Introducing Paul Thek (1933-1988)

I have recently discovered the work of Paul Thek. Top photo: In his studio working on Tomb (or Death of a Hippie) in 1967. Photo credit: Peter Hujar. Tomb (interior view) is below. Now I know where Hirst got the rotting meat idea from…see below.


World Science v Donald Trump / UN Climate Change Conference – November 2017

The following scientific organizations endorse the consensus position that “most of the global warming in recent decades can be attributed to human activities”:

American Association for the Advancement of Science
American Astronomical Society
American Chemical Society
American Geophysical Union
American Institute of Physics
American Meteorological Society
American Physical Society
Australian Meteorological and Oceanographic Society
Australian Bureau of Meteorology and the CSIRO
British Antarctic Survey
Canadian Foundation for Climate and Atmospheric Sciences
Canadian Meteorological and Oceanographic Society
Environmental Protection Agency
European Geosciences Union
European Physical Society
Federation of American Scientists
Federation of Australian Scientific and Technological Societies
Geological Society of America
Geological Society of London
International Union for Quaternary Research (INQUA)
International Union of Geodesy and Geophysics
National Center for Atmospheric Research
National Oceanic and Atmospheric Administration
Royal Meteorological Society
Royal Society of the UK

“The concept of global warming was created by and for the Chinese in order to make U.S. manufacturing non-competitive.” – Donald J. Trump @realDonaldTrump Twitter 7:15 PM – Nov 6, 2012

Jonchaies (1977) by Iannis Xenakis

Jonchaies is 40 years old, composed for 109 musicians. Performed here by Nouvelle Orchestre Philarmonique, conducted by Gilbert Amy.

“Iannis Xenakis has penned a large number of orchestral works over the forty-some years of his output. Jonchaies, written in 1977 at about the halfway point of his career, is not the longest of them, but is notable for being scored for the largest ensemble, calling for well over one hundred musicians. This piece was premiered as the highpoint of a month-long festival of Xenakis’s music in Paris in December of that same year. What is especially notable about this piece is the range of expression the composer presents. The long opening, for strings alone, punctuated by occasional percussion, unfolds a remarkable six-part canon, with the different voices peeling off from the unison line that begins the piece. What is more apparent than this contrapuntal technique, however, is the evocative flavor of Indonesia, heard in the quasi-pentatonic scale and in the doubling of bowed notes with plucked and sliding sounds.
This colorful, harmonious texture was quite new to the music of Xenakis, and caused quite a sensation. There followed, though, sections of more typical, uncompromisingly modern textures, including pulsing rhythmic articulations involving in the entire orchestra, wild keenings of the large brass section, sculptural passages of sliding string sounds, and so forth. The lyricism and exotic magic of the opening is set off even more sharply by these rather violent passages that follow. Jonchaies ends, some fifteen minutes later, with high piccolo cries, in almost direct imitation of the end of La Légende d’Eer, the electroacoustic work Xenakis completed just prior to the orchestral score. This is a fascinating, powerful orchestral score.” – James Harley

John Stezaker

It was good to see a few Stezakers at the recent In Quotes show at East Gallery, Norwich. Loved the Whitechapel Gallery show back in early 2011. Stezaker definitely cuts it for me. Ouch. He has many imitators out there but they lack the killer splice.