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democratic transition in Spain thought would answer the transition (through some milestones on paper) lara


Joseph-Benoit

Suvee

always gets a verdict

correspondence. The word connotes the result that leads to a definition elsewhere, sometimes unknown. No talk of correlation, which has more to do with the issue of cause and effect. The correspondence

may require contradictions, parallels, reinterpretations, searching hidden and a non-stop maneuvers to define ontological being. Life has its counterpart in the death, but the ways that we could reach this result provides endless outlets. This is written as a coda, because it to prevail as the main text is not written yet. May never be written. Do not write. The coda continues the theme of the shadow, conceptual gimmick that has served both psychology and art to trace the correlation who crowd to the motivations, actions and human desires. A concept that explains the turmoil of modernity and its drift. Prior to this period was the optical
, even though their evolutionary heritage could be aimed at creating an atmosphere, that is, the attempt to objectify a psychological state. There are precedents in the Renaissance and Baroque. Rembrandt takes possession of that effect and will it one of the painters who prepare for a more oblique and the principles of modernity. But until then no longer a projection, the mouth

still occurs in the interplay of light and an object that interferes.

Joseph Wright

In the eighteenth century a shift occurs: the shadow goes beyond the state to build projection maps. The paradigmatic case of the Invention

art of drawing, painting by Joseph-Benoit Suvee in 1791, or variation on that theme created by Joseph Wright of Derby between 1782 and 1784 under the title of
The Corinthian Maid

, Challenged the law. A woman, with the imminent departure of his lover on the battlefield, he paints his shadow to stop him. The pictorial motif could focus on retention, but the correspondence related to the shadow takes shape in the anguish caused by the absence of the desired subject.

Impressionism shadow covers the site, but the grass is agitated strokes years later with the advent of the avant-garde. To make the leap, we could say that what occurs is the subjective perception shift (outside the scope of realism) to the radical subjectivity. The avant-garde camp. German expressionism plays with the form giving it a value beyond the aesthetic and merge doing theater and psychology in a cultural apparatus that does not happen again unless we think of movies well into the twentieth century as

Night of the Hunter (Charles Laughton, 1955) and
Eraserhead (David Lynch , 1976).

Nosferatu (FW Murnau, 1922) or The Cabinet of Dr. Caligari (Robert Wiener, 1920), milestones of expressionism, are based on the deformity to describe the correspondence of the shadow like a bad socio-schizoid product of an era doomed to failure. At this point it should target the critical and sociological constraints because both films give the shade an archetypal screen (located in the unconscious collective) that anticipates the theory of the shadow of Carl Gustav Jung, which designates the unconscious aspect of personality traits and attitudes characterized by the conscious ego can not take. An earlier precedent in the literature we find, at the precise moment in which Robert Louis Stevenson publishes The Strange Case of Dr. Jekyll and Mr. Hyde (1886) Nosferatu / Dr. Caligari / Paul Delvaux / Christian Schad Christian Schad

incident on the scale
a disturbing picture of 1928: Portrait of Dr. Haustein

works precisely to the paradigm shift initiated by the shadow expressionism. Correspondence is in the place of hidden personality. In a sense, the sitter is a transposition of all of us. We looked straight ahead to make us understand that each carries its own darkness. But who will be congenial to surrealism art discourse of the unconscious, and this is the side where the shadow begins to take on new meanings. Max Ernst, Dali and Paul Delvaux prints the reason for the shadow transgressive capacity by placing surface oneiric and repressed by the subconscious. The latter, driven by the influx surreal and metaphysical de Chirico art, enters crowded stands for the dream: the shadow battle with the enigmatic figures creating a relationship. Your correspondence proliferates in the interpretation of the picture. art shows the compound. The shadow slips by other paintings. We must assume then that the coda continues until the pop-art and other post-avant-garde movements. Also assume that a line would have to guess the ontological and psychological function of the shadow, so that in implementing some key staff to meet our challenges, complex and inner fears. The shadow is not a threat. What threat to humans is the ignorance of himself.

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Lara Designs Costafreda photographed by Eudes de Santana Irritating. Irritating fashion. Irritating fashion with fiction. Irritating fashion with fiction, in real life, would have a runway exit. Irritation, as a sociological concept is discredited. When you think fashion is often obviate the reflection concerned with the limits of wearable . it impracticable
, like its opposite, is a social construction that has been encrypted by the system of fashion and economy. In a sense, this system adheres to conservative pattern, while the avant-garde events, fashion, would be confined to the way it becomes a spectacle or find their correspondence in the environment subcultural trends, which operate in urban and street location to the extent that conceptually indoctrinate the voracity of the emergent minority or fashionista
figure. Moreover, in a spectacle of dress on stage at an exclusive event. David Dolphin is an example of the spectacle of fashion by way of the controversy, but violates his own ideal in the collection at the store. That is the paradox imposed by the fashion system: the vanguard is indispensable and skippered
then, unconsciously, be relegated to the same institutional and economic forces that have created. Irritating


a fashion that would bring the avenues leading to the street, which could be met only in part, to the emergence of Lady Gaga in the world of social life. Partly because the singer, in an act of creative marketing-mix and comprehensive, moves props and accessories to be photographed for a moment beyond the music scene, but disappointed in his figure and respond to signs of an avatar voluble digital, liquid as amending in each appearance. His presence is always stellar, or, to put it another way, in his appearances in the street has been deleted. There is only a gateway for life. There is only one sentence that would bridge it replaces, Within a few months, the subcultural and underground corridor which had moved
singer before the Olympus
Ascesión star system

trendy.

Lara Designs
Costafreda photographed by Eudes de Santana
productive forces have lost the lead, usually, their courage to face the global conquest of public space, which could be attributed to the conservatism of bystander reaction medium and reflected the very method by which the institutional system of fashion markets its products. That does not mean that there edge, but just spread street mechanical performance is obtained in another parallel production system: trends as an alternative system out-of-itself , distanced from the obvious. The normal rules the social system. The fashion industry (catwalks, designers, brands, manufacturers) is governed, at the end of the process, the state of normalcy even come to the forefront to legitimize the un aura of conservatism that spreads itself in windows.

The art exists as a piece of art, but lost the wheel that may teach for social turmoil and cultural criticism from the same pavements. In the estates of the vanguard art reacts is brave beyond limits. Lara Costafreda evident in his designs, advanced degree, cutting-edge re signs used by some designers of the years 60 (Cardin, Courreges) to the ambivalence of rave-pop of the time and retro-futuristic fantasy. It does not matter much what as practicable so that the design is discussed in the fashion system. Thus I could compare with Rudi Gernreich Costafreda Lara, not for their aesthetic similarities but because both are operating from a cultural cleavage: Fashion is not carried, we think. Introduce the concept of metamod to refer to the reflection caused from the industrial structure itself, cultural, sociological and economic fashion, a reflection that debate to other conceptual strategies, away from the excuse business. Costafreda faces this dilemma in a mímima but adequate. Does not boast of his thought, but come. Part of his work (not all) attempts to interfere in the conceptual road map to ensure that the suit is a system of thought. The Vanguard is impossible there as a practice but when it comes to the window becomes something else,

industry, clothing, utensils, goods, Simble status,
requirement.


Enlightenment Costafreda Lara designs photographed by Eudes de Santana

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Costafreda shadow and other digressions about fashion or farci

Farci
Maurizio (from Alicante) has managed to travel to the moon and brought them all kinds of songs. His radio program
Full Moon, released in podcast format to support Artegalia Radio, digital terrirorios moves and the creative world of Creative Commons licenses and Copyflet, which is already a declaration of intent: music there is more than big industry and MNCs. But Full Moon beyond any frontier: the speech of Maurizio Farci leads directly musical proposals always suggestive, distinct, focused on creating a podcast universe. Interviews, songs, comments and recollections, where the audience is music information but also the strength of a sentence at the right time. So programs can be heard as a work that begins and ends in each podcast. Maurizio Farci still counts in this interview with So Carnaby Street was founded not forget that travel to the moon also visit other cultural plains. Farci Mauzio on Facebook For those not familiar with "Full Moon", your radio show, a sentence to define ...

A window to the vast musical world that lives in the basement.

How did
Full Moon? Behind the format you propose is a clear statement about what they want to convey. born from the desire to do something useful, something you enjoy. Listen to the radio all day, and music is one of my passions. Since I am not a musician what better way to stay in the music to create a musical radio program. The choices when buying dedicated to music on Creative Commons or similar licenses is because I think and I found that moving a world rich in the shade with a great creative value. I would also like to think that program can help these artists, and distinct alternatively protect their works, leaving q freedoms they choose for their listeners.
That makes me think your program will also describe all cultural and musical movement that has expanded through the online medium. Since the development of Social Media to the proliferation of Creative Commons licensed music.
Social media, music, photos, books protected with licenses that allow free download, legally, and sometimes for free, or modify the work without needing the permission of the copyright for it is already included in the license that protects it, are the result of those who wish to share and evolve toward a direction for the future. This does not mean it's always free or you do not have to get return to work. If it is a fastest way to spread and be posted: effectively.

How to integrate the program into the social networking phenomenon and the social web? Do you use them?
The program is naturally in these networks (although all or nearly all are regulated under the command of copyrigth). When all is said and done, what I want is as many people as possible hear the music program and share in turn. That is one of the objectives of the licenses being taken by artists who I program. And let's say these platforms are the media which use with free radio programming.

Your music selection is varied. However, have a preference? Undoubtedly, the dirty garage rock and lo-fi. It is a style and attitude that has always fascinated me. The instrumental surf is also very present in the music selection
Full Moon. What are your criteria for choosing the tracks of the program?

"Criteria? Removing what I mentioned in the previous question, all music has a place in this program, with preference for musicians and flu Alicante and surroundings and all the formations that send me their music and everything that I am wandering on the network. The only requirement is that music is free.


full moon is made of Alicante. How important do you give the music scene from Alicante to the time of preparing the program?
is one of the pillars. It is very important to promote training in the area, which are many and very good. Plural enliven the program when they come to display their works.

And yet it is not local. Going far beyond, provides a fairly broad, global. Internet has become an inexhaustible source: groups, styles, musical subcultures ... Not easy to get lost so much on offer?
Yes, there is a lot. The world is enormous. In countries like France, northern Europe and Canada these licenses are more common and work much more with them. I try to put a bit of everything in each program, I try not to focus only on one style or country, to convey to the listener that this phenomenon will soon become a real alternative. From your perspective What are the problems faced by groups benefiting from Creative Commons license?
Well! any problems, just freedom. The limitations of these licenses come when the band or solo artist began to sell, to get on TV, when they sign with a record company. There is a turning step in which the artist has to choose whether to be a musician accounting or the competent institution will take your rights, of course there's a whole debate on these licenses and monopoly. It's complicated. In order

Do it yourself.