no desire to do it here because I'd rather leave such things in relative obscurity where they belong). The awareness may be growing but I have no idea how fast it is growing. I'm not connected with any "inner circles" of academic "specialists" – and this puts me – as an "establishment outsider" at a disadvantage. Recently, I wrote to an art specialist who has a strong left-leaning orientation (and who teaches at a prominent European university). I asked him if he had read Malevich and he answered "yes" in a somewhat surprised and defensive manner and said nothing further (in fact, he stopped writing me). However, in all that I've read from this rather advanced art specialist, I can find no evidence of his ever having read Malevich (not that he was not telling the truth, but I still see no impact of Malevich's thought anywhere in this author's writing).
OK – I had the wrong date (1969) for the Barnett Newman Malevich statement. But here it is just for the record:
In 1966, Barnett Newman was interviewed by longtime editor of ARTnews, Thomas B. Hess, who also displays an equally spectacular ignorance to that of Newman over what should have been at the time nothing outside undisputed factual information over Malevich's "Suprematism" and the diametrically opposed Russian art movement of the same period, "Constructivism":
"Hess: "The constructivists, like Malevich, had abstract ideas with very complicated subject matter or equivalences to complicated subject matter like the blackness of the soul and the blackness of the square. [Hess' statement can only be called, at every point, simply "wrong" – and completely lacking any factual truth.]
Newman: The language they spoke was mystical, but the result was very materialistic. It was a utopian notion that by manipulating areas and colors and lines and shapes and so on, you would be saying something. But actually what those men were always doing was creating a utopian world, and to that extent [what they did] was unreal. [No, it is Newman who is doing some manipulating here; and the result is the "unreality" of Newman's invention of a set of "facts" which never once existed outside Newman's fantasy. In short: Newman is giving us a load of complete BS.]
Hess: You think idealism is an unreal attitude for artists?
Newman: Utopian idealism, yes."
(From: Barnett Newman – Selected Writings and Interviews; University of California Press, Berkeley; 1990; p. 275)
From: Jean-Claude Marcadé "What is Suprematism?" (1978)
"1. Suprematism is anti-constructivist.
Only too often we find Constructivism and Suprematism lumped together. Upon seeing some geometric form, the unwise critic immediately cries Constructivism. Despite superficial similarities between Constructivism and Suprematism, the two movements are nevertheless antagonists and it is very important to distinguish between them. The confusion arises from the fact that several artists, either formerly part of the Suprematist movement like El Lissitzky, or who had once worked under its influence like Liubov Popova and Rodchenko, soon became exponents of the culture of materials. They celebrated this latter in their creations, deliberately opting for the way opened, from 1914, by Tatlin's reliefs. Constructivism aims to employ the material as foundation, it involves the cult of the object. For Constructivism, 'the object is work of art and the work of art is object'. It is firmly based on a materialistic and utilitarian philosophy. Its aim is the functional organisation of life under all its aspects. The easel-painter must give way to the artist-engineer, to the productivist, the painting to the 'shaping' (oformlenie) of life. […]
By contrast, Suprematism, whose first writings date from the end of 1915, was born of an awareness of the insignificance of the object. For Malevich, the object as such does not exist, it dissolves in the energy stimulus (rozbuzhdenie) of non-objective beingness. Suprematism is therefore an active negation of the world of objects. It endeavors to exhibit a world without objects and without objectives, die gegenstandslose Welt, the only one to have a real existence. When Malevich speaks of Suprematist 'utilitarianism' or 'economy', he means neither functionalism nor rational schematisation. Suprematist economy and utilitarianism seek to transform 'this green world of flesh and bones', the world of 'nutrition', into a world of desert, of absence, aimed towards the unveiling of essential beingness. […]
Artistic mastery should yield to the demands of the flux of being in the world and should not exhibit the material in its skeleton-like nudity as Constructivism does. It ought to show the non-existence of form and colour. This is why the squares, circles and crosses of Suprematism are quite unrelated to the squares, circles and crosses occuring in nature — they are the irruption of non-existence, and constitute FORMING and not INFORMING elements."
Barnett Newman was concerned with the thoroughly traditional notion that art generates "meaning" (but as Newman pointedly stipulated: "meaning" in a specifically AMERICAN sense as opposed to a EUROPEAN sense) – whatever that "meaning" may be or may revolve around: the emotional, the metaphysical, or some notion of "the beautiful" or "the sublime" communicated to the viewer. ART MUST ALWAYS MEAN AND SAY SOMETHING because it is created by man and man gives meaning and purpose to what man creates (man, therefore, is at the center of man's art – as was the case during the Renaissance). The painter Adolf Gottlieb agreed and wrote the following in his catalogue introduction for an exhibition of Arshile Gorky's work held at the Samuel Kootz Gallery (New York, 1950):
"It seems significant to me that Gorky was one of the first good abstract painters in America. He was never a non-objective painter, because his work was always about something, and non-objective painting is about nothing. He was also a surrealist toward the end. This I think was important, because American abstraction is constantly veering toward the sterility of the non-objective, and Gorky soundly sought a balance."
Barnett Newman could not conceive of a concept of art where Meaning and Purpose are simply absent along with the object itself. Therefore, Newman was blind when it came to Malevich.
(one more thing and I intend to drop this subject…)
Barnett Newman could have read Malevich's "The Non-Objective World" because this was published in Chicago in 1959 (an English translation of the 1927 Bauhaus "Die Gegenstandslose Welt" – which was a German translation made from Malevich's original Russian; German / English translations which – in spite of their shortcomings – remain true to Malevich's meaning and intentions). I have no idea whether Newman (or anyone else in the New York School) ever read this English translation (which I've owned a copy of for many years). On the other hand, I don't see that it would have made any sense or indeed any difference for Newman to read or to have read Malevich because he appears to have reached entirely on his own the common conclusion dominating the American view down to the present day: Malevich was a "deluded, naive, totally mistaken Russian mystic"; furthermore, the "real history" of "abstract art" happened in America and not in Old Europe (including, of course, Old Russia); at the very best, Malevich can only be seen as a distant precursor of American Minimalism a la Frank Stella, et al. End of Story (and a lot of people bought into this story and continue to do so … including a lot of people in a lot of places outside America).
Ah John Cage….a wonderful adventurer…
JJ – you SAID it.
I have one personal story I can share over Cage. In 1986, I was living in Seattle and had just recovered from a serious illness (so, I was not completely "myself" yet at the time). John Cage, as I knew, taught periodically at the Cornish School – a small private art / music school in Seattle. I happened to live a very short distance from Cornish, which had an announcement / ad board in it's front entrance hallway that I sometimes posted things on. One day, after I'd hung up a post, I went into the public restroom. When I emerged again into the hallway, I ran straight into John Cage (there was no one else there except the two of us). What happened? Cage gave me the biggest smile one can possibly imagine – as though he'd just met an old friend. Nothing at all was said and I nodded to him and smiled back. We both went our own ways. As I left the building, I thought: "THAT was John Cage".
JJ on November 02, 2018 · at 3:52 pm EST/EDT
Thanks for the story! I "saw"him in action via a video from crown press studios when he was "printing" burning paper…fab . Everything it should not be ….but actually absolutely should be.. Hope you might check out those books in post below…..
Niks on May 10, 2019 · at 3:54 am EST/EDT
That he was. His words like "Ideas are one thing and what happens is another." always inspire me. http://www.sonicequotes.com/authors/john_cage
Ken Wilbur ….the eye of spirit..an approach in a world gone slightly mad
Joseph Rael …being and vibration..native american sacred point of view
Marko Pojacnik….nature spirits and elemental beings..working with natures intelligences
…….sacred geography creating new earth cosmos by geomancy-he uses stones modified by artistic concerns small scale megalithic style to heal eg war sites….
Thank you JJ – I will check these things out.
Here is a list I've compiled of the Cage – Feldman Radio Conversations (in case you or anyone is interested or don't know them). AT THE END OF THIS LIST is a link for a late interview with Feldman from 1986 (it's great).
You can turn up your sound and have these guys in the same room with you talking for a long time period:
http://usoproject.blogspot.de/2007/04/john-cage-and-morton-feldman-in.html
John Cage and Morton Feldman In Conversation, Radio Happening I of V recorded at WBAI, New
York City, 1966 – 1967
by John Cage, Morton Feldman
Publication date 1966-07-09 00:00:00
Usage http://creativecommons.org/licenses/by-nc-nd/2.0/
Topics Avantgarde, 20th Century Classical, Interviews
Publisher WBAI
John Cage / Morton Feldman: Radio Happenings I – V
Recorded at WBAI, New York City, July 1966 – January 1967
John Cage and Morton Feldman recorded four open-ended conversations at
the studios of radio station WBAI in New York. These meetings spanned six months between July 1966 and
January 1967, and were produced as five "Radio Happenings". Both were at transitional points in their
music. Cage had completed Variations V in 1965 and Variations VI and VII in 1966, and would publish "A
Year from Monday" in 1967. Most of Feldman's important work was yet to come. These conversations
between two old friends, relaxed, smoking, and throwing out ideas, are full of laughter and long ponderous
silences. They form an incredible historical record of their concerns and preoccupations with making music,
art, society, and politics of the moment.
In 1993 these conversations were transcribed and published as "Radio Happenings I-V" by Edition
MusikTexte in Cologne, Germany, with a German translation and a preface by Christian Wolff. However, the
printed page loses so much that can only be experienced by hearing these two speaking together again –
even those long, meaningful silences.
I: July 9 1966
On intrusions – is it reality or culture? The role of the artist – deep in thought.
Is it possible to avoid the environment around us? Being constantly interrupted? Larry Rivers, Bob
Rauschenberg, Franz Kline, Schoenberg, Stockhausen, Boulez, Black Mountain College. On boredom and
Zen, Buckminster Fuller.
Thanks to the Estate of Morton Feldman and the John Cage Trust for permission to share this historic
interview. All Rights Reserved.
All Other Minds programs available, with additional print and photo materials, at http://www.radiOM.org.
Boxid OL100020301
Identifier CageFeldmanConversation1
Run time 00:39:25
Source Other Minds
Taped by WBAI
John Cage and Morton Feldman In Conversation, Radio Happening II of V recorded at WBAI, New
Topics Avantgarde, 20th Century Classical, Interview
II: July 1966
Governments, modern music, freedom from being known. Writing for large or small ensembles. Boulez and
Stockhausen's reactions. Writing for Christian Wolff and electric guitar. de Kooning. Lukas Foss. Cage
comments on Feldman's soft sounds. Having stamina to make an action. On working alone. Working "at
home". Being asocial and the telephone. Edgard Varese. The question of death.
John Cage and Morton Feldman In Conversation, Radio Happening III of V recorded at WBAI, New
III: 28 December 1966
"There is so little talk these days." Talking in England. The ICA lectures. Kitaj. David Sylvester. English
pompousness. Cardew. Compositions as "work-in-progress". Thinking about Mozart. Webern and other
possibilities for new music. Differences between Boulez and Stockhausen piano pieces.
Varese and process. Space, silence, notation, scales. Finding the vertical. Grandeur of Varese.
Stockhausen's refusal. Looking into the future. Buckminster Fuller's ideas on ending war.
Identifier CageFeldman3
John Cage and Morton Feldman In Conversation, Radio Happening IV of V recorded at WBAI, New
IV: 16 January 1967 (Part 1)
Design in a disposable world. How our sense of time has changed. "How do we spend our time?"
Conversation as enjoyment. Impermanence and music. "Do you prefer the composition, or hearing the
music?" Feldman working on "In Search of an Orchestration". Composers silent on Vietnam. Painters are
not. Protests in Europe. Fuller's views and World Resources Inventory. Global Village.
John Cage and Morton Feldman In Conversation, Radio Happening V of V recorded at WBAI, New
V: 16 January 1967 (Part 2)
Varese or Webern? On Boulez. On an upcoming concert in Cincinnati.
Problems, stories of performances. "Why do you continue to compose?" Creating new notation. Students
making compositions.
The way things are done nowadays. Things are "less narrow now".
Children, and the Middle Ages. "If we apply ourselves to the social situation… as composition rather than
criticism, we'll get
somewhere!"
https://archive.org/details/MFeldmanSOM
Morton Feldman, Speaking of Music at the Exploratorium in 1986
by Morton Feldman
Topics 20th Century Classical
Publisher KPFA
Morton Feldman interviewed by Charles Amirkhanian at the Exploratorium's Speaking of Music Series in San
Francisco, January 30, 1986.
Charles Amirkhanian interviews Morton Feldman and asks right at the top: Is your music Hermetic? The
answers take us on a whirlwind tour of this composers opinions, philosophy, criticisms, recollections and
observations. There are excerpts from his Piano and String Quartet as well as his Violin Concerto. Feldman
indicates that his compositions, which are usually lengthy, can be compared to the novels of Proust or
drinking a fine wine: one to be sipped rather than gulped. Dont give up listening until you find out why Fred
Astaire danced so well, or why Beethoven wrote his C-sharp minor String Quartet; Feldman provides the
answers!
Thanks to the Estate of Morton Feldman for permission to share this historic interview. All Rights Reserved.
Identifier MFeldmanSOM
Taped by KPFA
Appreciated cheers.
Robert Magill on November 08, 2018 · at 10:13 am EST/EDT
Life may have other plans rather than the " necessary deification of the human being".
https://robertmagill.wordpress.com/2018/10/29/the-purpose-of-life-is-life-amen/


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We like our board games here at baby budgeting. They can be played over and over again, they bring a whole family together, they are full of opportunities to learn AND have fun and they are such value for money!
So we were delighted to be asked to review a brand new games from Orchard Toys.
We have many Orchard Toys puzzles and games and always find them such good quality. Robust, straightforward and really engaging. Spooky Steps is no exception.
It is a game of chance and risk with lots of adding up too. A typical travel round the board game with lots of fun spooky twists.
It has been brilliant for my 5 year old and her maths. I have learned a lot about her personality too. I am very cautious and will only turn over one or two cards scared a ghost may come and make me go backwards. She takes big risks and they often pay off. Every card she turns over she has to add up the footsteps to get her round the board and she takes loads. Its brilliant for her skills base. She has also really enjoyed constructing the board.
Many thanks Becky for a great review. Really pleased that it's helped your little girl with her counting. May it become a firm family favourite!


text:
Maryville mom holds workshop to put an end to bullying
Talking about bullying can go a long way in preventing it, and groups say instilling confidence is a big part of the solution.
Author: Shannon Smith
Published: 10:38 PM EDT August 27, 2018
Updated: 11:37 PM EDT August 27, 2018
Maryville, Tenn. — There is a new push in Blount County to put a stop to bullying in schools, all thanks to one Maryville mom's school project.
Frontier Nursing University student Stacey Craig was tasked with doing a community health project for one of her classes.
She said she dealt with bullies when she was young, and wants it to end.
"Having little kids myself, [bullying] is my biggest fear. "So if we can put a stop to it, all the better," said Craig.
Craig organized an event called "Bully No More," where she invited kids, parents and speakers in Maryville to talk about ways to combat bullying.
"Bullying has really gotten a lot harsher over the years," said Craig. "A lot of people don't even know they're bullying when they're doing it."
According to the National Center for Education, 5 million middle and high schoolers reported they were bullied in school during the 2014 - 2015 school year.
That's about 20 percent of kids in that age group nationally, and only accounts for reported instances of bullying.
Maryville High School sophomore Julia Jones said she dealt with bullies as a child, and is thankful Craig is opening up this conversation.
"I didn't really think about bullying or anything until it started happening to me," said Jones. "So actually going in and talking to kids and investing in them when they're younger, that's where it needs to start."
Craig invited several self-defense groups to teach both mental and physical responses to bullying.
Maryville Tae Kwon Do demonstrated some self defense moves kids can use if someone attacks them in a fight.
They told kids and parents physical fighting is a last resort, but it's good to be prepared.
Smoky Mountain Self Defense talked about the importance of stopping bullying before it gets out of hand.
But all groups say believing in yourself is a big part of the solution.
"Primarily, we teach confidence, and confidence is bully repellant," said David Church, owner of Church's Tae Kwon Do America in Maryville.
He said when kids get bullied, they can stand up to it, ignore it, or run from it.
"Ignoring it and running it doesn't help, so standing up to it whether it's verbal or physical really is the only way to deal with a bullying situation and end that situation," said Church.
All speakers advise parents to make sure your kids feel safe coming to you with any bullying problems.
Talking about bullying can go a long way in preventing it.

redpajama_set_name: RedPajamaCommonCrawl


text:
Tom clancys splinter cell conviction apk
Tom clancys splinter cell conviction apk. Tom Clancy's Splinter Cell: Conviction Windows, Mac, X360 game 2019-06-05
Wednesday, June 05, 2019 10:59:47 AM Carmine
▷ TOM CLANCY'S SPLINTER CELL CONVICTION DELUXE EDITION
Vive amargado por los recuerdos, pero todo cambia cuando encuentra una pista que le lleva a aquel que la asesinó y decide ir en su busca para cobrarse su venganza, ayudado por una ex compañera llamada Grim. Here everything must be done quietly and clearly! There are also versions available for the , and. Follow a trail of intrigue that leads from Iraq to a high-security building in Washington. The Last Known Position indicates where your enemies think you are, allowing you to outflank and eliminate them. It was published on November 3, 2009 and was written by Peter Telep under the name David Michaels. Released in 2013, it takes place between the events of Tom Clancy's Splinter Cell: Conviction and Tom Clancy's Splinter Cell: Blacklist. Some individual stores also released their own variations.
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It also made it to the list of Wall Street Journal mass-market paperback bestsellers. February 2011 Although the game features his name, Tom Clancy had little to no involvement in the development of any of the Splinter Cell games. Sam infiltrates White Box Technologies and witnesses Black Arrow murdering scientists that are no longer needed. Conviction was released in four retail versions. It will guide you through very basic details of the game. Archived from on December 26, 2009.
Tom Clancy's Splinter Cell: Conviction PC Game Free Download
The game received critical acclaim, with higher critic scores than any other game in the series and is often considered to be the best game in the franchise. Use a wide range of weapons and gadgets to get rid of your enemies. As its name indicates you will have to shot on your enemies head directly. If file is multipart don't forget to check all parts before downloading! We know that you are here after going through so many websites. It was published by , under Penguin Group.
The series, along with , is considered to be one of Ubisoft's flagship franchises, selling more than 31 million copies as of 2011. The game was followed by a sequel in 2013 titled. She has denied any existence of the agency and Fourth Echelon is working to stop a new terror plot known as the 'Blacklist'. If you want extra points then use headshot trick. He had the ability to blend in with the environment, interact with tables and chairs and utilize hand-to-hand combat against enemies, making the game appear less stealth-based than previous games. In next page click regular or free download and wait certain amount of time usually around 30 seconds until download button will appead. However, the port did feature an exclusive level not found in the original game - a speed boat level set on the.
Tom Clancy's Splinter Cell Conviction™ Deluxe Edition on Steam
It is then revealed that Reed was the mole Lambert was looking for. October of the same year, Iwanyk has stated that filming will start early 2015. You are now a renegade spy agent; you don't follow any orders except for your own rules of engagement! There was no reason for that. Mission objectives and key plot points are projected onto walls within the in-game world, in order to keep the player immersed in the gameplay. After upload, share files instantly via Social networks or via Email with your friends or family.
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Description : Unleash the ferocious skills of renegade agent Sam Fisher. At this point, Sam and Grim spring into action, disarming Reed and killing his escorts. If you have any other trouble downloading splinter cell conviction apk post it in comments and our support team or a community member will help you! Inspired by the series, it uses an that was modified to allow light-and-dark based gameplay. Y es que el Sam Fisher de Conviction es más salvaje que nunca, y no duda en golpear a un hombre hasta llevarlo al borde de la muerte para que confiese. I gripe when an obviously overrated game is labeled as innovative and great, adjectives that do not describe this game. Archived from on July 6, 2011. In 2004, produced and delivered one such device.
How to Download Tom Clancy's Splinter Cell Conviction Game for Android । Android Action Game
Shortly after its publication in December 2004, it spent 3 weeks on the New York Times list of bestsellers. This creates a visual where the guard thinks is, allowing the player to flank his enemies. Splinter Cell, Splinter Cell Conviction, Splinter Cell Double Agent, Splinter Cell Chaos Theory, Sam Fisher, the Soldier Icon, Ubisoft, Ubi. Conviction allows a fourth module to be accessed, a sonar module that can scan through walls for interactable objects, such as weapons, people, and consoles. Unlike the first two books, Checkmate is not written from the perspective of Fisher, nor does Checkmate continue the running subplots that were established in the previous. February 2011 The first game in the series modified the to allow the light-and-dark-based gameplay style. With Uplay, players earn units for completing set in-game tasks that can be used to purchase various content in Splinter Cell, or saved for content in future Ubisoft releases.
Sam interrogates Reed while soldiers extract Caldwell. Here, guns down burglars in the tutorial flashback. She was presumed to be killed in Double Agent, but Conviction revealed her murder to be a deception. On January 28, 2010, a message was posted on 's website, stating that he would contribute to the game. Cooperative mode plays similarly to the single player mode, but adds situations that can only be overcome as a team. Later that month, was brought into the production team, to write a new draft of the script. In 2011, Ubisoft announced that Tom Clancy's Splinter Cell, , and were all planned to receive film adaptations.
Upgraded weapons will help you destroy your enemies more easily. By 2013, Ubisoft announced that the film will be made by , with Basil Iwanyk signed on as producer through his production company, Thunder Road. It was set for release on October 19, 2010, but was delayed until February 17, 2011. With the aid of Coste, Sam attacks the Michigan Avenue Reservoir. As well as the standard version, a Special Edition, a Collector's Edition, and a Limited Collector's Edition were also released. It is released by Ubisoft in 2018.


TABLE MOUNTAIN WILDLIFE – UHM, WHERE IS IT?
It is home to more plant species than there are in Sweden and its habitats include forests, wetlands and lush river valleys. But wildlife on Table Mountain is conspicuous by its absence rather than its abundance. Why is that? And what wildlife is there? Time to lace up your boots and find out.
Truth be told, there's never been much wildlife on Table Mountain. This iconic flat-top is made up of ancient sandstone that weathers away to make…well, sand. And pretty sterile sand at that – all their nutrients and minerals (phosphates, nitrates and so on) have long been leached away and the result is that the bottom of the food chain is a gravelly kind of rubble.
Typical Table Mountain habitat: a sandy, rocky shrub-land overlain with a blanket of silence.
The plants have adapted well enough, creating a mosaic of shrubs and reeds collectively known as fynbos. These plants can cope with poor spoil, desiccating winds, scorching sun and regular fires but needless to say these same factors impact severely on the mountain's ability to provide a safe and nurturing home for animals.
Take a hike up Table Mountain and you'll see what I mean.
Chances are you'll be surrounded by birdsong as you start off on the mountain's lower slopes. Here the soils are deeper and contain more nutrients, washed down off the higher peaks, and the landscape supports thick stands of nectar-rich proteas, fed on by brightly coloured sunbirds and sugarbirds fizzing with sugary energy.
You'll see Cape Sugarbirds on Table Mountain wherever there are nectar-laden proteas in flower, especially in the mornings when the sugar is on the rise.
Look closer at the protea flower & you'll see insects scrambling around for pollen & nectar – these are Fruit Chafer beetles.
There'll be the hum of carpenter bees too – as loud as a passing motor-scooter and not much smaller – as well as the lugubrious whistle of a southern boubou (a shrike-type bird) and perhaps the lucky flash of a Cape mongoose on the path in front of you.
But as you climb higher, the sound of birds and insects fades away to a hushed silence, punctuated only by an occasional lonely 'pink' of a frog. It seems so counter-intuitive: here you are surrounded by greenery with waterfalls tumbling beside you and there is barely an insect to be seen let alone something warm-blooded with fur. Indeed, the higher you hike the wetter and more verdant the mountain becomes but it comes with a corresponding decrease in animal life. There simply isn't the energy and nutrition up there to support many animals.
But there is wildlife on Table Mountain – and though it may not be in the form of sweeping herds and sun-blocking swarms (which suits me incidentally) it ranges from the lowliest invertebrate to the mountain's apex predators – black eagle and caracal or rooikat (our version of the lynx) – and spans much else in between; antelope, lizards, birds, butterflies and large spiders.
Table Mountain's crowd-pleaser: the Dassie, a rodent-esque mammal that is in fact related more to elephants & manatees rather than a guinea pig (check the fossil record if you don't believe me).
Leave the big camera: you're not going to see a lynx I'm afraid: the larger animals on Table Mountain such as klipspringer (a mountain antelope), fruit bats and porcupines are very shy or strictly nocturnal but you'll see plenty of smaller things on a sunny day. And since wildlife on Table Mountain is so rare, it makes every sighting – whether it's a hovering bird of prey or a zebra-striped cockroach – rather special.
Exposed on bleached white rocks, the Black Girdled Lizard has sacrificed camouflage for the ability to absorb the sun's energy before other lizards & so get the early worm.
There's not much difference between what you might see in summer compared to winter though of course there are more insects and reptiles in the sunny summer months. But you don't have to worry about clouds of mosquitoes or snakes falling out of every tree: I see perhaps five snakes a year and have yet to be bitten by a mosquito (or a snake) on the mountain.
Most often seen basking on a path or road in the late afternoon, the Puff Adder is indeed a dangerous snake but sightings of any snake are vanishingly rare on Table Mountain.
There are oddities among Table Mountain's animals too: orange-legged wasps that hunt spiders, frogs that don't like water and termites that chew up white sand to make black cement with which they build their cooling towers – termite mounds – to regulate the temperature of the colony underground.
Another rare sighting on Table Mountain is the Cape Dwarf Chameleon, seen occasionally on a sunny spring or summer day as it moves between ambush sites.
And the wildlife is pretty safe, considering Africa's reputation for dangerous animals. There's nothing large and toothy lurking in the undergrowth: the last leopard on Table Mountain was shot 150 years ago and the baboon troops are all further south on the peninsula, wrecking havoc in the vineyards and picnic sites on the way to Cape Point. Even the Cape Honey Bees of Table Mountain are well-behaved, preferring to bounce off your head rather than sting you.
The Citrus Swallowtail butterfly is at home in fynbos; its young larvae resemble bird droppings but its older larvae are called 'orange dogs' & are a pest in citrus-farming country.
All the more reason to go hiking on Table Mountain with The Fynbos Guy.
The most obvious bird on Table Mountain is the Red-winged Starling, at home both on the cliffs of the mountain as they are on the window sills & rooftops of Cape Town below.


text:
New Star Wars Galaxy's Edge Photos now revealed!
by Ben | May 14, 2019 | Star Wars Hotel News
New Star Wars Galaxy's Edge Photos now revealed!
Hey Star Wars fans! Disney's own D23.com site has featured some brand new images from Star Wars Galaxy's Edge theme park! These images originally appeared in a official Disney fan club magazine.
These images that you will see below will feature ships, a rack of old Stormtrooper helmets, alien animal heads mounted on the walls, and much much more.
Here below are these awesome photos (photo credit: D23.com):
New looks at the Immersive Star Wars Hotel Revealed!
by Ben | Feb 23, 2018 | Star Wars Hotel News
Starwarsnewsnet.com reports that Disneyparks.disney.go.com has revealed some videos of concept art images of the Immersive Star Wars hotel!
Last summer, we announced plans for an immersive Star Wars-inspired resort to be built at Walt Disney World Resort. Tonight we're happy to share more details on what this thrilling new resort, which will be seamlessly connected to Star Wars: Galaxy's Edge at Disney's Hollywood Studios, will be like.
This first-of-its-kind resort will combine luxury with complete immersion into an authentic Star Warsstory.
Guests' journey through space will start when everyone departs together for a multiday Stars Wars adventure by boarding a starship alive with characters and stories that unfold all around them during a voyage through the galaxy.
At the resort, guests immediately become active citizens of the galaxy and can dress up in the proper attire.
Every resort window will also have a view into space. The opportunity for immersion at this resort will also stand out among all Disney resorts around the globe, as it will be seamlessly connected to Star Wars: Galaxy's Edge at Disney's Hollywood Studios, allowing guests a total Star Wars experience.
Keep your eye on the Disney Parks Blog for future updates on this fascinating place!
Here below are the videos of the new "Action" concept pieces that give a bit of the look and feel of the resort:
Video 1: