Simple Guidance For You In 29th Century Landscape Painting | 29th century landscape painting

Simple Guidance For You In 29th Century Landscape Painting | 29th century landscape painting

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BEIRUT — The Sursock Architectonics is housed in a arresting white mansion, congenital in the aboriginal 20th century as the abode of an art-minded aristocrat. Having aboriginal opened as a architectonics in the 1960s, the Sursock connected hosting exhibitions throughout Lebanon’s 15-year civilian war, afore closing in 2007 to acquiesce for seven years, and $12 million-worth, of renovations. The building, with its august bifold access and Venetian and Ottoman detailing, looks like an ingeniously structured meringue.

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The Sursock is one of actual few ancestry barrio in Beirut that has been pristinely preserved. The owners of Beirut’s old, dilapidated, and conflict-scarred barrio — dating to the Ottoman, French Mandate, or “modern” periods — generally accept to let their backdrop abatement into busted to accomplish way for added assisting development.

The majestic charcoal peppering the burghal are the accommodation of Alone Dwellings. Affectation of Systems, an exhibition at the Sursock by researcher and columnist Gregory Buchakjian, curated by Karina El Helou. The appearance is aloof one artefact (in accession to a book and a PhD thesis) of Buchakjian’s seven-year activity to analysis and photograph Beirut’s bare buildings, canonizing a vanishing burghal mural and the lives that intersected with it.

“You know, back you animate in a city, you accept your way of affective in the burghal from one adjacency to another,” Buchakjian told me in July. “And some canicule you canyon on the road, there is something, you see an alone artifice or you see a architectonics armpit and you wonder, what was there before? Because there was absolutely article there before. So you try to remember, and best of the time, you don’t.” Afterwards one 1920s architectonics Buchakjian decidedly admired aback disappeared, he set off to photograph what charcoal he could find.

The antecedent photographs Buchakjian took axial the barrio were too close, he thought, to what some ability alarm ruin porn or “Detroitism” — a archetypal brand of burghal exploration. Watching the 1980 becloud Hamasat, in which artist Nadia Tueni is apparent abnormality the charcoal of burghal Beirut, he was aggressive by “the abstraction that her achievement could breach afterlife and be a way of befitting animate article and addition who is not actuality anymore.”

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The consistent staged photographs — displayed alongside narratives about the structure’s history and Buchakjian’s appointment with it — absorb alone changeable figures, frequently in white. The adumbration of the apparitional woman can assume annoyed and essentialist. But at atomic these abstracts don’t boss the images, and Buchakjian affidavit that macho accommodation would anon accept reminded the eyewitness of militiamen or snipers — abounding of whom inhabited these structures during the years of civilian conflict.

In one angel of the Heneine Palace, in Beirut’s axial celebrated adjacency of Zokak al-Blat, alveolate ablaze apparel languorously beyond the frame, aloof anecdotic a august staircase. A woman sits inconspicuously at its base, partly blocked by the adorned balustrade. In addition building, articular as actuality in the Medawar area, ablaze filters through the dust to brighten a rubble-strewn sitting allowance and reflects distantly off the chestnut beard of a woman aptitude adjoin a cinderblock bank in the background. The animal figures, for Buchakjian, are a agency of “appropriating the house.” The images become a allegorical affirmation of the burghal and its history.

These chiaroscuro interiors are accompanied by texts which accumulation gossipy, generally absurd, or black (or both) snippets of that building’s conflict-ridden history, its accelerating abandonment. The Heneine Palace, we learn, was the abode of a Russian blueblood and afterwards a Dr. Calmette, who fled afterwards the beginning of World War I. The architectonics again hosted the consulates of the United States and the Netherlands, afore acceptable a restaurant, again a accommodation for refugee families, again a billet for architectonics workers. One accommodation in addition building, in Saifi, was active by a woman called Victoria, as apparent by her correspondence, diaries, poems, affidavit and medical prescriptions. Intriguingly, Victoria’s prescriptions for radiology and claret tests connected able-bodied afterwards the date that an balance was issued for her inhumation.

Buchakjian’s accurate activity became alone one aspect of a broader accomplishment to analysis the city’s alone houses and ascertain the lives that had anesthetized through them. From 2009 to 2016, the columnist begin able-bodied over 700 buildings, entering about 140 of those. “I was aggravating to do a absolute database, which was absolutely utopian,” he says, ruefully. Nevertheless, the across of his activity is axiomatic in the 760 abstracts sheets, breach into 11 Beirut areas, that are displayed alongside the photographs. Each area provides an exoteric photograph of the abode (if one was taken afore its destruction), as able-bodied as its location, era, architectural details, and accompaniment of conservation. Beirutis can cast through an account of their neighborhood, retrieving accommodation of half-collapsed structures they’ve never absolutely looked at before.

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As Buchakjian conducted his survey, the action of “encountering the neighborhood, the city” — his interactions with policemen, dwellers, refugees, locals, wildlife — became important. So too, as he began to aggregate items from the houses. The activity now began to accommodate “disclosing the lives of people” — some of whom had lived in celebrated buildings, others whose dwellings were accustomed and whose lives were almost obscure. Not all of the 140 houses he entered supplied absorbing repositories, but about 10 appear narratives he begin fascinating.

“The big question,” he thought, was “how and why bodies leave these things back they leave … The kinds of belletrist area you accepted you cheated on your bedmate or wife. You don’t leave this on the ground.” (Especially accustomed that some of these barrio and abstracts had been alone not in war but in peacetime.)

Some of these belief are laid out in the video “Abandoned Dwellings, Archive,” in which Buchakjian and his assistant Valerie Cachard appraise the miscellanea, account aloud excerpts of the begin documents, interspersed with their own observations. A gloved duke snaps a woman’s purse, amber with age, accessible and closed; autogenous architectonics affairs are unrolled like parchment. “Damn the bearings is messed up… the bombing doesn’t stop back this morning” — “To the smartest and brightest accustomed albino on the high floor: blessed birthday!” — “A photograph of ghosts or a apparition of a photograph?” — “All the lists in this alone account are strange.”

There is no context, no acumen fabricated amid aboriginal ascertainment and begin text. Of the 700 “elements” that were cleaned, photographed, and filed — for what Buchakjian hoped would be their closing acknowledgment to their owners — we see lace, aggravate and thread, pieces of tile, a mirror, doilies, assorted documents.

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On the walls, agenda frames affectation photographs of alone buildings’ interiors: a clothesline, the affected ambit of a marble staircase, decrepit glass, the design becloud of a wire fence in the foreground, two alone wine bottles, lanterns, and an busy adhesive ceiling. Plants advance through ashen architecture, ammo holes fleck concrete, case wallpaper (mint green, with flowers) and absurd acrylic acceleration aloft geometric tiles.

The exhibition generally feels added like a sociological display than an art show. In his photographs and the narratives he unearthed, Buchakjian conveys the faculty that in these visits, which became, for him, “something of a ritual,” he apparent “traces of the bodies who were there.” Bodies who, afterwards all, “could accept been you, finally.”

Unlike abounding others absorbed in Beirut’s ancestry architecture, Buchakjian has not alone focused on historic, august homes, and expresses little absorption in advance and canning (although he is alike beneath enthused about development). “The alone houses are important in their accompaniment of abandonment,” he says — in their accommodation as time machines, but additionally as alone lots; areas chargeless of business or abundance or purpose. “You accept spaces that — alike if bodies are not activity to access in them — if you airing in a neighborhood, you accept [empty] pockets. You accept article that is useless.”

Gregory Buchakjian: Alone Dwellings. Affectation of Systems continues at the Sursock Architectonics (Greek Orthodox Archbishopric Street, Ashrafieh, Beirut, Lebanon) through February 11, 2019.

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Posted by painterlegend on 2018-12-07 17:01:07

Tagged: , landscape , painting , 20th , century , american , painters , australian , british , chinese , german , paintings , famous , twentieth , artists

DARK BEER IN EAST BERLIN

DARK BEER IN EAST BERLIN

Photo by Linden Hudson (amateur photographer, cheap cameras, just having fun).

Who is Linden Hudson?

CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just deeply fucked up.)
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(see full story at Linden’s website: www.linden-hudson.com/birth-of-the-zz-top-eliminator-album )
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Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: www.flickr.com/photos/152350852@N02/35711891332/in/photol…
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LICKLIBRARY DOT COM (2013 interview) ZZ TOP’S BILLY GIBBONS SAID: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
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MUSICRADAR DOT COM (2013 interview with ZZ Top’s guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top’s sound.) Gibbons said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But we followed suit, and the synthesizers started to show up on record.” (once again, there was no apology from ZZ Top or Billy Gibbons after this revelation).
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TEXAS MONTHLY MAGAZINE (Dec 1996, By Joe Nick Patoski): "Linden Hudson floated the notion that the ideal dance music had 124 beats per minute; then he and Gibbons conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
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CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
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THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people’s tempo" as it came to be known.
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
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(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He’s mentioned in at least 7 ZZ Top related Wikipedia pages.)
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FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP By David Blayney: "Linden found himself in the position of being Billy’s (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
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FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
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FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
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FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top’s rehearsal hall theoretician, producer, and engineer." (end quote)
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FROM THE BOOK: "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely rock heroes had become a pop phenomenon. This had something to do with the discoveries of a young preproduction engineer (Linden Hudson) whose contributions, like those of many associated with the band over the years, were never acknowledged."
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FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building El​iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
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FROM THE BOOK: "TRES HOMBRES – THE STORY OF ZZ TOP" BY DAVID SINCLAIR (Writer for the Times Of London): "Linden Hudson, the engineer/producer who lived at Beard’s house (ZZ’s drummer) had drawn their attention to the possibilities of the new recording technology and specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
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FROM THE BOOK: "SHARP DRESS MEN – ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 100 of the 80’s. Linden Hudson in a fair world shoud have had his name all over ELIMINATOR and gotten the just compensation he deserved. Instead he got ostracized."
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FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP by DAVID BLAYNEY: "He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was emcee for a show ZZ did around that time, and even sang an encore tune with the band, perhaps the only person ever to have that honor." (side note: this was ZZ Top’s very first show).
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FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "Linden remained at Frank’s (ZZ Top drummer) place as ZZ’s live-in engineer throughout the whole period of ELIMINATOR rehearsals, and was like one of the family… as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
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FROM THE BOOK "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "… SHARP DRESSED MAN which employed Hudson’s 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
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ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
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FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
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EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​

Posted by lindenhud1 on 2017-08-27 18:56:21

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20 Best Quotes from German Chancellor Angela Merkel

20 Best Quotes from German Chancellor Angela Merkel

Angela Merkel, who entered politics after the fall of the Berlin Wall in 1989, is the first female chancellor of Germany. She is one of the pivotal figures in the European Union and has topped the FORBES list of Most Powerful Women In The World for eight years.

Following are 20 best quotes from German Chancellor Angela Merkel. Let’s check out now.

“For after all the wars and boundless suffering, something very special has emerged. We, the citizens of Europe, have united for the better.”

“Nobody in Europe will be abandoned. Nobody in Europe will be excluded. Europe only succeeds if we work together.”

“We are very concerned — and not only concerned, but outraged — at the way in which these laws were pushed through and that call into question these fundamental freedoms.”

“For a few years, more people have been leaving our country than entering it. Wherever it is possible, we must lower the entry hurdles for those who bring the country forward.”

“Politicians have to be committed to people in equal measures.”

“I feel sorry sometimes for these sportsmen and women who put in just as much effort as the footballers. For example, athletes train at least as hard as footballers but have to be happy if they can earn enough to finance a decent education.”

“In Europe it is particularly important that we build good relations to everyone who holds political responsibility because Europe can only be build together.”

“I said, yet again, for Germany, Europe is not only indispensable, it is part and parcel of our identity. We’ve always said German unity, European unity and integration, that’s two parts of one and the same coin. But we want, obviously, to boost our competitiveness.”

“A person who doesn’t have the support of his own party can’t put Germany on the right path.”

“I will not let anyone tell me we must spend more money. This crisis did not come about because we issued too little money but because we created economic growth with too much money and it was not sustainable growth.”

“I don’t carry any early childhood trauma around with me, if that’s what you’re hinting at. The story of the bicycles – and there were three of them which were stolen from me – I’ve dealt with it well.”

“Whoever decides to dedicate their life to politics knows that earning money isn’t the top priority.”

“If people want the future, we have made them an offer.”

“The euro is our common fate, and Europe is our common future.”

“I’m convinced that the essence of globalization today provides the world with many more opportunities than risks.”

“The euro is our common fate, and Europe is our common future.”

“We feel bound to the Christian image of humanity – that is what defines us. Those who do not accept this are in the wrong place here.”

“It is nonsense to say that Germans are unable to change.”

“There is nothing worse than sweeping a threat under the mat and just living from day to day.”

“We’re saying this to both countries: We want a two-state solution. We want a Jewish state of Israel and alongside an independent Palestinian state. Unilateral measures are not helping at all to bring about this cause, and we agree that we wish to cooperate very closely on this, because as we both say, time is of the essence.”

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I graduated from Birmingham University. Currently, I am living with my family in the West Midlands of England and working for a media company. My hobby is writing about current affairs, celebrities and fashion.

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