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Window To Nowhere - Andre Chrys - Window To Nowhere (CD, Album)

Other — D. Other — Please Continue B. Other — S. Original Mix [Artistfy Music]. Angermunde Original Mix [recordJet]. Original Mix [Alextrackone. Adorn — Acid Priest, Pt. A Remix [Ithica Records]. Remix [Konnekkt Records]. Candidates delivering theses will be required to complete a receipt form, which will only be accepted as proof of receipt if it is countersigned by a member of the Examination Schools staff. Candidates shall not answer in any other paper, with the exception of Disciplines of History Vquestions which fall very largely within the scope of their thesis.

Candidates should not choose a thesis that substantially reworks material studied in the Further or Special Subjects, and should demonstrate familiarity with and use of substantially different and additional primary sources. As an alternative route to fulfilling the requirement for the compulsory thesis, or to submitting an optional one, a candidate may prepare an edition of a short historical text with appropriate textual apparatus, historical annotation and introduction.

This exercise, which is different in kind from the writing of a normal dissertation, is governed by the following additional regulations: - 10 - i. The original work selected for editing may be a narrative, literary, or archival text of any kind, and may be of any period and in any language. It must be susceptible to historical analysis and commentary, and of a kind that requires the application of editorial and historical skills and techniques, including linguistic and palaeographical skills where appropriate.

The choice of text must be approved by the submission to the Chair of the FHS in History, with the support of a supervisor, of a word outline of the text and its context, and specifying its length. The Chair must consult appropriate colleagues before approving the project: they will need to be satisfied that it provides scope for displaying appropriate levels of knowledge and expertise.

The length of the chosen text will depend upon the linguistic and technical challenges which it poses, and the scope it offers for historical analysis and commentary; the advice of the supervisor will be essential. A complex text in a difficult language may only run to a few thousand words. The absolute maxima are 15, words for a non-English text, and 30, for one in English; but these are not norms or targets. An extract from a longer text is permissible, so long as the selection is rationally justified, and the extract can stand on its own for purposes of historical commentary.

A text in a language other than English must be accompanied by an English translation. The examiners must be provided with a facsimile of no less than 30 per cent of the text in its primary manuscript or printed form.

Where there are several versions, the most important should be chosen. A textual introduction should state how many versions whether manuscript or printed there are to the text, how they relate to each other, and what editorial principles have been employed.

A textual apparatus should list variant readings, emendations and textual problems in accordance with normal editorial practice. Historical notes to the text should comment as appropriate on people, places, events and other references, and should draw out points of wider historical interest.

A historical introduction should discuss the immediate context of the work, including its author or the record-creating system that produced it, and should explain its wider historical context and significance.

The textual and historical introductions and the historical Album) should not exceed 8, words for an English text or 6, for a translated one. The dissertation should be arranged and bound in the following order: historical introduction; textual introduction; text, with textual notes keyed to the text in the sequence a, b, c etc. An optional additional thesis 1.

Any candidate may offer an optional additional thesis. Regulation VI 3. Regulation VI 4. Every candidate intending to offer an optional thesis except as defined in VI 3 a above must submit the title proposed together with the written approval of a thesis adviser or College History Tutor to the Chair of the Examiners for the Honour School of History, the History Faculty, George Street, Oxford, not earlier than the beginning of Trinity Full Term in the year preceding that in which the candidate takes the examination and not later than Friday of the first week of the following Hilary Full Term.

The Chairshall decide whether or not to approve the title, consulting the faculty board if so desired, and shall advise the candidate as soon as possible.

Optional additional theses should normally include an investigation of relevant printed or unprinted historical sources, and must include proper footnotes and a bibliography.

The College History Tutor or thesis adviser may comment on the first draft. No optional additional thesis shall exceed 12, words in length including footnotes but excluding bibliographies, except in the case that a candidate is submitting a thesis as a critical edition of a text, in which case the regulations on word length in VI 10, sections iii and x, above, apply.

Candidates must submit two copies of their theses, addressed to the Chair of Examiners, Honour School of History, Examination Schools, Oxford, not later than noonon Monday of the first weekof the Trinity Full Term of the year in which they are presenting themselves for examination.

Candidates shall not answer in any other paper, with the exception of Disciplines of History Vquestions which fall very largely within the scope of their optional additional thesis. Candidates may submit an optional additional thesis in the form of an edition of a short historical text with accompanying scholarly apparatus, in which case the requirements detailed in regulation VI 10, above, apply.

The Final Honour School Examiners will arrive at a formal degree result for candidates who submit an Optional Additional Thesis by inclusion of the 7 highest marks awarded for the 8 papers submitted, except that the mark awarded for the Optional Additional Thesis may not substitute for a mark lower than Thus, the papers to be included are determined by the following procedures: i In the event that the Optional Additional Thesis is awarded a mark below 50, it will be disregarded and the formal degree result will be determined solely by the marks awarded for the compulsory papers.

All other papers awarded a - 13 - mark of 50 or above, and all papers awarded a mark below 50 will be included. The Programme Specifications are a formal statement of our official syllabus aims and desired student outcomes. The Specifications provide some detail on the range of skills and capacities fostered by the History Degree which might be useful in justifying the study of History to employers, and show you the kinds of expectations that your tutors have of students undertaking the degree in History.

The second and third years of studying history will present you with challenges different from those of the first year, and should be still more demanding and absorbing. You will by now be familiar with the pattern of work expected: you will need to read both widely and deeply to prepare for tutorials and classes, to write essays that answer the question set, and to engage actively in tutorial discussion. But in the next two years you will also be expected to extend your range as a historian, to enhance the subtlety of your thinking and to sharpen and polish your writing.

In the second year, when the final examination may seem a deceptively distant prospect, you should be prepared to experiment intellectually: in your choice of papers and Window To Nowhere - Andre Chrys - Window To Nowhere (CD the way that you approach different types of historical question.

This process should be stimulated by a course structure that will look rather different from the first year. Most of you will take a document-based Further Subject in the Hilary term of the second year, which will be your first encounter with teaching in classes at a Faculty level operating in conjunction with more familiar tutorials.

From Trinity term you will also begin preparation for your thesis. Thus, while continuing to operate within a teaching structure dominated by the paired or single tutorial, you will gain valuable experience in planning and delivering formal class presentations and playing a constructive role in larger group discussion, and you will also have an initial opportunity to think about the piece of independent historical research which will play a large part in the work of your third year.

In the third year you will have substantial opportunity to work with primary source material, whether the prescribed texts, documents and other source materials that are the bedrock of all Special Subject work, or the requirement to pursue the independent research - 15 - programme that will underpin the writing of your thesis.

With Finals now imminent you will find that the creative opportunities as well as the demands of the course are at their highest. Those who have made good and imaginative use of the second year will profit most from the opportunities of the third. The remainder of this introduction will provide an outline of the syllabus of the Final Honour School, an explanation of its rationale, and a warning about some constraints on your choice of papers.

It will also provide you with some guidance on the patterns and styles of teaching in the second and third years, and on some issues relating to unfamiliar types of working and examination.

As in the first year, however, it is important to dedicate some time in each vacation to revise your work from the previous term in preparation for college collections, and also to begin work on the paper you will be studying in the next term: in the Long Vacation of the second year, for example, you should ensure that you read through the texts prescribed for your selected Special Subject, which is taught in the Michaelmas term.

The current Regulations are in Chapter 1 of this handbook. The regulations governing each individual paper in the School are reproduced again at the start of the chapter of the handbook dealing with the paper i.

Throughout the handbook the regulations are printed in bold. In the case of the Further and Special Subjects and the thesis, the regulations refer to additional detailed specifications which will be provided in the handbook. These specifications have the status of regulations, and are accordingly also printed in bold in the handbook. The syllabus is made up of outline and more specialized papers, including one which explicitly invites you to think about both the comparative nature of historical study and about methodological and historiographical issues, some of which you may have encountered in study for other courses.

There is also the requirement to write a thesis, a substantial piece of work on a subject of your choice, based on a combination of primary source material and usually on an indepth reading around the broader historical context. The Schools syllabus thus continues to require study of extended periods of time and of societies across a geographical range, while enabling you to engage with the rich variety of the past, from intellectual and cultural history to everyday social history.

It offers both a greater range of choices than was available to students studying for the first year Preliminary Examination, and also expects you to engage with historical questions at a higher level of sophistication. You study just one British and one General History paper for the Final Honours School and these will usually be studied in the Michaelmas and Trinity terms of the second year. History of the British Isles is divided into the same seven periods as in the Preliminary year, though you may not study the same period again in the Final Honours School.

The papers require you to study the history of England and of the other closely-related societies of the British Isles across long but coherent periods of time. Chapter 4 describes the papers and explains how the expectations of tutors and examiners will differ from those you encountered in the Preliminary Examination. Chapter 4 also draws attention to a few important restrictions on overlapping work between adjoining British History courses that you should be aware of. General History is now divided into nineteen periods, which cover the whole of European history and its engagement with the non-European world from the fall of Rome untilwith additional papers in American history and global history.

Not only can you study periods unavailable in the Preliminary year; but all periods are studied in greater depth, requiring you to examine the distinctive features of individual societies as well as to grasp broad themes.

Chapter 5 describes these General History papers. Study of primary textual and documentary evidence is required as part of two formal taught courses, the Further Subjects and the Special Subjects; there are over thirty Further Subjects to choose from, and over twenty Special Subjects.

Though it is no longer necessary to do so, many students do relate their choice of Further Subject to their chosen outline papers. In other cases the choice of Further Subject may reflect initial ideas about possible topics for a thesis, serving as a stimulus for potential subject matter and ensuring wide familiarity with the surrounding issues.

Texts and documents are integrated into the work, and you - 17 - are required to refer to them in your examination answers. In most cases colleges will organize the teaching of Further Subjects in the Hilary term of the second year. Chapter 6 contains descriptions of the individual Further Subjects and details of their prescribed texts.

Special Subjects were created to enable undergraduates to study primary sources as historical scholars, constructing their own understanding of a given subject from the original evidence.

Special Subjects are almost always taken in the Michaelmas term of your third year. It is the only part of the syllabus to be examined through two components.

One of these, a three-hour examination paper, requires comment on a number of passages taken from the full range of the prescribed texts. The other assessment consists of a 6,word extended essay, to be submitted before the beginning of the Hilary term, on a subject chosen from a list of questions provided by the Examiners around the middle of the Michaelmas term. This will provide you with the opportunity both to demonstrate your knowledge of the source material and the wider historiographical debate about a particular issue or problem, and to submit a well-constructed piece of work, displaying a full scholarly apparatus of references and bibliography, on a scale which is appropriate to the depth of study required of a Special Subject.

Chapter 7 contains descriptions of the various Special Subjects and details of their prescribed texts, which as you will see are considerably more extensive than those prescribed for the Further Subjects.

Disciplines of History One of the distinctive features of the Oxford History syllabus is that it requires students to examine critically and in some depth the nature of historical writing not solely in the era of the professional historianand to place general features of human experiences, or the histories of different periods and societies, in a comparative framework.

Each section encourages undergraduate historians to draw out from their studies a critically sensitive awareness of the practice and potential of historical study. Colleges provide classes to help students reflect constructively on the disciplines of history. The paper is assessed in a three hour written examination during which students are required to answer two questions, one from each section of the paper.

The paper and its teaching arrangements are described in greater detail in Chapter 8 below. In British History, General History and Further Subjects, you will be required to complete answers to three questions on each paper. Paper I of the Special Subject requires you to write commentaries on twelve passages from the prescribed texts.

The point of this concentration of examination papers at the end of the course is to enable you to bring your knowledge together, enriching your understanding of different papers by cross-fertilisation of ideas and cross-referencing of examples.

But there are two other papers in which you have the opportunity to submit work written in your own time, and a third, optional means to supplement this with further, submitted work.

The Extended Essay in the Special Subject tests your ability to conceptualize and structure a substantial 6,word essay on one of a selected group of questions that the Examiners of that Special Subject will propose. It is intended that this essay be written on the basis both of extensive secondary reading and knowledge where appropriate of the primary texts prescribed for the Special Subject, and will provide an opportunity to demonstrate both your familiarity with these sources and your ability to interpret critically and intuitively.

The Thesis will, for many of you, represent the most satisfying piece of work that you produce while pursuing the history degree at Oxford: an opportunity to select a topic entirely independently and to devise your own research strategy to explore it in detail. You will be encouraged to begin thinking about a possible subject for a thesis in your second year — either in the Trinity Term or before. All undergraduates will receive tutorial guidance and support in thinking about the practicalities of researching a chosen topic, and later in bringing together the source material, constructing an argument and drafting a plan for writing up.

The thesis is to be no longer than 12, words, including references, but excluding the bibliography, except in the case that a candidate is submitting a thesis as a critical edition of a text, in which case the regulations on word length in VI 10, sections iii and x, apply see Chapter I. Practical advice and detailed regulations for the writing of theses are included in chapter 9. This must also be a maximum length of 12, words, except in the case that a candidate is submitting a thesis as a critical edition of a text, in which case the regulations on word length in VI 10, sections iii and x, apply see Chapter Ion another subject of choice restricted only by not overlapping in any substantive way with the compulsory thesisand must be submitted by Friday of week 0 of the Trinity Term in which the candidate takes the Finals examinations.

In such cases the Final Honour School Examiners will arrive at a formal degree result by taking the highest seven marks out of the eight papers including the optional thesis submitted. The optional thesis must be written in time set aside by the student, most probably in the vacations, and will not receive the same level of formal advice and guidance from tutors as the compulsory thesis.

Few students are in practice likely to take up this opportunity, and obviously a candidate in the FHS is better served by producing one excellent rather than two mediocre theses. But for diligent and capable students, especially for those who find intractable problems in doing themselves justice in three-hour closed examination papers, it is an option to be considered in consultation with your college tutors. Your choice of papers With over eighty papers in the syllabus, the great, distinguishing feature of the Final Honour School is the range of choice it offers.

But you do not have complete freedom of choice, for two reasons. One is to ensure that you study papers across the chronological range of the School. The other is administrative: if your choices were not limited in certain specific contexts, it would be impossible for college tutors and the Faculty to organize your teaching properly and to ensure that the number of undergraduates wishing to take courses could be related to the available teaching resources.

There are three ways in which your choices may be limited in the Final Honour School: i. In practice, for example, if you have offered an outline paper from the medieval and early modern periods in Prelims, you must offer an outline paper from the modern period in the Final Honours School.

The procedures for capping are explained in detail below in chapters 6 and 7. The Undergraduate Studies Committee of the Faculty Board monitors the caps that are applied to specific courses each year, and is keen to ease the pressure on popular subjects by new Faculty appointments when the opportunity arisesand by the creation of new Further and Special Subjects which will provide attractive alternatives.

The definitive lists of available Further and Special Subjects will be available to students and tutors at an appropriate time. Such lists will necessarily vary from year to year both in the subjects capped and the size of the cap imposed according to the availability of teaching resources. Further Subjects applications are currently processed at the beginning of the second year in Michaelmas Term with the exception of some joint school students who may choose them in their final year.

Special Subjects applications are currently processed in the middle of Hilary Term of the final year again the year may vary for some joint school students. The choice of subject for your thesis and in relevant cases, an additional optional thesis may impose certain restrictions on the use you may make of material from it in answering questions in other papers.

These are set out in the regulations; see also Chapter 12 below. Please be aware of these limits on your choices from the outset. In general, please remember that the arrangement of your teaching, and particularly of tutorials, is a complex business, over which tutors take a great deal of time and trouble.

When your tutor asks you to make a choice, do so promptly, and at all events by the date specified: otherwise it may not be possible to arrange teaching in the subject you want. Forms of teaching With one major addition, the forms of teaching are the same as for the Preliminary year, but the expectations are more rigorous and exacting. British and General History papers are taught on the basis of seven tutorials, while Further and Special Subjects are taught through six tutorials in addition to any university classes associated with each Subject.

Two of the six tutorials on the Special Subject should be devoted to the Extended Essay, unless the Essays are dealt with in the classes; these tutorials may be divided into halftutorials for individual students. A maximum of ten teaching sessions in college are available for Disciplines of History see Chapter 8. Five substantive advising hours are available for the Compulsory Thesis see Chapter 9.

Each tutorial will usually involve a pair of students and a tutor, though in some cases the student may be allocated individual tutorials and in others may be in small groups of three or four students. What can be said is that the tutorial is not primarily about the learning of facts and the provision of information about a subject. It is assumed that a capable and committed student will have used the pre-tutorial period of reading, preparation and writing to acquire a factual knowledge of the historical issues and the principal lines of historiographical debate about them.

It is from this base of assumed knowledge and identified problems that the tutorial aims to explore the topic and its issues in greater depth. The objectives are both to foster in the student the ability to think critically allowing them to interact with the tutor about the significance and appropriate interpretation of the material studiedand for the tutor to be assured that the student has a thorough and well-grounded understanding of the various issues and of the connections between them, both on the level of theoretical principle and in more immediate and concrete instances.

A key aim is to develop flexibility and argumentative subtlety in the student by challenging initial ideas and approaches, pushing for responses to criticisms and alternative approaches, and encouraging depth and coherence in defending or expanding interpretations.

Some tutors regard the essay as an important piece of finished work, and, especially if handed in for marking before or after the tutorial, expect high standards of presentation, full bibliographies and appropriate referencing.

Others regard the essay as work-in-progress, and may on occasions suggest that students come prepared to discuss the topic on the basis of notes rather than a formal written essay. This may be especially the case when two or more students are present in a tutorial. For some, the tutorial is a discussion focused tightly on the essay written by the student and the issues arising from the content and argument of this essay.

For others it offers the opportunity for a broader discussion of the issues and historiographical debates surrounding a topic, only one element of which may have been considered by the particular student essay. The strength of the tutorial is its highly personalized character. Tutors should respond to tutees and their needs and concerns; equally, students should regard the tutorial as a pro-active experience in which their own contribution is vital to ensure that discussion relates to issues of concern or uncertainty, and allows them to test out their own ideas and interpretations.

Students may find the feedback from tutorials varying in style and quantity between tutors. They will all probably receive a written commentary on some if not all of their essays or written submissions.

This may include a specific mark or grade; more often it will make reference to factual errors, will comment on stylistic strengths and weaknesses and upon the larger structure of the argument, issues omitted or key works not read, but without distilling these criticisms and commendations into a single overall mark. Any successful tutorial will provide substantial, detailed feedback, but students should be alert to interpreting and understanding the combination of written and verbal assessment, criticism and encouragement received.

The Faculty has agreed the following standard teaching arrangements for the second and third years of the degree. Colleges may, where appropriate, substitute a larger number of classes for a given number of tutorials.

British History General History Thesis Further Subject Special Subject Disciplines of History 7 tutorials 7 tutorials 5 hours 8 university classes and 6 tutorials 8 university classes and 6 tutorials 10 ninety-minute sessions of which 2 may be tutorials Two tutorial hours are available for revision in the Trinity term of the third year, normally one for British and one for General History.

Students should show initiative in using these tutorials as part of their overall plan for examination revision and should expect to do preparatory work for each such tutorial to refresh and develop the work done on these courses in the second year. While the variety of the tutorial is for students often one of the most fertile and memorable features of Oxford, it can happen that a student genuinely feels that the tutor's approach is incompatible with the student's own.

O de raiz. The source, the root. Sua mesa basilar divine geometry of western proportion. In: VAZ, Guilherme. CD O anjo sobre o verde liner notes, Todo o mundo musical to what is spiritual in music. Small rainbow mais, sobretudo em seu compacto agudo. Peque- sounds can be seen in all the forests of the world. O destrinchar de troncos classic. Its spirit achieves the sta- wniano no interior do som. Ipsa Sonant Arbusta me.

Encarte do CD O anjo sobre o verde, Each move- um material extremamente limitado, repetindo-o em ment proposes extremely limited material, repeating seguida de forma literal em ritornello. Ipsa Sonant Arbusta res cantam. Sinfonia da terra [CD].

Sinfonia da terra. Sinfonia do fogo. Revista Clave, 9: Revista Claves, In the liner notes, Vaz Window To Nowhere - Andre Chrys - Window To Nowhere (CD. A noite origi- nal [CD]. A noite original [CD]. Povos dos ares [CD]. O anjo sobre o verde [CD]. Rio de Janeiro e Pernambuco, La Virgen [CD].

Deuses desconhecidos [CD]. Nesses codes, there is nothing, only a completely unknown momentos ventos distantes soprados dos abismos language. Os pais dos martelos. These are the Poucos jamais os ouviram, e a maioria dos que winds with no master. The forefathers of hammers. About this encounter, the artist imediatamente. O vento sem mestre [CD]. It is called iritiraam in the tupi-guarani lan- deira. Guilherme Vaz utili- guage. Por poetry, but dense as silence and free as the wind.

These significado. A era do incomum na arte: conversas com Vaz. Guilherme Vaz. Revista Claves, The curve is social. Com as a derivation. Nothing less. CD O anjo sobre o verde, liner notes, He is an artist, curator and teacher. As an art- particulares e corporativas. Como artista, participa de projetos ist, participates in solo and collective projects in Brazil and individuais e coletivos no Brasil e exterior.

Desenvolve, desde Album). Why is this po- os seres vivos possuem linguagem e mesmo os sition important to art practiced by the current minerais a possuem. First and most important, O que isso significa para a arte? There are clear homem atual e anterior? Em primeiro lugar e mais art signs in all living beings, including in the importante, ela combate o antropocentrismo letal translucent.

Secondly, and no less important, it presente na cultura e na arte ocidental. Existem unites man with the universe magnifying him sinais claros de arte em todos os seres vivos. Em by the humiliation of his arrogance. Every day I ask myself where I came from. There Todos os dias eu me pergunto de onde eu vim. I guess this is Crystal individual numa sociedade padronizante —, do que clear in my music. My music is my fingerprint. My father ar- ainda assim podemos nos tornar seres universais.

My grandmother Meu pai chegou a cidade emcomo um pio- planted a red rose apple tree in her backyard on neiro, para trabalhar em um hospital. He actu- 3 VAZ, Guilherme. Rio de Janeiro, e Sergio Cohn. Rio de Janeiro: Nau — Cultura Pensa- Museu de Arte Moderna Moderna, Guilherme Vaz: Interviewed by Afonso Cohn. Rio de Janeiro, Luz and Sergio Cohn. Rio de Janeiro: Nau — Cultura Pensamento, number 2, p.

Interview nata e Saulo Laudares. Nesse contexto, a UnB era muito nova, uma He would draw and explain his drawings, their planta semeada por Darcy Ribeiro, com toda a van- shapes and curves. The city was the aula de arquitetura com o Oscar Niemeyer. I saw him many times Ele desenhava e explicava os desenhos, as formas around there, by the release time of the Deus e o e as curvas. Eu o vi diversas of contemporary art.

A possibilidade de big names. The paradoxes there were immense. A Bahia daquela region. It was a vavelmente, fui uma das primeiras pessoas, que os little bit offensive when they said that to me. Era um pouco gave him any credit In that basement he would ofensivo quando eles falavam isso para mim.

Federal da Bahia que eu encontrei Walter Smetak. There dava o menor valor. Rio de Ja- mento, number 2, p. Ali, eu sentia que just like Guarnieri and also create.

In Rio, there is a caica nos seus instrumentos inventados. Tudo mais foi adaptado central thought. Interview given to Franz Ma- Janeiro, Guilherme Vaz: Interviewed by Afonso gio Cohn. Rio de Luz and Sergio Cohn.

Rio de Janeiro: Nau — Cultura Janeiro, Pregnant empty abyss of the Brazilian Cen- a palavra, o gesto e o substantivo se coordenam tral Plateau. Physically the group of Brasilia was para criar atitudes que rapidamente desaparecem. Our intention was different, it trended arte conceitual. A arte conceitual tem um aspecto more toward human installations. I understand this charac- imperial. O Brasil sempre foi insubmisso ao mundo teristic as an Album) to this rationalist tyr- racional, sempre foi um pouco gauche, no melhor anny.

Rio de Janeiro: Banerj, Janeiro, Rio de Janeiro: Nau Sergio Cohn. O pessoal dos quadros e das telas de to any other place in the world. They had goose parede estava estarrecido porque a arte estava se bumps when they saw the first installations. The new gen- po ou no meio de uma cidade. At le momento foram enormes. Naquele momen- important issues are not monetized. A maio- and neo-liberal society?

Contemporary neoesquerdista? It was seminal. Foi seminal. Aconteceu em of the gallery. Time lhete no fundo da galeria. He agreed with the audience. Nobody under- os seus conservadorismos. Depois do vernissage, stood anything. Following this logic, if I uma semana, foi fechada na mesma noite. This respect for the obra de arte. A modernidade sempre tutes both the world and art.

Esse lado imperial e philosophies, all impossible in modern era. The artist was once part of mas pessoas disseram que todos podem ser ar- the society, today he is called for therapy. Brazilian artist is still very immature, que custa ser um artista.

Essa falta da segunda both the artist and the society. Understand- tanto o artista quanto a sociedade. This word This word came into fashion de do seu trabalho. Now, here is the thing— chamar de pesquisa, qual o significado dessa pala- an opening work does not scare only the public, vra? Tem de haver but it scare the guy who is creating it.

Rio de Janeiro: Elo, Rio de Ja- Entrevista concedida a Xico Chaves. Interview given to Xico Chaves. O ser hu- stance, wants to collect bottles of a certain soft mano tem uma fraqueza: buscar coisas que se re- drink, Always signed up in the same way. At the same time, after two or cordo com Marx. O colecionador, por exemplo, quer of course, it will become the residue of this de- colecionar garrafas de certo refrigerante, sempre ception.

Therefore; in order to a gallery has se- assinadas da mesma maneira. There is still no gallery which cido como uma pessoa que cumpre uma determi- ideation is higher than the capital. Assim, para uma galeria ter who loved what he did, who talked to the artists, seriedade ela precisa colocar a sua filosofia acima who was interested in Reading books in other das vendas, mas as galerias no Brasil pensam to- languages, etc.

In addition, they sold works for das abaixo das vendas. Many times the gallery owner himself zes, era uma figura que todo mundo desconfia- had no idea of what he was selling. Art system is in a pre-Engels and pre-Marx madames decadentes que compravam aquilo so- status, devastated by all the added value types. The revolutionary de classes. Os seres devem poder se dirigir dire- analysis of the art system is the basic point of a tamente aos produtores de arte, aos artistas, sem possible start to shut those who shut the power mais-valia.

O sistema da arte se encontra num ponto 13 VAZ, Guilherme. Rio de nata e Saulo Laudares. Na arte latina nem a work of art in quotes, is not something to have Reforma foi feita.

Nem John Knox. Quando uma pessoa faz um trabalho than Tropicalismo. It was nunca nos deixou aproximar. Rio de Ja- Cinema Brasileiro. En- Vaz. Interview given to Franz Ma- trevista concedida a Xico Chaves. En- 17 VAZ, Guilherme. Rio de Ja- Luz e Sergio Cohn. Rio de Janeiro: Nau — Cultura neiro, Isso foi uma lacu- was a country even more confused.

The visual arts are the pilot of hu- plo. Ainda human evolution were discussed in them. Imag- Dessa forma, quando a gente fala de arte sonora, ine what people would think of those composi- estamos no campo das artes visuais. Por isso John tions in a music school It is very important to 17 VAZ, Guilherme.

Guilherme Vaz: entrevista a Afonso Luz e Ser- ponder about the importance of visual arts, not gio Cohn. Rio de from the point of view of visuality, but from the Janeiro, This did te com Rauschenberg, Jasper Johns e muitos outros.

The reason why it happened rimental, no MAM; as duas vanguardas se encontra- is what we need to understand. Eu sphere the denied part is minimal. In this sense, to the mod- tintos. A era do incomum na arte: Arte: Conversas com Guilherme Vaz.

Pessoa, n. This algo. Agrada-me in sound art is its superiority to music. Sound art sonora. O arco deve permanecer aberto, a tual art was becoming formal wanted to introduce sintaxe limita. Eu quero fazer um artigo fill that gap. A sintaxe que a arte sono- eternal present, in a symbolic life. Tinha de preencher essa lacuna. There is a tendency of ano em vez de galerias. People who tend to the east go to de um lugar para o outro, para eles os trabalhos Paris, Rome, etc.

People who are interested in trail- nado tempo e paisagem. O capitalismo transporta blazing America and the indigenous world tend qualquer trabalho para qualquer lugar do mundo, to the west. These two axes are complementary, porque transforma a arte em produto. Existe uma many people thinking like that. Contra o som- penada. I wonder if he is not metros do fim do mundo. Within this ge- na arte. Ape- ian, it has no influence from nowhere. So why sar do meu trabalho passar longe do construtivis- bringing that Russian Constructivism?

Nessa that they have amazing geometries. I do not write geometria existe uma filosofia, um pensamento de in tune with the Brazilian constructivism, which mundo. Uma das ques- reduces the world to three or four formulas. A era do incomum na Arte: Conversas com Guilherme Vaz. Revista Claves,Pessoa, n. Para que trazer than a curve? Oscar Niemeyer was good at it, what he has tonia com o construtivismo brasileiro, que reduz that interests me is not Constructivism, but curve.

It was present in attitudes that were curva? O sociology, anthropology, and indigenous influ- Oscar Niemeyer foi bom nisso, o que me interessa ences. Fabricaram os violinos paleo- we were. Os bielor- tablelands until the Great Ocean of the east. Os perfumes do nada e o grande abismo infini- 25 VAZ, Guilherme. Os Perfumes do Nada e o Grande Abis- to. Aqueles, do Leste, avan- paper. Elas falam de coisas diretas e reais. O Homem Correndo na Savana.

O homem correndo na Savana. Moderna, Eu sou real- lying about the world we live. Music to O meu trabalho, mesmo sendo para os olhos, para me is an attitude towards the world. En- 30 VAZ, Guilherme. Eles gos- ject. A gente nunca sabe por que lado about gossip articles. What is a gift? So were the nar- com quem lhe deu. Por isso chamo o cinema de rated movies that allowed the work. A cortesia da liber- who lives in me erupted with such assurance.

Portanto, foi my songs in the movies. Nelson Pereira invited me o cinema narrado que me possibilitou a obra. Nun- to compose the soundtrack of Hunger for Love, ca senti tanta liberdade e nunca o autor que vive a movie with experimental language.

Rio de Janeiro: Museu de Arte Moderna, Programa Minuto de Cultura. Contra o som-alma alma penada. Are you going to make concrete linguagem experimental. With cement? O local estava acos- full of velvet curtains, all we needed was a lady to tumado a sonorizar as chanchadas. Com cimento? We have been talk- men, de Bizet. A all images. How- experimental. O cinema minute details.

I would say that the im- 35 VAZ, Guilherme. Ainda estamos em bring the subject is the liberation of art. Todos os livros, tudo aquilo que a gente menting something. Rio de nata and Saulo Laudares.

Rio de Ja- vairada: as vanguardas e a MPB. En- neiro: Elo, Foi bolsista da Esco- and Se contemporary art. As an artist, particulares e corporativas. Como artista, participa de projetos participates in solo projects and collectives in Brazil and solo e coletivos no Brasil e exterior.

Desenvolve, desdeabroad. Without confessing por. A Stuttering as a barbarian? At that me Vaz. Song of depths that he expe- Canto de abismos que ele experimentou no limite: rienced to the limit: between pleasure and the entre o gozo e a recusa em ceder por completo refusal to give in totally to its enchantment. The a seu encantamento.

Rio de Janeiro: Jorge Denis L. Rio de Janeiro: Jorge Zahar, Zahar, The author stresses that the cleavage p. O livro por vir. A song with no differences, ground zero of zero dos relatos, das palavras e dos sentidos. O reports, words and senses. Os artists. The combination between the sounds of tervalos musicais. Kandinsky se correspondiam. The nearby lira determina seus tons.

The meeting be- ao desejo. Vaz percebeu logo cedo que era as such. I said, how about 'Clefs of Lavender Hill? We were close to the toll booth, and on one sign it said 'Stop - Get a Ticket. Steve Palmer recorded the group doing the song [in April, ], released it on his Thames Record label, promoted it himself, and it got real big in Florida. The Columbia rep in Atlanta heard the record and signed us. Coventry had mixed memories of the time. We slept very little, we were always busy. While we were flying from place to place, we would take our guitars out and play on the plane.

It was really hectic, there was a lot to do in a very short time, but it was quite something. The records stopped selling and the group wasn't making money on tour at all, because whatever we made went for all the hotel bills and plane fares and everything else.

When there are money problems, everything else gets magnified. Finally, the group disbanded in early I had got married earlier in the day. My bride and I really had an exciting honeymoon night: cheeseburgers and 24 hours in the studio. We were young and didn't know any better.

John Simon was the producer and we used all excellent studio musicians who really knew what they were doing. It was a real polished sound, but it wasn't real gutsy.

That 45 kind of bombed, and that was it. After signing, the group went to New York and recorded tracks for an album that was to have come out. The album was actually cut to lacquer on several occasions, but they couldn't cut the track "Stop! You could see on the contract cards where they had attempted to cut the lacquer, probably went through at least three to five tries, but by that time, it was over for the record and the group, and they canceled the LP in January, In June,when "Stop!

By the fall ofEddie Matthews was the day-to-day manager for Date Records, and he moved up to be Manager of Independent Productions in September, The Distant Cousins, who had previously had the honor of the first single on the label, came back in July,with "She Ain't Lovin' You" [Date ], which edged up to in August. It was their only chart record, but they wrote a song some months later that Bob Crewe gave to the Four Seasons, "C'mon Marianne" [Philips ].

That one made 9. The group, from East L. That failed, so they reissued "Land of Dances," curiously retitled to spell out the number "Land of a Thousand Dances" as Date That made it to in September.

Like the Clefs of Lavender Hill, the Arbors were made up of two sets of siblings. Their first single, "A Symphony for Susan" [Date ], jumped on the charts in October,reaching 51 on the Hotbut 18 on the Easy Listening charts.

This was to be the pattern for their records, to score high on the easy listening now Adult Contemporary charts, as the group sound harmonic pop? Date also released three albums by the group. They issued two albums and cancelled a third. Other artists with non-charting singles during included Layng Martine, Jr. Country singer Van Trevor had two country charting singles, as did Johnny Dollar.

Near the end of the year, Date issued albums for both, containing the hit songs, and both albums made the country LP charts. Purdie eventually moved on to run Aretha Franklin's road band.

Allegro - Georg Philipp Telemann - Daniel Rothert, Elke Martha Umbach, Cologne Chamber Orchestra*, H, Kid Loco - My Daddy Waza (Vinyl), No Ghosts In Our Closet - Lobo (3) - Am I Going Crazy (CD, Album), Legião Urbana - Dois (CD, Album), Stars All Seem To Weep - Beth Orton - Central Reservation (Vinyl, LP, Album), Agua (El Kuco Loco Remix) - Saint John - Agua (The Remixes) (Vinyl), Šerif Konjević - Nek Mi Oproste (CD, Album), Babsi Ist Tot - Various - Gothic Club Classics Volume 2 (CD), Heart Of Glass - Karina Sędkowska - Unosisz Mnie (CD, Album), Who Asked You - Status Quo - Top 100 (CD)

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8 Responses to Window To Nowhere - Andre Chrys - Window To Nowhere (CD, Album)

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