An aleatory contract is a contract in which the performance of one or both parties is contingent upon the occurrence of a particular event. The most common type of aleatory contract are insurance policies. ref http law.jrank.org pages 4227 Aleatory Contract.html Thomson Gale Encyclopedia of American Law, courtesy of Jrank ref ref Black s Law Dictionary , 7th ed. 1999 ref Such insurance contracts may be a boon to one party but create a major loss for the other, as more in benefits may be paid out than actual premiums received, or vice versa. ref http www.answers.com topic aleatory contract 3?cat biz fin Barron s Dictionary of Insurance Terms, courtesy of Answers.com ref The term was a classification developed in later medieval Roman law to cover all contracts whose fulfilment depended on chance, including gambling , insurance , speculative investment and life annuity life annuities . ref J. Franklin, The Science of Conjecture Evidence and Probability Before Pascal Baltimore Johns Hopkins University Press, 2001 , ch. 11. ref Many modern forms of Derivative finance derivatives and Option finance options may in some cases also be considered aleatory contracts. For example, the French civil code contains a chapter on aleatory contracts, with specific provisions for gaming gambling and Life annuity life annuities . ref http www.legifrance.gouv.fr html codes traduits code civil textA.htm Text of French Civil Code in English ref References reflist law term stub Category Contract law Category Insurance law Category Gambling regulation bg fr Contrat al atoire en France sr Aleatorni ugovori ... more details
For the legal term Aleatory contract Refimprove date December 2010 wiktionary aleatory Aleatoricism is the incorporation of randomness chance into the process of creation, especially the creation of art or media. The word derives from the Latin word alea , the rolling of dice . It should not be confused with either improvisation or indeterminacy . ref Sabine Feisst, Losing Control Indeterminacy and Improvisation in Music Since 1950 , New Music Box 1 March 2002 http www.newmusicbox.org page.nmbx?id 35tp02 Aleatory Pierre Boulez . ref Literature Charles Hartman discusses several methods of automatic generation of poetry in his book The Virtual Muse . ref name Hartman Citation last Hartman first Charles title The Virtual Muse Experiments in Computer Poetry place Hanover, NH publisher Wesleyan University Press year 1996 isbn 0 8195 2239 2 see especially pp. 54 64. ref Art see also Automatic drawing Surrealist automatism Pareidolia Apophenia Digital cameras , Photoshop , and computer generated random art programs along with wildly improvisational use of cutting edge materials and equipment have opened up a new world of possibilities for today s art students and emerging artists. Citation needed date December 2010 A small group of international artists have formed a group called http siennablu.com ... of contemporary art in modern times. Music main Aleatoric music The term aleatoric music aleatory ... www.newmusicbox.org page.nmbx?id 35tp02 Aleatory Pierre Boulez . ref While Boulez purposefully composed ... liberties. Another prolific composer of aleatory music was Karlheinz Stockhausen . ref Sabine ... 2002 http www.newmusicbox.org page.nmbx?id 35tp02 Aleatory Pierre Boulez . ref Aleatoric techniques ... reels long which takes the word aleatory quite literally by including a customized die for the projectionist ... Patten utilizes an I Ching inspired aleatory method to predict the date of his death in his short animation ... writing Random variable Aleatory variable Avant garde Biomusic Biomusicology Contemporary music ... more details
Aleatoric music also aleatory music or chance music from the Latin language Latin word alea , meaning dice is music in which some Aspect of music element of the composition is left to Randomness chance , and or some primary element of a composed work s realization is left to the determination of its performer s . The term is most often associated with procedures in which the chance element involves a relatively limited number of possibilities. The term became known to European composers through lectures by acoustics acoustician Werner Meyer Eppler at the Darmstadt New Music Summer School Darmstadt ... , however, both mean aleatory . By mistakenly rendering them, his translator inadvertently ... that could be considered a precedent for aleatory composition date back to at least the late ... January 2011 . Modern usage The earliest significant use of aleatory features is found in many of the compositions ... aleatory, since exact pitches are carefully controlled and any two performances will be substantially ..., does this mean that Lutos awski s usage is also not aleatory? . Depending on the vehemence of the technique ..., 2 . In Europe, following the introduction of the expression aleatory music by Meyer Eppler ... early European examples of aleatory music include Klavierst cke Stockhausen Klavierst ck XI 1956 ... in each case by the performer Boehmer 1967, 72 . A form of limited aleatory was used by Witold Lutos awski ... to an element of chance. There has been considerable confusion of the terms aleatory and indeterminate ... music Main Indeterminacy music Some writers do not make a distinction between aleatory, chance ... date January 2012 It is not clear why exactly notated music should be regarded as either aleatory ... Musical Pioneer? Early Aleatory Counterpoint . AleaCounterpoint blog site Accessed 22 June 2010 . Griffiths, Paul. 2001. Aleatory . The New Grove Dictionary of Music and Musicians , second edition, edited ... eb article 9005549 aleatory music Encyclopaedia Britannica Aleatoric music http www.sciencenews.org ... more details
About a Surrealist art technique Frottage disambiguation Frottage In art , frottage from French frotter , to rub is a surrealism surrealist and automatic method of creative production developed by Max Ernst . In frottage the artist takes a pencil or other drawing tool and makes a rubbing over a textured surface. The drawing can be left as is or used as the basis for further refinement. While superficially similar to brass rubbing and other forms of rubbing intended to reproduce an existing subject, and in fact sometimes being used as an alternate term for it, frottage differs in being wiktionary aleatory aleatoric and random in nature. It was developed by Ernst in 1925. Ernst was inspired by an ancient wooden floor where the grain of the planks had been accentuated by many years of scrubbing. The patterns of the graining suggested strange images to him. He captured these by laying sheets of paper on the floor and then rubbing over them with a soft pencil. See also Surrealist techniques References Sources cite book author West, Shearer title The Bullfinch Guide to Art location UK publisher Bloomsbury Publishing Plc year 1996 isbn 0 8212 2137 X art stub Category Surrealist techniques de Frottage es Frottage arte it Frottage arte nl Frottage ja pl Frottage pt Frottage ru sk Frot fi Frottage sv Frottage ... more details
Infobox Album See Wikipedia WikiProject Albums Name Witold Lutos awski String Quartet Type studio Artist Kronos Quartet Cover Kronos witold.jpg Released start date 27 January 1991 Recorded Genre Contemporary classical Length Label Nonesuch Records Nonesuch small 79255 small Producer Judith Sherman Reviews Last album Black Angels album Black Angels br 1990 This album Witold Lutos awski String Quartet br 1991 Next album Kevin Volans Hunting Gathering br 199 Witold Lutos awski String Quartet is a studio album by the Kronos Quartet , containing String quartet by Poland Polish Witold Lutos awski composed in 1964 and first performed in 1965. ref cite book last Stucky first Steven authorlink coauthors title Lutos awski and his music publisher Cambridge UP date 1981 location page 87 url doi id isbn 9780521227995 ref Witold Lutos awski Aleatory technique This string quartet is an example of Aleatoric music aleatory music , that is, music in which some Aspect of music element of the composition is left to Randomness chance , and or some primary element of a composed work s realization is left to the determination of its performer s . As Gerald Gold noted in a review of the Kronos album in The New York Times , the Lutoslawski composition integrates notated music with chance performance. ref cite news last Gold first Gerald coauthors title Record Notes Kronos Takes One to Tango work New York Times pages language publisher date 1991 02 17 url http query.nytimes.com gst fullpage.html?res 9D0CE6DB1F3FF934A25751C0A967958260&sec &spon accessdate 2009 01 27 ref Track listing tracklist writing credits yes title1 String Quartet Introductory Movement writer1 Witold Lutos awski length1 8 33 title2 String Quartet Main Movement writer2 Kevin Volans length2 15 14 Credits Musicians David Harrington violin John Sherba violin Hank Dutt viola Joan Jeanrenaud cello Production Recorded at Skywalker Sound , Nicasio, California Judith Sherman, Juhani Liimatainen, and Tony Eckert engineers See also ... more details
Richard Piegza born June 10, 1954 is a Paris based performer, video, action and installation artist since 1977. From 1978 to 1982, he created and directed Ambasada Lingua . In 1982, he moved to Paris , and in 1988, he founded the Wizya Video Art Action, which organizes and documents artistic events and performances. Each thing makes a different sound and turns round like a sphere each second a new thing turns. One short lived action. Since 1979, he has been exploring the setting up of this aleatory score into time and space. In 1992 he funded the short lived art nomad festival Flying Carpet. He s in touch with multimedia activities and polish performance and music festivals. Since 1991, he has been working on the permanent recording, Remembered Images . He is the author of a movie, Action Art , made in 1997, and a film called Performer s Notebook . In May 1998, together with Michel Giroud and Charles Dreyfus , he organized a Video Conference, DADA FLUXUS . It was held in George Maciunas s Office in the Center for Art in Vilnius . Richard Piegza is also the artistic director of Interactions &mdash Art Action Festival , that took place in Piotrk w Trybunalski &mdash in Poland ca. 42 km from d . External links http www.wizya.net piegza.htm http interakcje.org Persondata Metadata see Wikipedia Persondata . NAME Piegza, Richard ALTERNATIVE NAMES SHORT DESCRIPTION DATE OF BIRTH June 10, 1954 PLACE OF BIRTH DATE OF DEATH PLACE OF DEATH DEFAULTSORT Piegza, Richard Category 1954 births Category Living people Category French artists Category Installation artists Category Polish artists fr Richard Piegza pl Ryszard Piegza ... more details
Igor tuhec born 15 December 1932 is a contemporary Slovenia n composer, who lives in Ljubljana and Maribor . He studied composition at the Ljubljana Academy of Music under Lucijan Marija kerjanc and Matija Bravni ar . He continued his studies at the Vienna Academy of Music and Dramatic Art under Hanns Jelinek , and also at the Darmst dter Ferienkurse . After some early neo classical orchestral works that show his mastery of traditional techniques, tuhec gradually moved towards the adoption of new techniques in the early 1960s. Although in 1955 he had produced a musique concr te composition in Biological Transformation , the radical change came with the chamber pieces Situacija 1963 and Silhuete 1964 and the orchestral Differentiations 1964 , all of which exhibit his assimilation of 12 note and aleatory procedures. tuhec s skill is particularly evident in miniatures such as the Minikoncert , where his writing is at its most delicate and the textures are almost always crystal clear. A later group of orchestral works extending his textural techniques, notably the concertos and the three Entuziazmi pieces, display a vivid imagination and a strong rhythmic momentum. Also among his works are two operas , Zupanova Micka 1948 and Moon Dawn 1973 . He is a winner of the Pre eren Prize. ref http opera.stanford.edu composers S.html Opera Glass ref References reflist Sources http www.historyorb.com today search.php?day 15&month All&year All&text 0&e 1&b 1&d 1&start 1800 Today in History Archives Persondata Metadata see Wikipedia Persondata . NAME Stuhec, Igor ALTERNATIVE NAMES SHORT DESCRIPTION DATE OF BIRTH 15 December 1932 PLACE OF BIRTH DATE OF DEATH PLACE OF DEATH DEFAULTSORT Stuhec, Igor Category Slovenian composers Category Opera composers Category Alumni of the University of Music and Performing Arts, Vienna Category 1932 births Category Living people Slovenia composer stub de Igor tuhec fr Igor tuhec sl Igor tuhec ... more details
Jos Ard vol 13 March 1911, in Barcelona &ndash 7 January 1981, in Havana was a Cuba n composer and conductor of Spanish derivation. As a child, Ard vol studied under his father, Fernando, who was a musician and conductor. He emigrate d to Cuba in 1930, and from 1934 to 1952 was the director of the Orquestra de c mara de la Habana. He was a professor in Cuba from 1936 to 1951, teaching in universities in Havana and Oriente Province Oriente . In 1942 he founded a movement called Grupo de renovaci n musical , which included several of his students devoted to his aesthetic ideals. Ard vol supported the Cuban Revolution and was appointed head musical administrator after Fidel Castro came to power in 1959. As part of his duties, he conducted the orchestra of the government s Ministry of Education. He continued teaching, working as a professor of composition at Havana Conservatory from 1965 and at the National School of Music from 1968. Ard vol s early compositions fall generally into the style of neoclassicism , but later in his life he began to explore the techniques of aleatory music and serialism . Some of his vocal works praise communism and address other political revolutionary topics. Works Note this list is incomplete . 3 symphonies 2 Cuban suites for orchestra Forma , ballet, 1942 La burla de Don Pedro a caballo , for soloists, chorus and orchestra, 1943 Cantos de la Revoluci n , vocal work, 1962 Che comandante , cantata, 1968 Lenin , vocal work, 1970 6 Sonate a 3 , chamber work 3 piano sonatas Tensiones , for piano left hand References Don Randel . The Harvard Biographical Dictionary of Music . Harvard, 1996, p. 24. Persondata Metadata see Wikipedia Persondata . NAME Ardevol, Jose ALTERNATIVE NAMES SHORT DESCRIPTION DATE OF BIRTH March 13, 1911 PLACE OF BIRTH DATE OF DEATH January 7, 1981 PLACE OF DEATH DEFAULTSORT Ardevol, Jose Category Cuban composers Category 20th century classical composers Category 1911 births Category 1981 deaths ca Josep Ard vol i Gimbern ... more details
Cleanup date November 2008 Creativity techniques are methods that encourage Creativity creative actions, whether in the arts or sciences. They focus on a variety of aspects of creativity, including techniques for idea generation and divergent thinking , methods of re framing problems, changes in the affective environment and so on. They can be used as part of problem solving, artistic expression, or therapy. Some techniques require groups of two or more people while other techniques can be accomplished alone. These methods include word games, written exercises and different types of improvisation, or algorithms for approaching problems. Aleatoricism Aleatory techniques exploiting randomness are also common. Aleatory techniques main Aleatoricism Aleatoricism is the incorporation of randomness chance random elements into the process of creation, especially the creation of art or media. Aleatoricism is commonly found in music, art, and literature, particularly in poetry. In film, Andy Voda made a movie in 1979 called Chance Chants which he produced by a flip of a coin, or roll of a dice. In music, John Cage , an avant garde musician, composed music by superimposing star maps on blank sheet music, by rolling dice, and by preparing open ended scores that depended on the spontaneous decisions of the performers. 1 Other ways of practicing randomness include coin tossing, picking something out of a hat, or selecting random words from a dictionary. In short, aleatoricism is a way to introduce new thoughts or ideas into a creative process. Improvisation main improvisation Improvisation is a creative process which can be spoken, written, or composed without prior preparation. ref http dictionary.reference.com browse improvisation ref Improvisation, also called extemporization, can lead to the discovery of new ways to act, new patterns of thought and practices, or new structures. Improvisation is used in the creation of music, theater, and other various forms. Many artists also ... more details
Image Lutoslawski Symphony 3 excerpt.JPG thumb 400px A page from the score of the symphony. Witold Lutos awski wrote his Symphony No. 3 in 1973 1983. The work was given its world premiere by the Chicago Symphony Orchestra , conducted by Sir Georg Solti , on 29th of September, 1983. This work was selected for the first Grawemeyer Award for Music Composition in 1985. Instrumentation The Symphony calls for a large orchestra, consisting of Woodwind instrument woodwind 3 flute s two doubling piccolo , 3 oboe s third doubling cor anglais , 3 clarinet s one doubling E flat clarinet , another doubling bass clarinet , 3 bassoon s third doubling contrabassoon Brass instrument brass 4 horn instrument horn s, 4 trumpet s, 4 trombone s, 1 tuba Percussion instrument percussion timpani 4 additional percussion instrument percussionist s playing xylophone , glockenspiel , marimba , vibraphone without motor , Tubular bell bells , five Tom tom drum tom toms , two Bongo drum bongos , bass drum , Snare drum side drum , tenor drum , three cymbal s small, medium and large , Tamtam Chau gongs tam tam s hign and low and tambourine celesta , 2 Harp The pedal or concert harp harp s, piano four hand and String section string s violin s, viola s, cello s and double bass bass es . Analysis See also Witold Lutos awski Aleatory technique original research date June 2011 Many passages in the Symphony no. 3 employ Lutos awski s by then well developed technique which he called aleatory music limited aleatorism , in which the individual players in the orchestra are each asked to play their phrase or repeated fragment in their own time rhythmically independent from the other musicians. During these passages very little synchronisation is specified events that are coordinated include the simultaneous entrances of groups of instruments, the abrupt end of some episodes, and some transitions to new sections. By this method the composer retains control of the symphony s architecture and the realisation of t ... more details
Mi Parti is an orchestral work by Polish composer Witold Lutos awski , written in 1976 to a commission from the City of Amsterdam for the Concertgebouw Orchestra . ref name ChesterNovello The name broadly means in two parts , and is in accordance with Lutos awski s preference for two part structures during the 1960s to 1970s a preparation part, and a main body with development and climax this is most clearly demonstrated in his Symphony No. 2 Lutos awski Symphony No. 2 . cn date April 2012 Analysis Section OR date April 2012 The fifteen minute piece starts off with ethereal, sliding string textures. A cantilena played by the bass clarinet slowly rises from the lowest registers. Other woodwind instruments soon join in, playing motives reminiscent of bird song. An orchestral flourish, complete with brass, leads the music into the agitated second half akin to a development section . The brass take on a more prominent role, and the previous ethereal textures are now replaced by rigorous rhythms in traditional notation. The music builds up to a powerful climax, incorporating Lutos awski s trademark Witold Lutoslawski Aleatory technique semi aleatoric techniques . The tension is subsequently released and the music reverts back to ethereal beauty divided strings slowly climb up to the highest registers, and the piece ends with soft repercussions from celesta, harp, and timpani. Instrumentation The work calls for a large orchestra made up as follows ref name ChesterNovello Woodwind instrument woodwind 3 flute s all doubling piccolo , 3 oboe s, 3 clarinet s 3rd doubling bass clarinet , 3 bassoon s Brass instrument brass 3 trumpet s in C, 4 horn instrument horn s, 3 trombone s, 1 tuba Percussion instrument percussion timpani , 3 percussionists Tubular bell bells , marimba , xylophone , glockenspiel , Tamtam Chau gongs tam tam s, cymbal s, vibraphone without motor celesta , Harp The pedal or concert harp harp , piano and String section string s 8 first violin s, 7 second violi ... more details
nihongo Makoto Moroi Moroi Makoto born 17 December 1930 is a Japan Japanese composer . Makoto Moroi was born in Tokyo , and is the son of Sabur Moroi . He studied composition with Tomojir Ikenouchi at the Tokyo National University of Fine Arts and Music , graduating in 1952. He also studied Gregorian chant privately with Paul Anouilh, and Renaissance music Renaissance and Baroque music with Eta Harich Schneider. He was one of the leading composers who introduced Japanese audiences to new musical styles and devices, including twelve tone technique , serialism , and aleatory music Kanazawa 2001 . List of works incomplete list date January 2012 Opera 1959 The Stars of Pythagoras 1960 Red Cocoon 1961 Die lange, lange Strasse lange 1962 Yamauba 1965 Phaeton the charioteer Choral 1959 Chamber Cantata No. 1 1959 Chamber Cantata No. 2 1970 Izumo, my home 1972 A romance of playing cards Orchestral 1953 Composition No. 1 1958 Composition No. 2 1958 Composition No. 3 1960 Composition No. 4 1961 Ode to Schoenberg 1966 The Vision of Cain, symphonic sketch 1968 Symphony Concertante 1963 Suite concertante for violin and orchestra 1964 Toccata, Sarabande and Tarantella for piano and double string orchestra 1966 Piano Concerto No. 1 1968 Three Movements for shakuhachi, strings and percussion 1971 Piano Concerto No. 2 1973 Kyoso Symphony, for folk instruments and orchestra Chamber 1950 Chamber Music No. 1 1950 Chamber Music No. 2 1951 Chamber Music No. 3 1954 Chamber Music No. 4 1962 Five Epigramms 1966 Five conversations for two shakuhachi 1967 Five metamorphic strata 1972 Contradiction 1972 Contradiction II 1976 Hanafuda denki Instrumental 1951 Sonata da camera for piano 1952 Partita for flute 1954 Alpha and Beta, for piano 1964 Five pieces for shakuhachi 1967 Eight parables for piano 1970 Les farces, for violin 1972 Sinfonia for S.M., for sanjugen 1978 Fantasie and Fugue for organ Tape 1956 Seven variations collaboration with Toshiro Mayuzumi 1958 Transfiguration 1962 Vari ... more details
File Mgmorellet.jpg thumb Fran ois Morellet, Sphere Matter 1962, Skupturengarten Abteiberg Museum in M nchengladbach Fran ois Morellet born 1926, Cholet , Maine et Loire is a contemporary France French painter, engraver, sculptor and light art ist. His early work prefigured Minimal art and Conceptual art , and he has played an important role in geometrical abstraction over the past half century. Career After a short period of Representation arts figurative representational work, Morellet turned to Abstract art abstraction in 1950 and he adopted a pictorial language of simple geometric forms lines, squares and triangles assembled into two dimensional compositions. In 1961, he was one of the founders of the Groupe de Recherche d Art Visuel GRAV , with fellow artists Francisco Sobrino , Horatio Garcia Rossi , Hugo DeMarco , Julio Le Parc , Jean Pierre Yvaral the son of Victor Vasarely and Jo l Stein , Fran ois Molnar and Vera Molnar the last two left the group shortly after http www.fondation salomon.com molnarknifer2.php . Morellet began at this time to work with neon lighting neon tube lighting . Since the 1960s, Morellet has worked in various materials fabric, tape, neon, walls... and has investigated the use of the exhibition space in terms similar to artists of installation art and environmental art . He has gained an international reputation, especially in Germany and France, and his work has been commissioned for public and private collections in Switzerland, Great Britain, Italy, the Netherlands, and the U.S.A. Work For Morellet, a work of art refers only to itself. His titles are generally sophisticated, show some word play, and describe the constraints or rules that he used to create them. Like other contemporary artists who use constraints and chance or the aleatory in their works John Cage in music, the Oulipo group in literature , Morellet uses rules and constraints established in advance to guide the creation of his works, and he also allows randomness ch ... more details
Susan M. Schultz born 1958 is an American poet, critic, publisher and English studies English professor at the University of Hawaii at Manoa . She specializes in modern poetry modern and contemporary poetry , American literature , and creative writing . She moved from Virginia to Honolulu in 1990. She was born in Belleville, Illinois , and lives in K ne ohe , Hawaii . She is author of three collections of poems, http www.saltpublishing.com books smp 1876857013.htm Aleatory Allegories Salt, 2000 , Memory Cards & Adoption Papers Potes & Poets, 2001 http www.saltpublishing.com books smp 1844710165.htm And then something happened Salt, 2004 , a critical book, http www.uapress.ua.edu NewSearch2.cfm?id 132788 A Poetics of Impasse in Modern and Contemporary American Poetry University of Alabama Press, 2005 , and editor of http www.uapress.ua.edu NewSearch2.cfm?id 10512 The Tribe of John Ashbery and Contemporary Poetry University of Alabama Press, 1995 . Her poetry chapbooks include Another Child , Earthquake Dreams , Voice overs with John Kinsella poet John Kinsella , and Addenda . In 1995, Susan M. Schultz founded http www.tinfishpress.com Tinfish Press , a paper and electronic journal and publisher of experimental poetry from the Pacific region including Hawai i, New Zealand Aotearoa, Australia, California and western Canada , and of a series of Tinfish Network chapbooks. Authors published include Barbara Jane Reyes , Yunte Huang and Linh Dinh . Ron Silliman has written about her blockquote Schultz is somebody who really gets it as to how parables work & what their potential might be for writing. First, her poems have the precision of the best analytic philosophy. Second, she understands that the dynamics of the parable must play out in the referential world. Typically, poets who focus on the latter forget the importance of the former & a few of those who get the former tend to neglect the gears of causality in the latter. Schultz gets all of it & does so with a wit & te ... more details
Refimprove date October 2011 Infobox album See Wikipedia WikiProject Albums Name The Beak Brackets Series Type compilation Artist Mujeres Encinta Cover Released Start date 1999 2001 Genre Experimental music Experimental br Tape music Tape Music br Aleatoric music Aleatory Length Label Self publishing Self released Last album This album The Beak Brackets br 1999 2001 Next album Carisma de Alquiler br 2000 The Beak Brackets was a series of experimental tapes made by the musical project concept band Mujeres Encinta from 1999 to 2001. In this series Mujeres Encinta applied the Oulipo Constraints n 7 principle to some records and songs from The Beach Boys . Each Compact Cassette cassette corresponded to a The Beach Boys Beach Boys record and was named after it using the Oulipo Constraints Oulipian constraint n 7 . The series is better known as The Beach Boys 7 Series. n 7 replaces every noun in a text with the noun seven entries after it in a dictionary. Beach 7 Beak , Boys 7 Brackets. . ref http www.spoonbill.org n 7 For more information on how N 7 works see The N 7 Machine ref There are at least three known EPs produced as part of this series. According to fan websites ref http lanadadora.blogspot.com 2010 11 que demonios fue de mujeres encinta.html Whatever happened to Mujeres Encinta from Spanish weblog La Nadadora ref these tapes are impossible to find and even though their details can be found in Discogs or Last.fm little has been written about what they actually sounded like. The artwork for each tape was made by Daniela Franco as was most of Mujeres Encinta s artwork . Citation needed date September 2011 Known EPs from The Beak Brackets Series Surfeit s Up Surfeit s Up was released in 1999 and took as its source Surf s Up album Surf s Up and the following songs from it A Day in the Life of a Tree , Don t Go Near the Water and Take a Load Off Your Feet . Track listing ref cite web url http www.last.fm music Mujeres Encinta Surfeit 27s Up title Surfeit s Up Mujeres ... more details
For the decorative art decoupage The cut up technique is an aleatory literary technique in which a Writing text is cut up and rearranged to create a new text. Most commonly, cut ups are used to offer a Nonlinear arts non linear alternative to traditional reading and writing. Citation needed date August 2010 The concept can be traced to at least the Dadaists of the 1920s, but was popularized in the late 1950s and early 1960s by writer William S. Burroughs , and has since been used in a wide variety of contexts. Technique The cut up and the closely associated fold in are the two main techniques Cut up is performed by taking a finished and fully linear text and cutting it in pieces with a few or single words on each piece. The resulting pieces are then rearranged into a new text. Fold in is the technique of taking two sheets of linear text with the same linespacing , folding each sheet in half vertically and combining with the other, then reading across the resulting page. History in literature A precedent of the technique occurred during a Dadaist rally in the 1920s in which Tristan Tzara offered to create a poem on the spot by pulling words at random from a hat. Collage , which was popularized roughly contemporaneously with the Surrealist movement, sometimes incorporated texts such as newspapers or brochures. Prior to this event, the technique had been published in an issue of 391 in the poem by Tzara, dada manifesto on feeble love and bitter love under the sub title, TO MAKE A DADAIST POEM ref cite web url http www.391.org manifestos 19201212tristantzara dmonflabl.htm title manifestos dada manifesto on feeble love and bitter love by tristan tzara, 12th december 1920 publisher 391 date 1920 12 12 accessdate 2011 06 27 ref Burroughs cited T. S. Eliot s poem, The Waste Land 1922 and John Dos Passos U.S.A. trilogy , which incorporated newspaper clippings, as early examples of the cut ups he popularized. Gil J. Wolman developed cut up techniques as part of his lettrism lettrist ... more details
For the aleatory literary technique cut up technique Unreferenced date September 2009 Decoupage or d coupage is the art of Decorative art decorating an object by glue gluing colored paper cutouts onto it in combination with special paint effects, gold leaf and so on. Commonly an object like a small box or an item of furniture is covered by cutouts from magazines or from purpose manufactured papers. Each layer is sealed with varnish es often multiple coats until the stuck on appearance disappears and the result looks like painting or inlay work. The traditional technique used 30 40 layers of varnish which were then sanded to a polished finish. This was known in 18th century England as the art of Japanning after its presumed origins. Origins The most likely origin of decoupage is thought to be East Siberian tomb art. Nomadic tribes would use cut out felts to decorate the tombs of their deceased. From Siberia, the practice came to China, and by the 12th century, cut out paper was being used to decorate lanterns, windows, boxes and other objects. In the 17th century, Italy, especially in Venice, was at the forefront of trade with the Far East and it is generally thought that it is through these trade links that the cut out paper decorations made their way into Europe. Florentine decoupage Artisans in Florence , Italy have produced decorative objects using decoupage techniques since the 18th century . They combined decoupage with other decorative techniques already popular in Florence, such as Gilding gilt with gold leaf and woodcarving carved wood designs. These older techniques were already used to produce articles such as furniture, frames for paintings, and even bookbinding tooled leather book covers . Known as Florentine style crafts, these items are now highly collectible antique s. Decoupage was added to the Florentine artisans methods by adding it to the space within a carved gilt frame, or by adding the decoupage to a wooden plaque. Artisans used pasted reproductions ... more details
Refimprove date April 2010 File Leif Segerstam.jpg thumb Leif Segerstam Leif Segerstam born 2 March 1944 in Vaasa is a Finland Finnish conducting conductor and composer . He studied violin, piano and conducting at the Sibelius Academy in Helsinki and conducting at the Juilliard School in New York with Jean Morel . Segerstam served as chief conductor of the Helsinki Philharmonic Orchestra from 1995 to 2007, and now holds the title of Chief Conductor Emeritus with the orchestra. He has held positions with numerous other orchestras, including the Danish National Symphony Orchestra Danish National Radio Symphony and the Austrian Radio Symphony, and has guest conducted many orchestras throughout the world including the Chicago Symphony, the Los Angeles Philharmonic, the Toronto Symphony and the Brazilian OSESP the Symphony Orchestra of the State of S o Paulo. He is also the professor of conducting at the Sibelius Academy in Helsinki. His students include Susanna M lkki , Mikk Murdvee , Sasha M kil and Markku Laakso . Citation needed date April 2010 Recordings He is widely known through his recorded discography, which includes the complete symphonies of Sibelius , Carl Nielsen Nielsen , and Mahler , as well as many works by contemporary composers such as the Finnish composer Einojuhani Rautavaara and the American composers John Corigliano and Christopher Rouse composer Christopher Rouse . Compositions As a composer, he is known especially for his numerous symphonies. He will almost certainly soon hold the world record in the number of symphonies ever composed, currently at 253 as of January 2012 ref Kvist, Wilhelm Segerstam siktar mot stj rnorna. Hufvudstadsbladet 3.1.2012. ref of which over a hundred have been completely performed. He is equally known for his series of Orchestral Diary Sheets , many of which are intended to be performed without a conductor. He developed a personal approach to Aleatoric music aleatory composition through a style called free pulsation in ... more details
Deleted image removed Image 24Cabezas.jpg thumb 300px Saura s , 24 Cabezas , 1957. Deleted image removed Image KarlJohanII 1997.jpg thumb 300px Saura s , Karl Johan II , 1997. Commented out because image was deleted Image crucifiction.jpg thumb 300px Saura s , Crucifiction . Antonio Saura September 22, 1930, Huesca July 22, 1998, Cuenca, Spain Cuenca was a Spanish artist and writer, one of the major post war painters to emerge in Spain in the fifties whose work has marked several generations of artists and whose critical voice is often remembered. Biography He began painting and writing in 1947 in Madrid while suffering from tuberculosis , having already been confined to his bed for five years. In his beginnings he created numerous drawings and paintings with a dreamlike surrealist character that most often represented imaginary landscapes, employing a flat smooth treatment that offers a rich palette of colors. He claimed Hans Arp and Yves Tanguy as his artistic influences. He stayed in Paris in 1952 and in 1954 1955 during which he met Benjamin P ret and associated with the Surrealists, although he soon parted with the group, joining instead the company of his friend the painter Simon Hanta . Using the technique of scraping, he adopted a gestural style and created an abstract type of painting, still very colorful with an organic, aleatory design. The first appearances in his work of forms that will soon become archetypes of the female body or the human figure occur in the mid 1950s. Starting in 1956 Saura tackled the register of what will prove to be his greatest works women, nudes, self portraits, shrouds and crucifixions, which he painted on both canvas and paper. In 1957 in Madrid he founded the El Paso Group and served as its director until it broke up in 1960. During this period Saura met Michel Tapi . During the 1950s he had his first solo exhibition at the Rodolphe Stadler Gallery in Paris, where he regularly exhibited throughout his life. Stadler introduc ... more details
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