constant escape
winter withered, warm
Yeah!
jenks
thread death
Why i like the Prynne (and Ulysses) thread is that it is exploratory - people working things out - often collaboratively.
by contrast most threads seem to consist of a set of fixed beliefs/prejudices where there is no room for actual discussion - a dismissive attitude which means no one gets any further forward - the Eno thread is a perfect example of this.
anyway i dont have the time that i had during lockdown to contribute much
by contrast most threads seem to consist of a set of fixed beliefs/prejudices where there is no room for actual discussion - a dismissive attitude which means no one gets any further forward - the Eno thread is a perfect example of this.
anyway i dont have the time that i had during lockdown to contribute much
luka
Well-known member
There's something about those topics that allow for that, because we all feel completely lost and feeling our way is the only option.
But I think there's always room for and ways to kind of prise open the belligerence and whatever. Put a conversation on a different level. Often it's as simple as saying, this has got stuck, let's move in this other direction instead.
But I think there's always room for and ways to kind of prise open the belligerence and whatever. Put a conversation on a different level. Often it's as simple as saying, this has got stuck, let's move in this other direction instead.
Corpsey
bandz ahoy
There's a book either written by or in collaboration with David Hockney which is all about his theory that a lot of the old masters (the ones who painted realistically, anyway) were using a camera obscura
en.wikipedia.org
Hockney–Falco thesis - Wikipedia
Corpsey
bandz ahoy
Went to the Young Rembrandt exhibition at the Ashmolean in Oxford yesterday. I hadn't slept well and generally felt like shit but despite that it was still a very interesting exhibition – mainly because it exhibited stuff that Rembrandt did when he was young and still learning, so you got to see examples of him failing. It gives us mere mortals hope, to know that Rembrandt wasn't absolutely killing it from day one.
As you walk through, of course, he gets better and better and hits upon his characteristic style (strong contrasts of light and dark – there's a daylit history painting he did a few years before he came into his own which is skilful but also quite ugly and hardly the sort of thing to make you think 'genius!") – and you can see that he's well on the way to becoming an Old Master by the end.
This was the most magical painting in the exhibition:
As you walk through, of course, he gets better and better and hits upon his characteristic style (strong contrasts of light and dark – there's a daylit history painting he did a few years before he came into his own which is skilful but also quite ugly and hardly the sort of thing to make you think 'genius!") – and you can see that he's well on the way to becoming an Old Master by the end.
This was the most magical painting in the exhibition:
