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Musico-Poetic Form in Satie's "Humoristic" Piano Suites (1913-14) Alan M
Document généré le 30 sept. 2021 08:51 Canadian University Music Review Revue de musique des universités canadiennes Musico-poetic Form in Satie's "Humoristic" Piano Suites (1913-14) Alan M. Gillmor Numéro 8, 1987 URI : https://id.erudit.org/iderudit/1014932ar DOI : https://doi.org/10.7202/1014932ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Gillmor, A. M. (1987). Musico-poetic Form in Satie's "Humoristic" Piano Suites (1913-14). Canadian University Music Review / Revue de musique des universités canadiennes, (8), 1–44. https://doi.org/10.7202/1014932ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1986 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ MUSICO-POETIC FORM IN SATIE'S "HUMORISTIC" PIANO SUITES (1913-14) Alan M. Gillmor Erik Satie has become an almost iconic figure in the jagged landscape of contemporary musical aesthetics. His anti-Romantic rejection of the sublime, his glorification of the homely and the commonplace, his highly refined sense of the absurd and the whimsical are the primary qualities that have endeared him to the more iconoclastic members of the critical fraternity. -
The Night Operation on the Passchendaele Ridge, 2Nd December 1917
Centre for First World War Studies A Moonlight Massacre: The Night Operation on the Passchendaele Ridge, 2nd December 1917 by Michael Stephen LoCicero Thesis submitted to The University of Birmingham for the Degree of DOCTOR OF PHILOSOPHY School of History and Cultures College of Arts & Law June 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract The Third Battle of Ypres was officially terminated by Field Marshal Sir Douglas Haig with the opening of the Battle of Cambrai on 20 November 1917. Nevertheless, a comparatively unknown set-piece attack – the only large-scale night operation carried out on the Flanders front during the campaign – was launched twelve days later on 2 December. This thesis, a necessary corrective to published campaign narratives of what has become popularly known as „Passchendaele‟, examines the course of events from the mid-November decision to sanction further offensive activity in the vicinity of Passchendaele village to the barren operational outcome that forced British GHQ to halt the attack within ten hours of Zero. A litany of unfortunate decisions and circumstances contributed to the profitless result. -
Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"
Against Expression?: Avant-garde Aesthetics in Satie’s Parade A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF MUSIC In the division of Composition, Musicology, and Theory of the College-Conservatory of Music 2020 By Carissa Pitkin Cox 1705 Manchester Street Richland, WA 99352 [email protected] B.A. Whitman College, 2005 M.M. The Boston Conservatory, 2007 Committee Chair: Dr. Jonathan Kregor, Ph.D. Abstract The 1918 ballet, Parade, and its music by Erik Satie is a fascinating, and historically significant example of the avant-garde, yet it has not received full attention in the field of musicology. This thesis will provide a study of Parade and the avant-garde, and specifically discuss the ways in which the avant-garde creates a dialectic between the expressiveness of the artwork and the listener’s emotional response. Because it explores the traditional boundaries of art, the avant-garde often resides outside the normal vein of aesthetic theoretical inquiry. However, expression theories can be effectively used to elucidate the aesthetics at play in Parade as well as the implications for expressability present in this avant-garde work. The expression theory of Jenefer Robinson allows for the distinction between expression and evocation (emotions evoked in the listener), and between the composer’s aesthetical goal and the listener’s reaction to an artwork. This has an ideal application in avant-garde works, because it is here that these two categories manifest themselves as so grossly disparate. -
Public Fisheries Regulations 2018
FISHINGIN ACCORDANCE WITH THE LAW Public Fisheries Regulations 2018 ATTENTION! Consult the website of the ‘Agentschap voor Natuur en Bos’ (Nature and Forest Agency) for the full legislation and recent information. www.natuurenbos.be/visserij When and how can you fish? Night fishing To protect fish stocks there are two types of measures: Night fishing: fishing from two hours after sunset until two hours before sunrise. A large • Periods in which you may not fish for certain fish species. fishing permit of € 45.86 is mandatory! • Ecologically valuable waters where fishing is prohibited in certain periods. Night fishing is prohibited in the ecologically valuable waters listed on p. 4-5! Night fishing is in principle permitted in the other waters not listed on p. 4-5. April Please note: The owner or water manager can restrict access to a stretch of water by imposing local access rules so that night fishing is not possible. In some waters you might January February March 1 > 15 16 > 30 May June July August September October November December also need an explicit permit from the owner to fish there. Fishing for trout x x √ √ √ √ √ √ √ √ x x x Fishing for pike and Special conditions for night fishing √ √ √ √ √ √ √ √ √ √ √ √ √ pikeperch Always put each fish you have caught immediately and carefully back into the water of origin. The use of keepnets or other storage gear is prohibited. Fishing for other √ √ √ √ √ √ √ √ √ √ √ √ √ species You may not keep any fish in your possession, not even if you caught that fish outside the night fishing period. Night fishing √ √ √ √ √ √ √ √ √ √ √ √ √ Bobber fishing √ √ √ √ √ √ √ √ √ √ √ √ √ Wading fishing x x √ √ x x √ √ √ √ √ √ x x x x Permitted x Prohibited √ Prohibited in the waters listed on p. -
MAGIS Brugge
Artl@s Bulletin Volume 7 Article 3 Issue 2 Cartographic Styles and Discourse 2018 MAGIS Brugge: Visualizing Marcus Gerards’ 16th- century Map through its 21st-century Digitization Elien Vernackt Musea Brugge and Kenniscentrum vzw, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the Digital Humanities Commons, and the Medieval History Commons Recommended Citation Vernackt, Elien. "MAGIS Brugge: Visualizing Marcus Gerards’ 16th-century Map through its 21st-century Digitization." Artl@s Bulletin 7, no. 2 (2018): Article 3. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Cartographic Styles and Discourse MAGIS Brugge: Visualizing Marcus Gerards’ 16th-century Map through its 21st-century Digitization Elien Vernackt * MAGIS Brugge Project Abstract Marcus Gerards delivered his town plan of Bruges in 1562 and managed to capture the imagination of viewers ever since. The 21st-century digitization project MAGIS Brugge, supported by the Flemish government, has helped to treat this map as a primary source worthy of examination itself, rather than as a decorative illustration for local history. A historical database was built on top of it, with the analytic method called ‘Digital Thematic Deconstruction.’ This enabled scholars to study formally overlooked details, like how it was that Gerards was able to balance the requirements of his patrons against his own needs as an artist and humanist Abstract Marcus Gerards slaagde erin om tot de verbeelding te blijven spreken sinds hij zijn plan van Brugge afwerkte in 1562. -
Things Seen on Right and Left Erik Satie
image A Derain Art & Heritage Collections Jack in the Box Projet de costume pour une danseuse, 1926 Cultural Musing Cabinet 8 31 Alfred Frueh Portrait of Erik Satie Rare Books & Special Collections in collaboration with the J M Coetzee Erik Satie, Socrates Postcard, Paris 1920 Centre for Creative Practice and Art & Heritage Collections present: and John Cage Printed on card, 14 x 9 cm In the years after the First World War, Satie’s Alfred (‘Al’) Frueh (1880 – 1968) was an style moved towards what was to become known American cartoonist and caricaturist. He studied Things seen on right and left as neo-classicism. Although his reputation was in Paris from 1909 to 1924, contributing regularly based on his humorous works, Satie’s later music to the New York World, and to New Yorker from Erik Satie in words, pictures and music sometimes has a more serious character. His neo- 1925 onwards. This portrait comes from the year classical masterpiece is the ‘symphonic drama’ that Socrate was premiered. Socrate (Socrates). Following his death in 1925, Exhibition 32 Erik Satie Marche de Cocagne. Satie’s music fell into neglect until the 1950s For three trumpets in C Level 1 & 3, Barr Smith Library when there was a revival of interest in his music Reproduction of Satie’s manuscript as in the United States, particularly due to advocacy frontispiece to Almanach de Cocagne, 9 June until 24 July 2011 of the composer John Cage. Editions de la Sirène, Paris 1920 29 Erik Satie Socrate, Symphonic Drama in 223 pages, original soft cover, 11 x 16.5 cm three parts for piano and voice, composed for the Almanach de Cocagne was an annual performances of Princess Edmond de Polignac. -
' Snel, Deskundig En Efficiënt'
West-Vlaamse Intercommunale PB BC 10472 V.U. Geert Sanders, Baron Ruzettelaan 35, 8310 Brugge Afgiftekantoor: Gent X • Erkenningsnummer P509470 Afzender: wvi, Baron Ruzettelaan 35, 8310 Brugge binnenin ruimtelijke bedrijfs- planning woonprojecten milieu & natuur projectregie 150 jaar kanaal Roeselare-Leie huisvesting & mobiliteit Logo en website voor Suikerfabriek Intergemeentelijk GIS-overleg Driemaandelijkse nieuwsbrief | 13de jaargang | oktober 2012 vooraf De regio Midden-West-Vlaanderen viert feest dit jaar: het kanaal Roeselare-Leie bestaat 150 jaar. De voor- bije anderhalve eeuw heeft het kanaal de economi- sche ontwikkeling van de regio forse impulsen gege- ven. Dat blijft het ook in de toekomst doen, onder meer dankzij de inspanningen van wvi om langsheen wvi-aankopers: ook voor de gemeenten het kanaal watergebonden en gemengde bedrijven- terreinen te realiseren. In deze wvi-info nemen we u mee voor een tochtje langs het kanaal, van Roeselare tot Wielsbeke. ‘ snel, deskundig Een blikvanger voor de komende jaren wordt het pro- ject Suikerfabriek in Veurne. Om de inwoners en sta- keholders te informeren en warm te maken, heeft wvi en efficiënt’ een communicatiestrategie ontwikkeld. Een logo en een website zetten die strategie kracht bij. ‘De wvi-aankopers werken zeer flexibel, snel, Gemeenten krijgen steeds meer GIS-taken opgelegd. deskundig en met oog voor lokale gevoelig heden’, Voor veel gemeenten is dat een hele uitdaging. Om Schepen Kurt Vanlerberghe en de GIS-verantwoordelijken de kans te geven elkaar te zegt Kurt Van lerberghe, eerste schepen in Diksmuide. Nathalie Vanraepenbusch. ontmoeten en kennis te delen, organiseert wvi voort- aan in de drie regio’s drie tot vier keer per jaar een Sinds een paar jaar stelt wvi twee gespecialiseerde Vooraf hadden we hem grondig gebrieft over het project, ‘Een andere troef van de wvi-aankopers: ze houden je intergemeentelijk GIS-overleg. -
Cura Thuisverpleging
CURA THUISVERPLEGING centraal nummer Onze zorg herken je met de ogen dicht. www.curando.be 8A, 8755 Ruiselede. Pensionaatstraat directeur, Algemeen Dirk Lips, uitgever: Verantwoordelijke 050 35 08 06 Je voelt ze. WIE ZIJN WIJ? Knokke Duinbergen Heist Knokke-Heist Zeebrugge Blankenberge Westkapelle Wij zijn een enthousiast team van competente Ramskapelle Uitkerke thuisverpleegkundigen die zich dagelijks inzetten LIssewege Hoeke Nieuwmunster Oostkerke Lapscheure Zuienkerke voor? warme kwaliteitsvolle totaalzorg. Dudzele Moerkerke Damme Meetkerke Koolkerke Houtave Sint-Pieters BRUGGE op de Dijk Bij iedere zorg(aan)vraag vertrekken wij vanuit de Stalhille Sint-Kruis Sijsele Sijsele Assebroek Varsenare Sint- noden en behoeften van de patiënt om zo een AndriesSint-Michiels Jabbeke Steenbrugge Oedelem Zerkegem Snellegem passend aanbod te kunnen realiseren. Moerbrugge Oostkamp Loppem Zedelgem Beernem Onze thuisverplegingsdienst werkt vanuit 5 Knesselare Sint-Joris Aartrijke woonzorgzones die behoren tot Curando O.L.V. Waardamme Veldegem Ruddervoorde Hertsberge Maria- van 7 Weeën Ruiselede vzw. Aalter Bellem Aalter Doomkerke Wingene Kruiskerke Lotenhulle Naast thuisverpleging biedt Curando, in het Poeke Zwevezele Ruiselede Schuiferskapelle kader van totaalzorg, volgende diensten aan: Egem Tielt Kanegem Meigem Vinkt woonzorgcentra, kortverblijf, herstelverblijf, Pittem Aarsele Zeveren Wontergem Deinze Marialoop Grammene dagverzorging, dienstencentra en Dentergem Gottem Petegem Meulebeke aan-de-Leie assistentiewoningen. Het aanbod per zone vind -
300 Ans De Frontière 300 Jaar Grens
PROGRAMME PROGRAMMA 2013-2014 300 ans de frontière tricentenaire du traité de paix d’Utrecht 300 jaar Grens driehonderdste verjaardag van de Vrede van Utrecht www.300ansdefrontiere.eu - www.300jaargrens.eu Saint-Jans-Cappel p. 2 <<< 300 jaar Grens, driehonderdste verjaardag van de Vrede van Utrecht 300 ans de frontière, tricentenaire du traité de paix d’Utrecht SOMMAIRE / OVERZICHT Edito / Voorwoord p. 4-5 300 ans de frontière, un projet transfrontalier ? / 300 jaar Grens, een zichtbaar project? p. 6 Le traité d’Utrecht / Verdrag van Utrecht p. 7 Objectifs / Doelstellingen p. 8 Programme / Programma p. 9 - p. 52 Ceci n’est pas une frontière, ceci n’est pas un livre p. 9 Rendez-vous p. 31 Mise en valeur des postes frontière / Film p. 32 Grensposten in de kijker p. 10 Les Cinés Soirées p. 33 Bornes artisiques / Artistieke grenspalen p. 11 Komen/Comines p. 34 NORD MAGNETIC Festival des Arts Vivants p. 12 Les conteurs du Westhoek / Westhoekvertellers p. 35 DUNKERQUE 2013 / DUNKERQUE 2013 p. 13 Musique / Muziek p. 36 Wervik/Wervicq-Sud : pique-nique transfrontalier / Parallel p. 37 Wervik/Wervicq-Sud: grensoverschrijdende picknick p. 14 Musique au Musée / Muziek in het Museum p. 38 Zuidwaarts/Musique sans frontière p. 15 Boutique Electrique p. 39 Promenades théâtrales à Abele / Sapi Festival p. 40 Theaterwandelingen Abele p. 16 Bain d’art / Kunstenbad p. 41 Musique populaire/Cafés populaires / Volksmuziek/Weekendvan de volkscafés p. 17 Danse sur la Frontière / Dans op de Grens p. 42 Nuit des Fraudeurs / Nacht van de fraudeurs p. 18 Tantôt sur la frontière p. 43 Carillons / Beiaard p. -
Het Kanaal Gent-Brugge-Oostende: Varen Tussen Aalter En Beernem
Leerkracht Het Kanaal Gent-Brugge-Oostende: 9 varen tussen Aalter en Beernem Het Kanaal Gent-Brugge-Oostende Blauwdruk van de waterloop Het Kanaal Gent-Brugge-Oostende is één van de oudste kanalen van Vlaanderen. Bij Gent staat het kanaal via de Ringvaart in verbinding met o.a. de Schelde, de Leie en het Kanaal Gent-Terneuzen. In Merendree kruist het kanaal het Afleidingskanaal van de Leie. In Oostende regelen zeesluizen de afwatering van het kanaal naar de Noordzee. Het bekken van de Brugse Polders Het bekken van de Brugse Polders is geen mooi afgebakend stroomgebied van een rivier, maar een geheel van kanalen, de typische polders en waterloopjes met hun afstroomgebied. De hydrografie is er in de loop der eeuwen helemaal aangepast. We kunnen dan ook stellen dat de menselijke invloed er het waterlopenstelsel bepaald heeft. Het Kanaal Gent-Brugge-Oostende, het Schipdonkkanaal of het Afleidingskanaal van de Leie, het Leopoldkanaal en het Boudewijnkanaal vormen de slagaders van het bekken. Het Kanaal Gent-Brugge-Oostende ontsluit de havens van Zeebrugge en Oostende en speelt een belangrijke rol in de waterafvoer van het bekken van de Brugse Polders maar ook van het Leiebekken. 9-1 Op Sleeptouw 2018 | THEMA 9 - Varen tussen Aalter en Beernem Bij Gent staat het kanaal via de Ringvaart in verbinding met onder meer de Schelde en het Kanaal Gent- Terneuzen dat uitmondt in de Westerschelde. Het waterpeilbeheer in de polders is een complexe zaak. Dit vlakke gebied ligt bij vloed doorgaans onder het zeewaterpeil en het water stroomt er dan ook maar traag af. Het waterpeil wordt er kunstmatig ingesteld via een netwerk van stuwen, sluizen en pompen. -
Rally Guide 1
RALLY GUIDE 1 INDEX 1. WELCOME AND INTRODUCTION .............................................................................................................. 3 1.1. Environmental Sustainability ................................................................................................................... 5 1.2. COVID-19 Requirements ......................................................................................................................... 6 2. CONTACT DETAILS ....................................................................................................................................... 7 2.1. Permanent Contact Details ..................................................................................................................... 7 2.2. Key Officials ............................................................................................................................................... 7 2.3. Rally HQ Contact Details ......................................................................................................................... 7 2.4. Media Contact Details ............................................................................................................................. 7 3. PROGRAMME AND CRITICAL DEADLINES ............................................................................................... 8 3.1. Schedule before the Rally Week ............................................................................................................ 8 3.2. Schedule during the Rally Week -
Reducing the Term of Copyright in Unpublished Works (“2039” Rule)
December 2014 Consultation on reducing the duration of copyright in unpublished (“2039”) works in accordance with section 170(2) of the Copyright, Designs and Patents Act 1988 About UK Music 1. UK Music is the umbrella body representing the collective interests of the UK’s commercial music industry, from songwriters and composers to artists and musicians, studio producers, music managers, music publishers, major and independent record labels, music licensing companies and the live music sector. 2. UK Music exists to represent the UK’s commercial music sector, to drive economic growth and promote the benefits of music to British society. The members of UK Music are listed in annex 1. General 3. We see no justification to change the 2039 Rule to the extent that it impacts music, whether it is for sound recordings or musicial works. The rule constitutes a compromise achieved in 1988 in order to bring the calculation of term for unpublished works in line with the one for published works in 2039. We note that Government has not provided any evidence in the Impact Assessment which would justify their preferred Option 2a with regards to sound recordings and is otherwise very limited for other forms of works. 4. There are some important general points about the Impact Assessment that we would wish to note: a) On page 1 it is stated that the works cannot be lawfully published if copyright owners cannot be identified. The Government has recently introduced an orphan works licensing scheme to permit lawful publication of such works. In addition the Impact Assessment does not consider whether works subject to the 2039 Rule could be cleared via an extended collective licence.