Je suis perdu

(Source: ataleofafewcities, via blacktoppp)

noah gage

(Source: heartpirates, via jacobmooty)

karmakarmanyc:

Mike Kelly, Peter Fischli, David Weiss
“The next day I went back and demanded my trophy and made it clear that I would keep returning until it was given to me.”
Sammlung Goetz, Munich, 2000
9.5 x 7 inches (24.13 x 17.78 cm)
$400 Purchase

Mike Kelly, Peter Fischli, David Weiss

“The next day I went back and demanded my trophy and made it clear that I would keep returning until it was given to me.”

Sammlung Goetz, Munich, 2000

9.5 x 7 inches (24.13 x 17.78 cm)

$400 Purchase

harrygouldharveyiv:

//// WEBSITE UPDATE ////check it out, there is now a second portfolio section here !thank you so much Ryan Lowry for the help / Redesign.

harrygouldharveyiv:

//// WEBSITE UPDATE ////

check it out, there is now a second portfolio section here !

thank you so much Ryan Lowry for the help / Redesign.

morten andenæs

morten andenæs

morten andenæs

morten andenæs

issey miyake
[summer inspiration]

[summer inspiration]

christopherschreck:

click HERE to download a .doc of Steve Reich’s 1968 essay “Music as a Gradual Process”
“I am interested in perceptible processes. I want to be able to hear the process happening throughout the sounding music… I do not mean the process of composition, but rather pieces of music that are, literally, processes.
…James Tenney said in conversation, ‘The composer isn’t privy to anything’. I don’t know any secrets of structure that you can’t hear. We all listen to the process together since it’s quite audible, and one of the reasons it’s quite audible is, because it’s happening extremely gradually.The use of hidden structural devices in music never appealed to me. Even when all the cards are on the table and everyone hears what is gradually happening in a musical process, there are still enough mysteries to satisfy us all. These mysteries are the impersonal, unattended, psycho-acoustic by-products of the intended process. These might include sub-melodies heard within repeated melodic patterns, stereophonic effects due to listener location, slight irregularities in performance, harmonics, difference tones, etc.Listening to an extremely gradual musical process opens my ears to it, but it always extends farther than I can hear, and that makes it interesting to listen to the musical process again. That area of every gradual (completely controlled) musical process, where one hears the details of the sound moving out away from intentions, occurring for their own acoustic reasons, is it.”
(click HERE for some background information on Process music)

christopherschreck:

click HERE to download a .doc of Steve Reich’s 1968 essay “Music as a Gradual Process”

“I am interested in perceptible processes. I want to be able to hear the process happening throughout the sounding music… I do not mean the process of composition, but rather pieces of music that are, literally, processes.

…James Tenney said in conversation, ‘The composer isn’t privy to anything’. I don’t know any secrets of structure that you can’t hear. We all listen to the process together since it’s quite audible, and one of the reasons it’s quite audible is, because it’s happening extremely gradually.

The use of hidden structural devices in music never appealed to me. Even when all the cards are on the table and everyone hears what is gradually happening in a musical process, there are still enough mysteries to satisfy us all. These mysteries are the impersonal, unattended, psycho-acoustic by-products of the intended process. These might include sub-melodies heard within repeated melodic patterns, stereophonic effects due to listener location, slight irregularities in performance, harmonics, difference tones, etc.

Listening to an extremely gradual musical process opens my ears to it, but it always extends farther than I can hear, and that makes it interesting to listen to the musical process again. That area of every gradual (completely controlled) musical process, where one hears the details of the sound moving out away from intentions, occurring for their own acoustic reasons, is it.”

(click HERE for some background information on Process music)

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