Saturday, April 30, 2011

Removal Of Cyst On Urethra

Later: Extreme Rules 2011



A few hours after the event more "extreme" of WWE. can review the list of meetings here .

Friday, April 29, 2011

Pectas Excavatum Navy

Washington Cucurto



Cabrera Interview by Jaime Reed, of Perú21

[ link]

Monday, April 25, 2011

Use Multiple Gpsphone Cheats

Tate Modern, Bankside, London



(photos Tate Modern: Jaume Prat)


A short story


Until the first half of the twentieth century , the industrial heart of London was the Thames, crossing the city by dividing it into two halves unbalanced. Explained that his activity was such that they could come across, at high tide, from shore to shore by jumping from boat to boat without getting your feet wet. This traffic was steadily decreasing, and barriers built to the east of the city controls the relationship of the river with the sea ended up killing their industrial use. A clean river, without noise or odors and dirt, with its flow controlled, was already a political choice that redefined the city. The rest: to build decent housing, attractive to facilities such as the Millennium Dome and convince Sir Norman Foster to go and live there. Then it is given the title of Lord of the Banks of the Thames.
The appearance of the river (Bankside in English) was changing, but the industrial past, had left populated by a number of notable buildings that had to be recycled. Two of them belonged to a visionary architect named Giles Gilbert Scott, who built power plants as if they were cathedrals. Better yet, judging from that built in Liverpool. Someone convinced the owners of the Tate Gallery to buy one of them to install the new Museum of Modern Art Company. Or maybe they were convinced by themselves, as the Tate Gallery was, in fact, a headquarters in an industrial building recycling sheds specifically about 1846, by architect Jesse Hartley, at Liverpool, which rehabilitated James Stirling (1984-1988) after built, years before, the Clore Gallery, attached to the original building of the Tate Gallery, to house the collection of paintings by Turner of the institution.
The power plant was built to last, both for the virtuosity of its construction and for the exceptional quality of its architecture. It's a life lesson: do things right, do it nice and have sustainable architecture: those who question the demolition of a building and is converted automatically into a Taliban.
Jesse Hartley, arq. Sheds that would stay, conveniently rehabilitated, the Tate in Liverpool North.


The building faces the major axis to minor axis of the Cathedral of St. Paul, the masterpiece of Sir Christopher Wren, and is not to say the least: I have already talked about it in an article, either on the blog, either in the journal engawa. Saint Paul's is one of the best buildings in the world and probably the first to be calculated. Even today is a milestone indisputable, obvious, London. Sir Giles Gilbert Scott manages a building that can rival it in scale, and takes up the challenge with exceptional bravery. Further considering that, when it built the plant, its chimney became one of the tallest buildings in London. No problem. Scott had a genuine vocabulary, appropriate mix of many things: Gothic, Frank Lloyd Wright, rationalism Europe. Anything Arts & Crafts movement, some of the Werkbund. Some of Behrens. As in the case of Catalonia, London (especially London) did not need the modern movement, current stupid that thought it could go over the story. Not at Saint Paul's. They played a powerful industrial brick building, dark brown, organized in three parallel strips river.



The first band on the Bankside has several plants. I do not know its original function. Aspect and typology is not too different from a shed or a textile factory.
The second band was the Turbine Hall. Capitalized. A space that competes in quality with the very nave of St. Paul's. A powerful vertical space, lit from above through a lucernacio run and two extreme windows. A religious space, without the slightest ornament, where an overhead crane ran strong, made in Glasgow, serving the turbines themselves. These are available at a depth of water, and therefore below the height of the building accessible, built a good five or six meters on this level. This dimension plus five or six more for water as the ground level of Bankside. Operators manipulated the turbines, monsters of many feet high, the altitude des zero, and went ahead with them through a very porous slab.


The third band were the fuel tanks that served this huge complex. Three fuel tanks clover shaped behind closed the building.
The main façade faces the River. It's actually the end cap of the first band of the building. Presents an almost perfect axial symmetry organized by the fireplace in the complex, 99 meters, so it could not be higher than the dome of Saint Paul's. On either side, three large quasigóticos the windows related to both Liverpool Cathedral and the Houses of Parliament, a few miles to the west after a meander. The building is severe, solemn, and faces the river with a sullen silence. Neither before nor now let see what was inside. The facade belonged to the city. In the former one, industrious, gray, dirty, rushed, and now, more playful, less gray, more luxurious, one of the capitals of the world, equally busy. Or more.


Environment


A part of Saint Paul's, North as close to scale, the building has a neighborhood full of historic preexisting potent. To the west a series of extremely high quality factory buildings are being rehabilitated. This is the most important building for the entire history of literature: the Globe, Elizabethan theater where William Shakespeare represents his work, another unique building type. Well, the ghost of the theater, two hundred yards away from where the actor who has glorified the father played the ghost of Hamlet. After him, a Community Council Flats (apartments limited income) of a certain architectural intention, made also in dark brick, we speak of a past industrious labor housed near where he worked, the pragmatism of the place. From Saint Paul's and Central on the opposite bank of the Thames, the home of Sir Christopher Wren, an orange brick baroque building, so exceptional in its way as the cathedral itself.


An architectural decision


Architects we believe very clever, but ultimately, we are just about to sell obrerillos pormayor talent at the service of those who truly believe : Supporters. Bankside, London (especially the Bankside) deserved a brave, strong, a skeleton supports all interventions provided afterwards this master plan. Defined a tangent to the house street Wren perpendicular to the river pricking. It went to a bridge. This street (which could start) crashes into one of the windows of the focuses, desaxializando its major axis. The street was full of quality buildings. Homes, shopping centers, private facilities. A tourist office. It was designed for pedestrians only. Parallel to the river, most residential buildings with central faced serve as a platform for the dome of Saint Paul's. At the edge of the plant, the Globe as a tourist attraction. The community council flats rehabilitated. Industrial buildings as luxury homes. After the plant itself, luxury homes and offices with commercial base. A complex built by Lord Richard Rogers, interesting and attractive. Some buildings quite worthy of Allies & Morrison plug all Southwark St complex, which will change the face and become a major artery.
the new road that connects St Paul's to Tate Modern. Bridge: Foster & Partners and Anthony Caro.


The master plan and the various partial plans must be drawn up by architects sellers talent. The buildings are beautiful, effective and worthy. But who took the main architectural decision, who remained, who enhanced, not an architect. It is a politician who either spur or supports a number of private developers who have believed. What made this possible. Who have put their two cents, more money, more will, for as long as someone put on a dress then back to the emperor. We think we are very clever, but without them we are nothing. No sensitivity, no education, if your sense of civic duty. The remaining building materials tidy.


The competition and the jury


Part of this plan was to restore central museum. To get it convened an international competition that ended with five competing proposals. In cases like this who is examined is the jury. And the jury knew exactly what to choose. Its aim was to rehabilitate a power plant and put in a museum inside. Within an existing building, a building worthy.


Participants:


Rem Koolhaas and his OMA intended to leave the main facade to the river and remove the rest of the building in its entirety. In a show complex of ramps available in two speeds museum paa people who do not like the art, which went before the works as if they were ads on the subway. The brick chimney was losing its turned into a skeleton.
David Chipperfield left the building intact ... except by the fireplace, which bothered him. Paradox: to assess the building should be charged its distinctive feature. So I thought.
Rafael Moneo, more respectful, building a common housing for the Turbine Hall and the body factory
Renzo Piano was loaded cover of the turbine hall to provide these skylights series that is designed from an ideal des Menil Foundation.
Herzog & de Meuron . Ah, H & dM. They were smarter, more sensitive. The old building was fine. Four changes and we have a museum.


Guess who won.


decisions promoters


The Tate Gallery building had very clear what he wanted. And without your support would be stillborn. The best architectural decisions are yours. Input, the name: Tate Modern. Output, that's not a museum is a meeting point. A covered street. A place where you go for a drink, talk, buy books at an exceptionally well-stocked library. Where appropriate, visits art. Where no fee is charged. We can think of many things, but the building is public by the will of the developers, who were clear about where was the business. You can get his hands in his pockets to view the pictures. If you want to see them pay.


The program is structured around always interesting temporary exhibitions. Then the permanent collection it's no nonsense. Therefore, if you're ready to go three or four times a year paying. The rest will stay in the public parts, or buy books or go to keep safe the twenty minutes it rains.
Tate North, Stirling & Wilford, Liverpool


And if anyone thinks this is in fact a decision of the architects the others have strengthened, the answer is obvious and the Tate North? Makes me laugh a diagram of Herzog & de Meuron as they seem, strikethrough, the skylights of the Clore Gallery as anathema, as it should not be an exhibition space. They, who did exactly the same bill as James Stirling had made some years earlier. Ah, but he was already dead and could not protest.
of the competition proposal: Sections of Aalto, Stirling, Piano crossed by H & dM contest in memory.

autograph sketch James Stirling studying skylight entries.

Stirling & Wilford, Clore Gallery. Section through showrooms.


In effect, the Tate North, we have left before Liverpool housed inside a shed, has exactly the same pattern as the Tate Modern: below, a public hall. A strong coffee. An enclosed and unheated. A vertical communications core embedded between two bays, as a new band facilities, elevators etc.. Some old rooms well equipped.
Tate North, ground floor. Porch, hall, cafeteria.

Tate North, first floor. Showrooms. Insert key vertical communications hub that H & dM used in the Tate Modern.

Tate North, perspective view of a showroom.


starting with the very clear idea if you're a promoter Smarter still do to win Herzog & de Meuron you get to talk with them to enhance your idea. After all they are good sellers pormayor talent.
Tate North, the hall light

Tate North, an exhibition hall.


decisions architects


an elegant way to clone the building Stirling, which is perhaps a third or a quarter smaller, architects based their intervention on three key decisions.


The Turbine Hall : obviously I was. For them, a very clear way, was the heart of the intervention. Access to the building. The meeting point.
They presented several difficulties genialoide solved in a way. The first of them (perhaps most) was that the Turbine Hall is the second band parallel to the river, not the first. Where do I enter?
There are two main entrances, but only one door. The door. It is located at the west end of the building and was made possible by the fact that the left also involved in the building's exterior, which crearin a riverside park trees leaves bare the middle of the fireplace and leads people des of the new bridge access. Bridge built by Lord Foster with the help of the sculptor Anthony Caro. The bridge is an extreme. The other is the input.
Street Tate getting into the North.


Earlier I described the Turbine Hall, which has a level zero in contradiction to the ground level of Bankside. The ground level of the room is that of water. And this ground level will be chosen by the architects to provide the ground floor of the museum. Therefore, the ground floor is a basement.
I deny those who think that Herzog & de Meuron's dig. Simply find it. Making difficult things easy advantage, without denying, without cegarla. There will be the library, lockers, the origin of travel. There are overhead light from above with the original skylight of Sir Giles Gilbert Scott. Since, as he was clear of the arrogant, Piano, who also was carrying it.
Herzog & de Meuron: Tate Modern, cross section. Three bands, zero elevation at river level. Cota ground floor level of the city.


therefore have to get people to come. There appears the only excavation of the building. They are already down. A new street gets inside the Tate Modern. The ramp inside the building is not a dig. Is a filler. It is a technical floor. As the rest of the ground floor a few feet above the original.
The Turbine Hall is then a street. Streets not have air conditioning. This either. The streets have facade. This, too. The blank walls of the other wings are pierced by a series of glass boxes where you can watch this show des heights.


The crane fell.
The lighting system belongs to Giles Gilbert Scott. Herzog & de Meuron are limited to waterproof it.
Ten for architects: the access ramp does not meet regulations. It is not necessary. And have been an inconvenience, silly, steps or landings leave with these ridiculous rules imposed accessibility. Disabled people can cross it with or take an elevator lampshade ensuring that they can visit every corner of the building. And the ramp and tranquility.


vertical circulations : bite the body and lodge manufacturing, all over there. If the Turbine Hall is a street and it has a new facade, you need a sense, the vertical circulation. Elevator cores powerful and, above all, escalators. Also somewhere to come, improving to James Stirling, who drives up and back down to the people, and if you are an art lover, not paint anything up. The place of arrival, restaurant.


One exception: an exquisite staircase leading from the ground floor of the Turbine Hall at the ground floor of Bankside, a few feet above. Recycling a piece of the floor that served to assist the turbines. Therefore, further blurring undone: it is not to build a loft, it is disassembling a floor.
service cores are inserted in the core manufacturing. Containing lifts, facilities, fire escapes. And, coincidentally, the spitting image of Stirling. Help to partition the interior of the standard rooms of the museum.


Flashlight: for architects and developers need to lift the leg and leave a mark territory. Because nobody wanted to leave the building as it stands in the background. Herzog & de Meuron have chosen to disrupt the body manufacturing glass with a flashlight. And that, miracle of intelligence, is many things at once: it is the symbol of the building. It is the body that houses the bar. It's where you come whenever she goes up the escalator. It is a spectacular lookout Bankside. Is the relationship with Saint Paul's, supporting a dome with a lantern flashlight dry contemporary, friendly than the other, that belongs more to God than humans: some hits had to have.
is also an architectural resource of first magnitude to achieve a feat on the top floor of exhibits (which houses the permanent collection): all rooms with natural light.
The forged through the lantern, which houses the restaurant is not to level the deck, but elevated. With this gesture will get an extra space where light in the room to introduce intermediate body manufacturing (organized also in three bands parallel to the river, interconnected among them, with nuclei in the central band). The resulting skylights (which motivated to strike out the of the Clore Gallery) are traced to their art gallery Goetz: a continuous band of light from above that any work above.

interior rooms on the top floor at the Tate Modern.


Adaptation, materials, interior


Basically it was this: to sell talent. The talent comes through the skin. As you see, so touched. And yes, the architects have looked. The idea was to leave the building by Sir Giles Gilbert Scott as well, but in one way or another had to exhibit art. So the rooms have to put up.
Four materials: glass, plaster, concrete, wood. Maintaining its original woodwork, and as they are good for a factory but not for a museum, interior cladding with new joinery to meet the demands of a very sensitive program. For they are lit rooms. No more. The crystal form, too, the new bodies in the inner façade. Form, too, the flashlight.
carpentry extrados original showrooms in summer.
uses of glass in the inside lane.


The cast is of all interior walls. White. Neutral. The Giles Gilbert Scott left the material seen against the Turbine Hall are left unchanged.
The concrete part of the pavement. Especially that of the Turbine Hall. Continuous, seamless, seamlessly. How noses have achieved?
wood forms the rest of the floors. Oak unvarnished oil.
The skylights are catalog.
With this and is just a museum.
pormayor inspiration and talent.


Visit the building, looking at details, drink in the bar and check that the tables are well-visit.
point: the top bar is simply a broker. What we want is to look at Saint Paul's. The bottom bar has mirrors lining the structure. Turned to the park. The railings, lights. Service accesses. Enjoy.
the bar and a hall with a view.



Maintenance


Herzog & de Meuron have not neglected the building. Neither the Tate Gallery of them. I counted at least two subsequent major interventions: a shop of souvenirs to level of Bankside and the conditioning of the rooms (landings) that give access to the floors of exhibition. Tutorials, computers, more oak, touches of red.


Extension


The building has been a total success, all. Not only among tourists. Also, and above all, for Londoners. The Tate Modern we know is, in fact, the first phase of any intervention. The second was always defined, and commissioned a few years ago, following the romance promoter, the same architects Herzog & de Meuron. Space: the clover which was above the giant fuel tanks. At his side, Lord Rogers, Allies & Morrison and Bankside too far. What to do? At first, pyramid containers. But oh, Lord Rogers did just that. But ah, Sir Scott is still too close. Let's stick to the pyramid and revistámosla of the brick plant. With concrete structure. And, as the brick is not supporting, let's lattice.
The agenda: to lift the leg back, now plays new plant. More showrooms, some other bar, I suppose. Little more. If it works do not touch.
render an interior of the Tate Modern 2


slightly alter the original building, a bridge connects the third floor to the third floor. The Turbine Hall is patient. Maybe even better. Outside
jokes: the building is to serve some purpose, and the main reason is exogenous to one's Tate Modern: the Bankside fixed the original program. But this is getting fatter and complexify, good buildings have appeared behind. St. Southwark is growing, changing. There are more homes to sell. More buildings to rehabilitate.
The new project is a development project. The key to turning around a building, which until now was thought to Bankside monoorietado and now must turn on itself to have a rear façade. This is enlargement.


Future


grows London Saint Paul's to Bankside. The Globe will remain. New buildings behind. Southwark St. as the new Cromwell Road. All rehabilitated.
the Tate Modern Bankside expanded.


See you there next year for the Olympics.


with Turbine Hall installation porcelain pipe Ai Weiwei (now hijacked by the Chinese government)

Saturday, April 23, 2011

Preparation H Vs. Anusol

interview interviews Edmundo Paz Soldan


interview Jaime Cabrera - Perú21


Interview

Tuesday, April 12, 2011

Can You Block Calls On The Samsung Reclaim?

ViaFreud recommends: Symposium on Brooms

The Graduate Program in Theory and Clinical Psychoanalysis Severino Sombra University, in organizes your Psychoanalytic Symposium with the theme The Psychoanalyst AND THEIR TRAINING.

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Sunday, April 10, 2011

Best Friend Phrases For Picnik

Genius Loci by Kiki



After a tedious wait when it gets dark, surrounded by a rare public in a museum, entered the Fundació Miró and give me a pouch with headphones, like all end up failing on the plug, tuned to different radio channels where are ringing, loop, songs of exposure. Rare in a museum.
The reason: ten songs, ten places associated. Ten groups warming up to get physically shape the environments that work with your music. The thread will be the knob that changes the channel on the trunk. Click. Hidrogenesse. Click. Mürfila. Click. Mishima. Click. The idea of \u200b\u200bbringing together many different groups under this roof I will toast to Martin Miller, the curator, as soon as you reach the final open bar.
discontinuity, changes in environment, foreign travel companions that are created in this way are the reason the link.
acknowledge that, in view of that kind of octagonal donjon that appears to the monastery (church? Faro? Redoubt?) culture suspicion. The songs are part of our mental landscape. Without them we would be as dead as if comiésemos. We would walk like zombies, we would work, sleep, failing in society without going to be a conscious automatons, lifeless. The process of appropriation of a song is active. Rather than listen, interpret them. Assimilate feelings. And this is the main difficulty of the exposure. The songs are commonplace, and this character is so commonplace that we have tried to capture. Exposure: Each group decides its own way what and how. The where and when is one of the wires.
Everything is different. Each group offers a different perspective, each song fits their physical space as if any of them had done this exercise all his life. The same has been true. John Malkovich false writing a love letter on the back of Uma Thurman nude, old age, but it does not matter (although he had more morbid Faizura Balk) who then becomes real. Click. Another song that any of these groups could be music.
I decided to ask each participant got to catch as he had done to convert a sound in a physical space. This is the result.

Els Friends of the Arts

only visit an exhibition opening day leaves you with a certain face of uncertainty. This is seen in the first instance, the time devoted to the songs. I finished the first, returned the flask and the secundadio feel I chose one of those movies-with-stage-to-backlight-retropenumbrada-for-a-landscape-urban, perhaps the best view of Barcelona that I know, every lamppost, each window flashing some kind of star by the grace of pollution, one of the best filters Photoshop I know, based on beer intoxicating, almost alone in the outer courtyard of the Foundation. Beside me, also alone, Friends of the Arts els did the same while they were chatting with the few people who had. The boarded talking about architecture and his enthusiasm is the basis of this article. Dani
counterquestion Allen fired the issue had raised: How are music and architecture? Idiot me, I did not know what to say, limiting myself to watch one of the white concrete blank walls as if there was the answer. That is obvious: the private terrace, Barcelona, \u200b\u200bthe framework of box. The feelings and how they materialize and we shake. The rhythm is created, the movement of people, something that distracts, something that fails, a place to feel comfortable. Just as a song. Sorry for the delay, Dani. Then I touched them.
considering the installation began wondering what they are. The answer is curious: if you fail to show are a click away. As the clip. Play-stop. We-no-we are. Thus, initially there is the creation of a space but its negation. The ephemeral thing. To achieve this have been pulled, with the assistance of Eloi Tomàs, multimedia, video projection as the four walls of a room. Now-I'm-now-no-I. Click.

The song has been chosen Ai, Jean Luc, the first of its disk. A song of heartbreak or disappointment (prefix league much with the original intention of denying the space) at an accelerated pace, almost a ska deliberately divorced from a letter that addresses an issue at all obvious to be a musician as well. With great humor which recreate a situation of what might have been, and is not, which is also a common place that leaves who ever lived weights waking up the morning of one night years later with the face of an idiot that you get when you ask things you can not answer for any way.
visible plane to move it told me a map. A warm map maps opposed to cold, impersonal, we use to guide us where we need it. Like here. Associated map information, the information overload, the statism of printed waste paper is limited to be useful, forgetting several new features that have that when you remember, going further for installation. Input maps are ceasing to be physical. Increasingly, mobile phones, GPS, and all these devices ipad (basically different ways of presenting a computer) are the maps, dynamic with various filters to present only the information relevant, updated in this concept so strange that we call "real time". More and more personal, almost non-transferable, as each user and our volitions. And all of them, give Google Earth a tourist map of those who shared the English Court in any city in good measure to find its stores, can dream. Imagine new worlds, even transform the city. The first sketch he drew for Gehry's Guggenheim Bilbao is shown at many conferences and, especially, are drawn on a tourist map of the English Court, he spelled out on the ideas that guided the construction then around the building. Click.
Your map: as dynamic as these, a sibling, in this case without any degree of interaction. They do not want to personalize it: they want to interpret it. They do not want to use it, they want you to enjoy. Do not want to guide you, but confusing in a playful game that forces you to revisit it a thousand times, to look out in detail, to understand it. Just as one of their songs. Play with the distractions, the cause and when they got you to set eyes on one point, on the other things are happening. The map case on four walls, O-shaped or C wide open with an extra stick to ninety degrees. The projected out of the corner is the group C (The "Standstill were more consistent than us," I was told), designed, pretending to watch the audience laugh a little of it. The other three wings are dynamic, and images are happening, some of them from wall to wall (like a train all tend to stick with the view, which appears on the right and left march in their own right while still passing secret things that nobody sees because they are watching the transit of cars).
interpret it. You can not cover everything at once, and you have to choose between a quick look at the rhythm of the song or if you want to entertain and repeat and go. And this way of living is similar to how live concert: many people on your side you see the same and different lives. Always. By the way, some of the projected images are precisely concert that probably more than everyone who visits the exhibition has seen live.
Drawings: Roger Haus
Video: Eloi Tomàs

Drawings: Roger Haus
Video: Eloi Tomàs

Drawings: Roger Haus
Video: Eloi Tomàs

Illa Carolina

The site that hosts your installation denies the rest of the exhibition, walls rising high above the eye level. Right at the end of everything, an island. And, true to the name of the group, I was lucky to find Carolina.
At first I asked him where he could buy his songs: the sound is dense, compact, smooth, sweet and powerful at once. Evokes many things, all simultaneously: contradictory traits rather than subtract multiply. They are a group atmosphere, sensational in the truest sense of the word, go straight to the epidermis and we will rise, putting in many goosebumps moments. Still have no label. With the immediate argument (and true) of all cafregrupos who do have I would demagogue too fast. I better shut up.
Installation is sister of the Standstill and Manos de Topo in one very interesting: The three groups have chosen to exhibit in spaces of passage. Or they have chosen make them, go. Illa For Carolina is the most radical: the see marchándote. Its space is the last of the exhibition, a kind of passage that turns 90 degrees and takes you on a wing of the cloister at the outlet where you leave lapetaca. The group has performed in collaboration with Architecture Saeta.
Carolina Badillo defined as a room space. A wood-lined room, warm, a cluster of dark hole. He is associated with work, so it's rough, little polished. So the structure of pine is in the interior. So it can be hung objects, symbols, themes found in his songs, the reasons for this or that point. Feelings at the end. All are done in acrylic blocks carved, dyed a beige off, almost dirty, mate. In contrast to penalties wood back, which forces you to look out for them and Alentec progress. Details. As their own music.
The lighting is low, lower than the eye, and is based on linear fluorescent that reinforce the character of a place of passage of the compound. Speed \u200b\u200bversus the previous details. Contradictions again outnumber remaining. The end result is that the movement you make within the space is erratic, up and down, from object to object, turn on yourself, looking through the holes in the way, with concrete vaults above you. Saluting those who are, not knowing where to look as the music seeps you the brain through the clip headphones, if at that time work. A dance that is called at the end.

installation
the group in concert

The Pinker Tones

I hope not to ruin the reputation of Mr. Fury if I speak of him as a kind natured, fun, friendly and very restless. Our presentation was mutual to wonder about the number of Moritz Epidor that we took in the stomach "goes faster, know." I won. Still smiling in no time, when I asked about the meaning of the facility began to talk about architecture. Berlin. The thrill of exhibiting in a building so close formally Bauhaus Archiv, a masterpiece of Walter Gropius when playing without signing his name just so that everyone knew that it was he who planned. Well, not always, streetwise hustler. Has managed to keep the authorship of the Met-Life Building (formerly Pan Am Building, the same part in two Park Avenue in the Big Apple here) after Pietro Belluschi did it all work, both dirty as clean. But that's another story. In short, we have to Mister Furia Berlin, visiting architecture, keeping the skylights of the Bauhaus Archiv and relating to ours. Feeling comfortable with the space I have given away to expose. And did you note.
The cancio'n that originates all SAMPLÉAME is entitled, and is a fun game on the possibilities of creating a work of original art from fragments of other existing songs, and composed and edited, sifted through the sieve of The Pinker Tones, inspired, fun, danceable. In short, it cost me not to start bouncing on the spot when I heard. But it was alone and sober, yet. On this song, about the act of listening, whether interpretation and reinterpretation pivots around the space they have created.
The Pinker Tones
els go after Friends of the Arts. You know that room with the soil depressed, in the form of C, with a wall there, which is accessed via a ramp and exit via a ladder? Well there. Spatially
have loaded the C Panel in the front wall bright red. Crossed over the three, the word SAMPLÉAME made with 366 pixels, one for each day of the year and a tip, unless you count after too many beers. Each pixel corresponds the cover of a vinyl record differently. De los Panchos Lou Reed. David Bowie swarming over there away from his ex-lover. Queen. Frank Fontaine, Paul Weller, Pet Shop Boys, Los Panchos. Some greatest hits. A bit of everything, go. And all good. All good to hear. All good to sample. Is there a difference?
Play is play. And reinterpreted. Reinterpretations, Mr. Fury said, tend to infinity. Two different people can not take what the other is playing, the experiences are different, unique. By definition. Experience is a word that our friend used literally. For this to capture the uniqueness of the experience, The Pinker Tones have invented a monolith (2001 and all that) that have been planted in the middle of the C in the geometric center (and how well that goes to control space, hovering above those skylights) with a headset inside with tracks, with different pieces for each listener to make your own song. Clues and hints and clues that you can mix pleasure theoretically up to the theoretical infinite interpretations. Raw material. Mixing possibilities. That and a program mix and any of us to compete with the Pinker Tones. More can not be honest. Mr. Fura the attack, doing sleight of hand, explaining the trick, as such display does not disheveled shameless further reinforces everything that is good about this group: I give the ingredients and do not catch me. To copyright it is half a bar, they say. Talent, a lifetime.

image sampling

Mürfila

succeeds Mürfila a cupboard model boyfriend who is very cute on the bed, a handsome floor of those who appear in these books on architecture all photos without plans signed by a writer friend of a friend, pasta and David Forests with open shirt as manager. Oh, sorry, I'm starting to fall into the habit of my grandmother Quimeta, passing that the actors are playing and always calls them by name. Click. The cast of the record because the Chari, a singer-Choni Miami resident Stephen mixture of Bethlehem, Aramis Fuster and East Tigress, ponytail hairstyle killo tight pot with blonde hair attached to skull, she sells more . A mix of techno-reggaeton latino. Then, as always: the groom's left, the fans leave, has to find work in a record store or something called Fnwgsdac and everything starts to go wrong for a while ... until his new cubicle, having played a lot with her roommate who pulls the syringe from the floor of high explosives and who descaling toilet shit and it has touched This sengundo, Roach meets Andrew, gafapastera glamorous, a guitar-hero pimp who lives in the bathtub and that apart from being able to survive a nuclear attack, which probably already been done, presents the new Model able to make one epic on his back and getting up again. And cockroaches are smart. Click
. One day, a few years old, I saw a clip of Natalie Imbruglia model Cadillac girl about six feet and three hundred horses, fourteen liters per 100 km, and well lit as he sang a bit, filmed just down the road I had to do to go give my house to the CAP when I was bad, there in the Santa Eulalia district. This CAO was located, then in a sort of no man's land so desolate that even the junkies were to burst there, after a dirty white brick fence of a football field of land. When it rained, the CAP was placed in a kind of unhealthy mud pool that saved a lot of money to the Servei Català de la Salut sifting many sick people who came there to be cured of a nice brown color. That's what is now called Plaza Europa. And, as usual, I find the descenturas of Mürfila located there, escaping from the fans in the City of Justice, is about to jump from bridge on Plaza Cerdà and his record is located in the Tower Copisa Tusquets (and how well that have been filmed, with that kind of HDR made film camera much like I did when I photographed). That and more in the first three chapters (and viral) I love U. Visit Him in www.murfila.tv
As you enter the exhibition you are installing Mürfila straight, although presumably you'd have to turn first to the right to visit the Hidrogenesse. The first days were, there Mürfila itself in blue dress and the cockroach. More than a guitar and a friendly jeweled split. To the left, without Chari Chari-World so that nobody has yet succeeded in showing dislocation. To right the Mur-world and the Cucaracha and the bathroom where he lives and plays guitar as he enters his band and a TV tube. Above, white concrete the skylights of the Foundation planning on the two worlds. I've never been clear which of them will fit better, but do remember to dress bullfighter Sert under the Calder mobile, at his home in Locust Island, this Ibiza banks uncomfortable alleged reforms in a haystack that was actually a rich house I was not willing to admit he had bought, in an environment that made me suspect that, to be alive, he would have built the house in Miami Chari. Meanwhile, Mur still singing.
in the Chari and the cockroach Andrés Chariwolrd

Sert ... and not at odds . Yes, this guy designed the Foundation (thanks to Jordi Badia)

Manos de Topo

Manos de Topo. A loose group, different. His songs are a stark radiography in the world of couples. I contacted them through exceptional Maíllo Kike directed clip for their song is ugly. In it, Michelangelo White sings a story of unrequited love that their partner has run away to whoever wants it less, and even fucking worse. The same is more selfish and all. But will that is different. Why we humans lost some things differently? We see something unusual and comes to the bottom, no matter if we destroy the way of life who is with us. As if in any of us lived a Amundsen, a Richard Francis Burton to seek the Mountains of the Moon leaving behind stability, experience, mortgage, apartment, Thermomix and DVDs of Sex and the City that finally got your partner want to see. Or vice versa.
Michelangelo cornered against the wall of the stairs up to the library, closed with a tape of those who do not pass, sipping a glass of cava secondary to celebrate anything. Asked about the meaning of his installation told me, without doubt, the Tunnel of Terror. Tunnel of Terror a partner. It occurs to me that there are two kinds fairs Tunnel: The Love and Terror. All serve to link, in different ways. The ruling is love, and it comes with a couple more or less consolidated, whether for five minutes or a life. Terror at the link you go in with whoever you want, hoping to end clinging to you because of the witch and her broom, or sentence that gives Mr. ludópata with hairpiece behind it. You can even end up being bound by the penalty if you cling to it after forgetting that the man with toupee toupee leads. Ah, love.
Installing Manos de Topo is a Tunnel of Terror. Tunnel of Terror that teaches you what happens when you've linked. Everyday objects. An unmade bed. A kitchen. A low shelf. A TV with DVD. We are in a shared home, a home that would have to be comfortable and happy. Is in shadow, like any Tunnel of Terror. Objects that scare us are still very bright. As museum pieces. Represent the places where things start to turn. The bed and its silences. The kitchen and discussions. To be where he always looks like a program that only one of the two while the other gets bored and bored. A song with stress, to the routine that feeds it. To all those feelings you have when you want things to work and do not get it. The powerlessness that it creates when you get nervous and argue, the same enthusiasm becomes poison. You play?

Standstill

exposure are presented with the track ahead, Bonaparte (parte1). Title to a triple album, the last of the group so far, an exceptional album des font of the title until the last song. The triple album is the express wish of the group, because the length of the compact could do double or even simple. If so would not have the sense that it is party, three discs of 25 minutes, three concepts with total stylistic consistency.
Forward, Bonaparte is the ultimate court of first album. 22 minutes of preparation, contained music, performed with virtuosity, intense, sweet, we will modulate the ear dilating time, tightening and loosen the base of a carpet of sound that combines acoustic instruments with samplers, family records for years used to base. Melancholy. A part of the brain is constantly attentive to detail, the constant variations. And then explodes. The pace battery multiplied by three, the singer's voice goes up an octave and a smile with the plan that was invented to get away later. Then run to change CD.
This tone at once fragile and intimate optimism contrasted, has been moved to the facility meets all of these points and translating them into a coherent whole, simultaneously a joke and a manifesto on what to be, now a museum : Exposure is themselves. "Where we might be better to work here?" He said Enric Montefusco, composer, vocalist and multi-instrumentalist. I do not know if the others coming first, embedding more nose or taking the ideas clars, Enric chose the right place to exhibit. For exposure.
Demonstrating spatial perception worthy of a good architect, spoke of a facility in two by a wall. First subtlety: the room, like much of the Foundation, is unbounded, and, moreover, is a permanent step, almost a panopticon that connects the reception facilities of the other groups. The structure of an empty glass leaves more or less clean, and this plus the skylight above her flat is the only definition that is in the area. The wall consists of a white socket of a light material such as melamine or laminate. About four feet from it becomes clear acrylic, the two parts connected visually without the slightest trava. Tan so that the acrylic is, in fact, more transparent than glass, when new, with this fabulous property has to Delar go light on one side receives exactly its opposite. Less glare.
The part of the area where the group is a cage. Even the chest disappears and methacrylate reaches the ground. The Foundation becomes a zoo. Standstill is on the inside, between the wall and the window, after his cloister, olive, light, pleasant to work. Inside, tables, musical instruments, computers to mix and models. They are doing. At one end of campus (and as this is a zoo), a box and drilling in methacrylates. So they Peanuts strips. Or ask them things. Or do they hang slogans. And there you what you write, because they hang, as evidenced by a sheet saying "the Mishima are better."
We're all a little voyeuristic. Or even if you are an architect. The installation plays with it in a very subtle. There you have the creators of the music you play, and away from her, absorbed in other projects while you listen to what they have proposed. Lag. Reflection on the viewer and the artist: on one side, a factory. Another enjoy (or consume) your results.

Standstill in zoo

Mishima

Group members were in the courtyard of the Foundation, while drinking beer chatted with Jaume Sisa. If there was a camera there I would have felt for a moment, the protagonist of Aniversari clip. Em gave respect say something, but luckily enough dose of alcohol brought me through everything and deal with David Carabén to explain to me what they had done.
The song have chosen to represent is Chemi
n'ha begut (in September Tindra tota life), one of the best of his career, but the others are at their height. To speak of the installation, I put David, almost instantly, to talk about the song. A musician talking about music: total luxury. For him, the song poses a conundrum. Listen to the lyrics and you'll understand (there are those who have translated into Castilian. Is easily found on youtube) is deliberately ambiguous, very affectionate. The singer seems to monologue, reflecting on something that has happened and it changed their life. After going to ask him if he wanted someone PAAD same. If you also will thirst for life. Someone who has not directly share what has happened. Perhaps the only person in the world can not, and is generous enough to worry that she can live well. Because she is a woman. But we tend to that, at least those we love.
The song is installed in the world of pure sensations. Happiness, slavery, addiction. Everything we do beat, heart racing, what makes us happy to lose any sense of proportion. The pleasure and sin at a time. What we are constantly reminded that we are human.
The installation follows the same pattern. Is above all, a stage, a setting, that of the song and the time, the place that made it possible. The song, Mishima and many other moments of pleasure, sin and addiction: the Heliogàbal bar in Gràcia. A bar, several liqueur, beer, bar stools, the dark, dubious cleanliness. After a glass, a woman. Well, dummy, everything is represented. A naked woman. A pussy, alpha and omega, origin and destination safe if you like.
A final landscape bar where they happen as a significant number of the things we make in life: there chatting, listening to music, we know, our hopes, we cut, we reconciliamos and see you play live some group. If the bartender faltase, quiz them on Jaula saldrían Standstill.


Thanks to Friends of the Arts, Carolina Badillo, Mister Furia, Michelangelo White Mürfila, Henry and David Montefusco Carabén for its interventions.

Thanks to Magda English, and Martina Mercé Sabartés Mile Miró Foundation.