Reviews Australian Car. Reviews is an independent publisher of car reviews, recalls, faults, image galleries, brochures, specifications and videos. All rights reserved. Harold Land Sr. I was expectant and excited when I heard that Los Angeles based, tenor saxophone icon, Harold Land, had previously unreleased music. It will be shared with the public this summer by Reel to Reel Recordings.
They unearthed this amazing album, recorded at the Seattle jazz club The Penthouse back in through On August 6 ththese projects were released digitally. This original composition by Harold Land swings harder than Jackie Robinson at home plate. The bassist, Monk Montgomery, is powerful beneath the excitement, walking his upright bass and holding the rhythm in place along with Jimmy Lovelace on drums.
Pianist Buddy Montgomery is tasty and creative as his fingers skip along the keys. Harold Land has a warm, buttery sound on his saxophone. Drummer, Jimmy Lovelace, propels this bebop tune forward on Sweet And Salty Cha Cha Cha (Extended Version) - Karl Potter - Sweet And Salty Cha Cha Cha (Vinyl) trap drums and Monk Montgomery sticks with him like Velcro, pumping his walking bass. Montgomery remains the bassist and this lovely ballad unfolds with Hampton Hawes performing an ear-catching introduction on piano.
When bass man, Curtis Counce invited Land to join his band, Harold said yes and worked with them between and You clearly hear his hard-bop prowess sparkling on this album.
Harold land in New York with Kenny Dorham. All through the s, Harold Land was in demand as a studio session musician. He also worked regularly with Red Mitchell throughout and He co-led a band with Bobby Hutcherson from to These beautiful ballads, made famous by Billie Holiday, showed the softer, more romantic side of Harold Land. His band is stuffed with legendary talent including Billy Higgins on drums, Cedar Walton on piano and Buster Williams on bass.
Monk Montgomery is still on bass and this quartet recorded on August 5 of at the Penthouse jazz club. Every cut on this album is an individual masterpiece and celebrates the talent and mastery of Harold Land Sr. This historic album continues to sing his legacy. I was so captivated by this bluesy ballad that I played it twice before listening to the entire album. Another surprise is Lucas Brown, a fellow organist from Philadelphia, who plays organ, as well as being a competent guitarist.
I have attended many Joey DeFrancesco concerts over the years and watched him bring crowds to an exciting frenzy during his energetic organ solos. As a big Miles Davis fan, young DeFrancesco had always wanted to play trumpet and honed his tone and presentation on that horn with many years of practice.
Ina very young Joey DeFrancesco was actually a part of the Miles Davis band and toured worldwide. His grandfather and namesake, Joseph DeFrancesco, was a woodwind player. I got on the stage and Philadelphia saxophonist Victor North was standing next to me. I have a certain sound that I love and that was already in my mind. Lucas Brown steps away from the organ and adds his guitar chops to the mix. DeFrancesco brings his genius on organ and the tune is off and running.
Ode also takes a fiery and inspiring drum solo later in the song. Later, he blows us away with his trumpet solo. This is another well-written DeFrancesco composition that quickly becomes one of my favorites. Both DeFrancesco and Lucas Brown challenge each other playing simultaneous organs. The organists bring the blues front and center and Michael Ode takes a spirited trap drum solo. This is an album released ina little over thirty-four minutes long and it features four songs played by trumpet legend Freddie Hubbard with gusto!
It swings hard and features Hubbard at his very best. The brilliant drums of Louis Hayes egg the take-off onward and Richard Davis pumps hard on his double bass, fueling the process.
When Daniels enters for his solo, he lifts the piece a notch higher. This is the traditional, straight-ahead, bebop rooted jazz I grew up listening to and it is joyful music to my ears.
I enjoy the creative and cohesive flavor of Roland Hanna on the piano. Instead, he has a conversation with the bass and plays unexpected and always on-point complimentary phrases. When master drummer, Louis Hayes trades fours with the group, he reminds the world of who he is and his extraordinary legacy.
The plan was, in the members of the Dominican Jazz Project would return to the studio and record their second CD. Their first one was released in Unfortunately, the pandemic changed everything. Consequently, pianist, Stephen Anderson took the quarantine time to begin composing. In May oflong time member of the group, Jeffrey Eckels, called Stephen to say his mother had passed away.
The two men, who were good friends, had been recording together for nineteen years. Both of these compositions become part of this new album and two of nine original compositions that are included in their Dominican Jazz Project.
Before he could join the group to record the new project, his mother became severely ill. Although Ramon eventually contributed six tracks to this recording, in the interim, the group invited friends of Jeffery Eckels to replace his missing bass part; Craig Butterfield and Jason Foureman.
The result of hibernation during the pandemic was not only personnel changes, but also the determination of these master musicians to draw from various folkloric rhythms of the Dominican Republic and to reflect their personal life changes. These experiences led to the creation of this music. This music is healing. These songs uplift and give hope. Their musical message is energetic. Mayquel Gonzalez makes a spotlight appearance on trumpet.
Each song and all the players contributing to this project highlight the beauty, hope and joy that the Dominican culture offers us on a silver disc. Pop it into your CD player and enjoy. Although this album of music was released some months ago, great music is timeless. Track 2 is written by Bill Cunliffe, who also has arranged the music on this album.
Unfortunately, the liner notes on the CD cover do not tell us which wonderful saxophone player is soloing on this number, but that solo is rich and beautiful.
Langley makes a strong musical statement on guitar during this arrangement. I was disappointed that a fade ended the tune during an outstanding guitar solo by Langley.
I could have enjoyed sixteen more bars of that guitar goodness and groove. This is an album of great music performed by outstanding West-Coast-based musicians. Every composition and creative arrangement proffers ear candy. Thanks to the new, Las Vegas based record company, Le Coq, here is a sweet and joyful album of well-played music for the world to enjoy.
Piero Pata, founder of the Le Coq label, is an Italian-Australian native with a deep love of jazz, music, dance and art. We can happily expect a long list of all-star jazz artists to be released by this new record company. Stay tuned!
So, when we started Le Coq, I focused on gathering together these incredible musicians. Consequently, this album title was inspired after months of Benn Clatworthy holding rehearsals in his backyard. The band was preparing for this studio project.
Benn Clatworthy is a serious and prolific composer, based in Los Angeles, who offers us seven original tunes on this project, with one song contributed by trombonist, Joey Sellers. The counterpoint arrangement, at the beginning of the tune, is inviting and bounces like colorful balloons. Then Ron Stout steps into the spotlight.
Stout is stellar and straight-ahead on trumpet. Clatworthy arrives on the scene, playing soprano saxophone free as a bird in flight and just as beautiful. We hear a memorable solo from Bryan Velasco on piano and the steady drum support of Tyler Kreutel pumps the band up. Kreutel takes a flashy and spontaneous solo towards the end of the tune, with a baritone saxophone egging the drummer on.
Next, Clatworthy features his flute. Joey Sellers steps forward on trombone, while Latin rhythms inspire us to dance. Then, attention is given to bassist David Reynoso, who shares his inspired double bass solo with us. This is a joyful composition that radiates resilience and hope. The horn ensemble acts as exclamation points. This composition by Sellers has an Afro-Cuban beat and a lovely, lilting melody. There is no break in the flow. Consequently, I suppose Caesura Chonchalita must simply Sweet And Salty Cha Cha Cha (Extended Version) - Karl Potter - Sweet And Salty Cha Cha Cha (Vinyl) a female name.
He plays from his heart. This tune is played at a very exciting, up-tempo pace and leaves this listener on a high note. The number three in numerology stands for music, art and creativity. In addition to being a trio of artists, they are friends and have worked together for the last decade or so. I feel this group is exploratory and pushes the boundaries of creativity.
The title track is a previously unrecorded composition, described by Altschul as his once long and tall paramour with a sunny disposition. Joe Fonda adds his pulsating bass beat to open the tune and establishes the tempo. Altschul described it this way. I listened to Miles Davis when he said that Louis Armstrong played everything that could be played. His fame glows sunshine bright from the s when he worked with artists like Paul Bley and Chick Corea, bassist Dave Holland and saxophone giant, Anthony Braxton.
Mitcheltree has composed all ten of the songs on this album and each one is well played and well-crafted. This project was recorded in Pasadena at the studio of Nolan Shaheed, just before the Pandemic grabbed us all by surprise and forced the world into panic.
I enjoy the instrumental freedom that the saxophone, bass and drums deliver. This is a trio that stands alone without piano or guitar accompaniment. At age twelve, he was fascinated with the Oboe instrument. That led him to expand his horizons and explore the baritone saxophone; but by high school, the teenager had discovered Miles Davis, John Coltrane and the tenor saxophone.
Born September 25,Dennis is married with children and took time away from recording and touring to concentrate on being a good dad. InMitcheltree established a club residency in Santa Monica, California. For a while, he was opening act for the Julian Coryell and Andy Sanesi group. After a while, he moved his band into the headline spot. Because of that steady gig, Mitcheltree had income and time to compose. However, when his old friends Jesse and Bill turned up in Los Angeles to do a few gigs, he called them into the studio to make this album.
After that, Dennis moved to New York City. I am intrigued with the Mitcheltree compositions. They are so well-written and the unexpected, momentary stops in his arrangements call the listening audience to attention. Dennis Mitcheltree explains some of his feelings when he was composing and arranging this artistic piece of work. Dennis Mitcheltree shows on this tune that he can swing and bebop with the best of them.
I found this album to be totally intriguing and a clear testament to the power, creativity and innovation Dennis Mitcheltree performs on his tenor saxophone and injects into his original compositions. To spice up this straight-ahead tune, Andy Barrus adds Steel Pan and his percussion talents.
Buddy Mohmed solos on electric bass and Harrell Bosarge lends his timely rhythm on trap drums. Mike Bogle, like a horn. Once a touring musician, music has taken him all over the world. Bogle has released six albums as a bandleader. The tune encourages us to eat our vitamins and enjoy our vegetables. On this arrangement, Mike Bogle pulls out his trombone and displays a warm tone on the instrument that floats above the Harrell Bosarge drum groove.
There were two more trio excursions before Evans expanded to quintet status. Unfortunately, in the midst of all that drama, Falkner Evans suffered a devastating loss. On May 19,my wife Linda took her life. Linda was a bright light with a radiant soul. Her smile could melt your heart. Linda was the smartest person I have ever met. I learned a lot from her. It takes time to grieve and to recover from the loss of a loved one.
After three months, Falkner Evans finally took a seat in front of the ivory and ebony keys, he began to compose. This album is the lovely result. Evans has poured his heart and soul into these compositions, in celebration of his life and love for the woman he lost.
From The very first tune, I recognize that Dan Siegel has a love of melody. His compositions are all very melodic and structured in a repetitious way that drills the melody home. Siegel uses the chords and melody at the beginning of his songs to repeat.
In one respect, this is a good practice. I never really hear him stretch-out to improvise on his themes. He just plays a theme over and over again. Although his music is soothing and easy-listening, his piano playing lacks creative improvisation. Improvisation is one of the most important, if not THE most important part of being a jazz musician. Although the arrangements are similar, the productions are packed with punch and talent. Dan Siegel rarely takes the lead to be exploratory on his solos or to exhibit his prowess on the piano.
Perhaps because he is surrounded by such outstanding musicians. Even if he had played his original compositions in a variety of keys, it would have helped to make his song repertoire stronger. Also, most of his compositions are performed at a similar, moderate tempo. With the amazing list of talented players on this project, I was expecting more diversity.
On Track 11, Siegel did step up to solo more on his piano instrument. Maybe too little too late. This amazing new work of musical art features fourteen new compositions by Wadada Leo Smith, spread over three CDs.
It was recorded in July ofat the historic church that was constructed between the years and and is said to be very close to its original condition. As usual, Wadada Leo Smith explores all the tones, textures and possibilities of the trumpet. The recording took place over four days during the summer. That music of the trumpeter is heard in this world and across space. Wadada Leo Smith dedicates his music to these historic figures and more.
In the booklet, he gives opinions on each icon that inspired his music and why they mean so much to him. There are also several color photographs of Wadada and a rich biography that traces his early musical life to the present. The historic St. Several of his previous art scores have been featured exhibits at major American museums. However, Wadada was always his own man; a musician who pushed the boundaries.
With his rhythm-unit concept, each single sound or rhythm, or a series of sounds or rhythms, is accepted as a complete piece of music. With his beautiful tone and emotional connection, his music makes me feel one with the universe.
It opens like a blooming flower and roots itself into the soul of his listening audience. Soon, the spotlight turns to the bassist, Ryan Berg.
He basks in the light and thoroughly entertains us on his upright instrument. When Alex Collins enters on piano, both his solo and style are stunning and unusual. I am captivated by his approach on the piano and the freedom he exhibits, with Karl Latham slapping the drums into high gear to perpetuate the excitement.
Sometimes it sounds as if two pianists are playing instead of one. Alex Collins is extremely gifted. Drummer Karl Latham has produced this session. He is also the Recording Engineer on this project. The clarity he captures is wonderful.
In this case, the trio has double-timed the arrangement and the tune streaks by on humming bird wings. Latham takes a long and inventive drum solo on this piece, until the time resolves, slowing down to wrap us in a warm, somewhat classical piano arrangement. The creativity presented by this trio is dynamic and much appreciated.
Alex Collins is a composer and arranger, as well as a uniquely talented pianist. When you combine these three exceptionally talented individuals, you get an opportunity to hear what the perfect jazz trio should sound like, under the best of circumstances. This is an album I will enjoy time after time, year after year, always discovering something fresh and exciting to please my jazz palate. Their music is absolutely delicious! Watts, spoken word. Lauren Henderson made a conscious effort to be sure this new release exemplified her traditions and the cultures that have influenced her style and vocals.
Sullivan Fortner is notable and complimentary on piano. She includes original compositions as part of this repertoire and she sings several songs in Spanish. Paco Soto is emotional and full of passion on Flamenco guitar.
Then he flies high as does Fortner on piano. As the song unfolds, it spreads joy like sweet jam. On this arrangement, Nick Tannura steps forward with his guitar featured brightly. But there is a sexy undertone that whispers her lyrics and is quite provocative. While intensity is a powerful tool that we can use in a beautiful way and in a positive way, I can be more private at times. The rhythm section is powerful on this track.
It becomes one of my favorites on this album. Eric Wheeler sparkles during his bass solo. Lipson is a drummer and composer in his own right and was an admirer of Kenn Cox. This tune barrels into my listening room with tenacious energy, in a jazz waltz vein. As the horns blare, Cliff Monear is complimentary and supportive in the rhythm section, on piano. This Site is under the management Sweet And Salty Cha Cha Cha (Extended Version) - Karl Potter - Sweet And Salty Cha Cha Cha (Vinyl) A-net Inc.
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The prices, specifications and release dates, etc. The Company may change information on this Site without prior notification. Our family ing, researching, messaging, talking, listening, formed a new relationship, non-traditional in and presenting fragments of my explora- many ways. Although my parents never remar- tion — that I found myself in Joshua Tree, at a ried, they made a point to maintain some sem- site tied up in its own history of alternative blance of family life, including nightly dinners.
The theme and the site felt in- They forgave each other in a way that I still creasingly befitting. I may not understand or agree with the tactics, but I do understand the motive.
I try to honor and remember those who were lost or hurt along the way, in my particular history and otherwise. I see now that in many ways, those involved in the Samaritan Foundation were simply in search of their own net- works of belonging. So too am I. ARIN reports at this time that less than A concrete mushroom world. A secular or postsecular idol? Artists like Chris Jordan have tried A nuclear Ozymandias? Others like Richard Ross have site? What is the temporality and historicality sought to give these numbers a human face.
Is it a place, or is it a disruption of I will not speak of numbers, nor of faces, but place by the shard of a future and a power that rather of a particular site of mass incarceration has not yet arrived?
What collective memories in Tennessee. The Hartsville Nuclear Complex sits just fifty miles northeast of Nashville; it is the future site And how does the nuclear fantasy of limitless of the Trousdale County Correctional Center, power, limitless expansion of empire, and a private mega-prison owned and operated by limitless potential for growth, continue to Corrections Corporation of America CCA.
Inthe Tennessee Valley Authority sold At least three systems of power nuclear, over acres of the Hartsville Nuclear site to carceral, and industrialthree social imaginar- the Four Lake Regional Industrial Development ies, and three dissonant temporalities, collide Authority for the creation of the PowerCom and overlap on this site. My aim is not to make business industrial park. CCA partnered with REES absurdity of this site, its failure or refusal to Associates to design and build 1, prefab make sense, and the difficulty of imagining a prison cells at the edge of the property.
REES disaster that is both real and surreal. These are Mile Island, and under increasing pressure designed and constructed as rebar cages, from local landowners, construction of the encased in concrete, complete with doors, Hartsville plant was canceled, along with windows, plumbing wells, and prefab furnish- several other nuclear power projects in ings.
Eventually, the cell blocks will be Tennessee. Rotondo What kind of object is this cooling tower? Total Security Solutions are systems for the Their corporate history reads like an autobiog- re production of social death, through the raphy of neoliberalism.
This is Weeds and small trees have grown up around the cell blocks, like a series of abandoned motels.
Here are there, a door stands open, as if someone had left without looking back. Even the warehouses on the PowerCom site, on the other side of the chain link fence, are mostly vacant. And in response to Maurice Blanchot, who writes: what vision of the future, and what memories of the past?
We are on the Sweet And Salty Cha Cha Cha (Extended Version) - Karl Potter - Sweet And Salty Cha Cha Cha (Vinyl) of disaster without being able to situate it in the future: it is On April 28,Trousdale County commis- rather always already past, and yet we are sioners signed contracts with CCA and the on the edge or under the threat, all state of Tennessee to move forward with the formulations which would imply the construction and operation of the Trousdale future—that which is yet to come—if the County Correctional Facility.
In a bizarre slip of disaster were not that which does not the tongue or is it just a mistake? If disaster, just as there is no time or space anything goes wrong, they [CCA] have to stand for its accomplishment. A litany for the future Taylor continued: of no future. A basic infrastructure of social death: locking in and locking out.
Keep in mind our tax rate, dominate and destroy. Ubu problems is it designed to solve? A palimpsest is a manuscript page the product—but then again, you might where the original writing has been rubbed or actually be the product.
But even a palimp- remain, barely visible, but still affe ting the sest of disaster is still a palimpsest. What texture of the page. What would it CCA, and PowerCom have claimed as their take to read this surface as both a building site own? And how might we bear witness, here and and a text?
As the warp and woof of collective now, to the possibility of another world? As a palimpsest of nuclear, carceral, and industrial disaster. Smock Lincoln: University of Nebraska Press, Burchell New York: Picador, The marble halls of truth, knowledge, and beauty, already jolted by postmodern skepticism, strain to remain relevant in a sprawling cultural field. The most persuasive agent for change has been the disruption model made lucrative by Silicon Valley.
The task to meet computational needs without Sweet And Salty Cha Cha Cha (Extended Version) - Karl Potter - Sweet And Salty Cha Cha Cha (Vinyl) from its founding principles has been a difficult balance for museums to strike. Is history now the operating system for institutions of art that no longer add to a canon, yet still need historical legitimacy to maintain the financial value of artworks or an image of national heritage?
These products and their deployment came bundled with marketing ideology and dubious solutionism that have remained largely unpacked by critical projects directed at examining the museum. Anti-institutionalism had institution of critique. It was becoming abundantly what might otherwise be understood as out- clear to observers that public behavior in large side the field of art. Analytics now petuation of its conditions. In retrospect, was simply digital circulation.
Despite flying under the a bump in the road for global elites. Bloomberg Philan- Silicon Valley tech industries. Without some context, it can be Breuer building on Madison Avenue.
At the difficult to discern between the counter-cul- time, the museum was preparing to exit the turally inflected declarations of a Silicon Valley Brutalist landmark that had been its home entrepreneur and the anti-institutional nega- since A Jeff Koons retrospective was to tions by artists of the neo-avant-garde. Silicon open in six months and a forecast of public Valley ideology is particularly insidious be- response could be relayed by orders of magni- cause it internalized anti-hegemonic rhetoric tude.
These were an audience, whether they be global elites or distinctions without a meaningful differ- the aspirational classes. Surveillance, populism and extravagant elitism in the figure data farming, and self-regulation is a small of a single artist. This frisson was bound to pay price to pay for staying connected in the muse- the highest dividends in the attention economy um and in contemporary life. With his guileless trans- 19th century, it has directed foot traffic through parency and folksy pronouncements Koons galleries and toward the inspection of ordered winks to the radical promise of the post-en- objects.
Discipline has always come with the lightenment museum and its pursuit of public territory. Koons takes us down another trajectory: Kaprow and other anti-artists of the neo-avant- the recent sculptures are manifestations of art garde spoke of emptying the museum it was market hyperbole.
They are billionaire collect- often as an echo of earlier negations uttered ables, implausible metallic objects manufac- by the likes of Kazimir Malevich and Filippo tured to exacting standards. When installed Marinetti. But such sentiments could have just in public galleries and surrounded by the as easily been tweeted yesterday by a museum multitudes, the sculptures become glistening administrator drunk on digital strategy.
When monuments to the exquisite banality of mass a disruptor armed with Silicon Valley rhetoric culture. Koons has seized on the inconsis- approaches the contemporary museum with tencies and contradictions internalized in the venture capital and a new App, it is in the garb cultural field and made them shine.
As the of the neo-avant-garde. This produces a lag between A Koons sculpture demands a great deal innovation and the understanding of its con- from its institutional host but very little from sequences. Santa Cruz: Museum 2. Illustrated by Jennifer Rae Atkins. What moved you theory: rather than the interpretations of a today? Is everyone an artist?
These to be in perpetual flux. Scientist, engineered spaces for participation, thereby knitter, dancer, gardener? Everyone comes foregrounding social interaction and entertain- to the gallery with unique expertise.
Share it: ment. Visit the interactive screens on Level Now we have Museum Sweet And Salty Cha Cha Cha (Extended Version) - Karl Potter - Sweet And Salty Cha Cha Cha (Vinyl). It is the creation 4. Santa Cruz Museum of Art and History, a small community museum that has been reconfig- Interactive digital technologies also aid in ured as an activist laboratory at a local level.
This topic was for an art institution. For Simon, disruption might seem like in- art is a meta-genre without identity because it novation at an institution whose traditions one fetishizes the present: it is bound by contem- knows very little about.
Simon graduated with poraneity. This tendency obscures the criteria a degree in engineering and mathematics and for the judgment of contemporary art. Market quickly identified the cultural field as a robust speculation and a boom in the construction of laboratory for social engineering.
Her private museums for financial elites has freed book, The Participatory Museum, is a compen- the contemporary public museum from adding dium of arts engagement tactics and solutions. Everybody is an expert when no- It rebrands what are widely recognized social body knows the rules.
A social experiences and unexpected connections. The museum became a audiences, one in which everyone is a hub for programming where artists, curators, producer. Fraser norms. We are creating experiences, New York Times, March 2,accessed we are not creating tours. While Fraser embodies Critique? If there is a toothless institution Press, An updated institution of critique is needed, not 9 Ibid.
Build Big. Sell Big. Whitney www. Brooklyn Museum Our guides were hidden wsj. A single palm stands between a wooden raft island left and an offshore rock island right. Brightness is at eighty percent. Between the palm and the rock stands a man with no shoes or shirt, wearing a cap and shorts.
ONE 1. Simultaneously an airplane passes overhead. He shrugs his shoulders and a question mark appears overhead. MAN: at Humph? He casts the rod into an offshore void, adjusting his hat a total of six times, his shorts twice. Reeling in an old shoe, he exhales. He drops the sticks island right and begins rubbing them together.
He reclines with a sigh and relaxes. He disappears behind the palm, reappearing with an old shoe. Devouring the shoe in one bite, he warms his hands. MAN: at Aahhh. It bounces off the sand and into the ocean offshore, island left with a splash. He looks at us, defeated. MAN: at Ahhh. After thumbing through some pages and adjusting his hat, he realizes the book is upside down— MAN: at Humph?
He turns the book clockwise. Now, a coconut falls to the sand and circles the palm one and a half times before halting. It takes three blows against the palm for the coconut to split. He enjoys the drupe. Hands now empty, he stares at them. He shifts his gaze to the offshore rock island right and then to the raft island left.
Circling back, the boat anchors offshore. Four people are aboard enjoying beverages, giggling. He dives into the ocean and boards the vessel. He lets out a sigh, changes hats, and exits the frame, island left. Seven seconds pass before the boat reappears. He dives back into the ocean and climbs ashore, intoxicated. Swaying left to right, he faints as the speedboat exits the frame once again.
Again, his gaze misses us. He stops island center and looks at us, hands in pockets. Nineteen seconds pass. A coconut falls and bounces twice before meeting the ocean—he nods his head each time it meets the sand.
He looks at us, confused. Nine seconds later he tries again, yielding the same result. Facing the horizon, he stares, adjusting his shorts and cap, tapping his foot intermittently. He reels in his catch: a plank of wood. He returns the rod and wood behind the palm. On the horizon, we see something swimming towards him. The swimmer is now treading water adjacent the raft. Stepping aboard, he does an odd dance for the swimmer, hands behind his back, right foot outstretched, gyrating.
Dancing more, he motions towards an offshore entity. Overhead, a clouded image of a cityscape appears. Mumbling, he looks at the swimmer who begins to weep sharp, gull-like cries. The castaway shrugs, mildly unsure of everything. The swimmer turns and exits towards the horizon. He drops his head and sighs. An instrument, the quantitative analysis, methodology. Ologies: psychology, anthropology, theology.
Entities charged with energy. Significance lies or the trick is revealed. It does nothing. It is nothing. The object is a system. The process of latency. A loaded landscape. Electricity is a system: it mimics systemic interconnectivity. Power of suggestion. A thought experiment. The scaffolding of an emotional experience. A faux crisis. A synthetic baptism. A falsified trauma. Allowing an audience to witness. To be witnesses. Signifiers of spirituality.
Exercising pastoral power. Exorcising pastoral power. Flimflammery: tanning beds and objects of infomercials. Hair tonics, SkyMall: tools to guide life, objects of transcendence. Modern conceptualization of science and counterculture psychology.
Lucid dreaming. Willful ignorance and professional skeptics. Measuring the invisible. Simulating a religious experience. The God spot. It is black widows. Scorpions scurry nearby over in this landscape that we discuss how we scorched earth. Here in the Mojave Desert, come together, as citizens, as members of perhaps one of the loneliest places on earth, a thing. How do we believe in something we gather at the Institute of Mentalphysics to together?
We also consider the spaces we discuss networks and belonging. We are situ- inhabit, the places where we meet, the chang- ated near the San Andreas fault among giant ing cities. These very inquiries compose my work at the People landscapes, past and present, com- Yerba Buena Center for the Arts, where I pose an accretion of reference points and cultivate cohorts to gather around and seed experiences, learned through relationship.
This art center is a convener, informed collisions and changes in brain chemistry. She maintains: We get good at what we practice and environ- ments guide habits. Ultimately we carry our The greatest treasures of culture are geographies with us in the form of personal not sculptures or specimens, but rather histories.
Intricately braided, they shape us human relationships. Magnificent and and impact the lens through which we see the precious, ourselves, close pairs, families, world. With close proxim- global proportions and a nearly infinite ity to Silicon Valley, many in this region argue capacity for human caring.
Even a voice on the The impossible recipe for facilitating networks receiver is rare. I remember phone talk, like we of belonging acknowledges that these human did in the 90s. The Solnit, notes: chemistry and the container consist of myriad variables. What are the ingredients? How do I think of that lost world, the way we lived we put them all together? Developing a net- before these new networking technolo- work is an unfixed practice, however several gies, as having two poles: solitude and components remain key: a human network is communion.
The new chatter puts us dynamic and has a life cycle; those within a somewhere in the middle, assuaging network have access into it and the choice to fears of being alone without risking real participate; a network is inhabitable, contain- connection. Mechanisms are in place to deal with urgent applications. Please notify either Keren Middelkoop or Jo-Ann Passmore, and Assistant Research Management Accountant Joy Joachim well in advance of a looming deadline should this be anticipated, so that the necessary arrangements can be made to expedite the approval process.
An additional column has been added to accommodate due dates for required signatures. Skip to main content. The form is sent online to Departmental Research Finance Staff Budget Reviewer to complete project-related finance information that was discussed with the PI prior to submission of the form. When the Budget Reviewer has completed the Financial Information, the form will be returned to the PI for review of the financial details. The PI confirms their agreement with this financial information and sends the form to the Finance Approver step.
Internal review and approvals are then completed by relevant Faculty Finance and Deanery Final Faculty Approver staff. Completion of internal approval through the eRA system will deem your application ready for submission by the institution or PI to the funder or for sign off of the research contract.
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