So I’m watching another Needle Drops review for some reason even though I hate every single one of them, and Anthony Fantano is talking about why Black Moth Super Rainbow’s Cobra Juicy sucks and he mentions that some of the guitars sound super twangy like from a Beck album, like in a negative way,…
Somos un laboratorio de experimentación audiovisual donde promovemos la búsqueda de lenguajes artísticos innovadores y reflexivos. Un espacio de creación, donde la convivencia de artistas consagrados y emergentes dan lugar a nuevas formas de producción, expansión y difusión del arte contemporáneo latinoamericano, a través de la investigación y la producción de obra.
Queremos consolidarnos como laboratorio de experimentación audiovisual. Explorar en la utilización de herramientas que permitan expresar la complejidad y diversidad del mundo contemporáneo, en especial de las sociedades latinoamericanas. Apoyar a los artistas en pos del crecimiento de proyectos individuales y colectivos que trasciendan los límites de las tendencias actuales del arte.
Promover la innovación, el movimiento, y la provocación creativa e intelectual en cada una de nuestras actividades de formación y promoción.
I’ve been talking about this habit a lot recently and I thought it deserved its own blog post. It’s a really simple thing you can do to change how your brain scans the past. Rather than scan for negative, you’ll start scanning for the positive things, the little victories that you had throughout…
One of the interesting ideas I came across on improving life is taking a 30 day challenge for improving something. The idea is that this 30 days will give you enough idea if the thing you are trying to improve is pleasurable and workable for you in the long term.
We are all hyper connected- multiple laptops, smartphones and even tablets. We hardly let an hour go by without staring at a bright screen. It has changed the way our mind functions. Our mind now is more occupied with staying in touch. It is more about reacting to things and that is why we are not…
You set a goal - Losing some pounds. Finishing that long paper. Or finishing that video lecture. You set a deadline - “I am going to finish this paper in a week.” Yet somehow you don’t. You do it with much energy for a couple of days and then something comes up - that party, a “short” nap or that…
“The central fact of my life has been the existence of words and the possibility of weaving those words into poetry.” Jorge Luis Borges, This Craft of Verse
These are the six Norton Lectures that Jorge Luis Borges delivered at Harvard University in the fall of 1967 and spring of 1968.
Born in 1899, Borges was by this time almost completely blind (only a single color— yellow, “the color of the tiger” — remained for him), and thus addressed his audience without the aid of written notes. Probably the best-read citizen of the globe in his day, he draws on a wealth of examples from literature in modern and medieval English, Spanish, French, Italian, German, Greek, Latin, Arabic, Hebrew, and Chinese, speaking with characteristic eloquence on Plato, the Norse kenningar, Byron, Poe, Chesterton, Joyce, and Frost, as well as on translations of Homer, the Bible, and the Rubaiyat of Omar Khayyam. Though his avowed topic is poetry, Borges explores subjects ranging from prose forms (especially the novel), literary history, and translation theory, to philosophical aspects of literature in particular and communication in general. Throughout, Borges tells the very personal story of his lifelong love affair with the English language and its literature, ancient and modern. In each lecture, he gives us marvelous insights into his literary sensibility, tastes, preoccupations, and beliefs.
Whether discussing metaphor, epic poetry, the origins of verse, poetic meaning, or his own “poetic creed,” Borges gives a performance as entertaining as it is intellectually engaging. A lesson in the love of literature and language, this is a sustained personal encounter with a literary voice for whom the twentieth century will be long remembered.