The Light of Dreams - Line Holtegaard , 2026.
Danish , b, 1980 -
Oil on canvas , 50 x 70 cm.
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The Light of Dreams - Line Holtegaard , 2026.
Danish , b, 1980 -
Oil on canvas , 50 x 70 cm.

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many such foolish cases :)
friendly reminder
Harold M. Lambert
Three Deers Laying Down In Snowy Forest In Winter, 1940

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vanilla cake with lemon marscapone frosting and fresh strawberries // a spring spell đžđâ€ïžđđ±đđŒđ«đ»
Silvan Tomkins, Shame and its sisters, ed. Eve Kosofksy Sedgwick (1995)
Lotus Dawn by Fedor Lashkov
core principles

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Throughout Tristan, from beginning to end, acoustic effects replace the symbolic (i.e., written) structure of drama and music. This happens first of all to the voices and second to the instruments, because once again breathing becomes their common root. In a letter to Mathilde Wesendonk, his own Isolde, Wagner explained how the Tristan Preludeâs dynamics were simply laid out in the composition and thus materialized âthe Buddhist theory of the origin of the world.â In the very beginning, before the first sound, there was endless silence or ânirvanaâ or âheavenly clarity.â Then, âthe heavenly clarity darkensâ with the cello solo, which is explicitly labeled âa breath.â Finally, the Tristan chord appears and the whole orchestra sound âbegins to swell, becomes denser, and ultimately, the whole world in its impenetrable massiveness once again stands before me.â This is plain and simple; furthermore, as regards this massiveness, it is also a pure dynamic in the media-technical sense. From nirvana via an aboriginal breath up to the composed world, the orchestral Prelude to Tristan represents the first circuit of an acoustic feedback. The second circuit, this time a vocal one, opens with the curtain. A âyoung seamanâ sings, first of all, without the actor being visible, and second, a cappella, that is, without orchestra. He sings of the âwind that blows freshly homeward,â thus sending the ship and seaman farther and farther away from his âIrish child.â Which is why the seaman, in his next breath, inquires of his distant love: âAre those the breezes of your sighs that fill the sails for me?â Distantly reverberating sighs [âŠ] should thus themselves create the distance they then bemoan: the paradox of a respitory erotics. Thus wind and breathing, natural sounds and the human voice become indistinguishable, even in the seamanâs puns. For everything he says and sings simply exploits the nearly perfect homonym in the German words weh (meaning woe) and wehen (meaning to blow). His song ends with the dreamily sad verses: âWehe, wehe du Wind! Weh, ach wehe, mein Kind!â (Blow, blow, you wind; woe, oh woe, my childâ [Tristan, libretto, 3; trans. modified]). Human voices as winds, winds as human voicesââonly the linguistics of a Wagner or Siegfried in his disdain for meaning allow such equations that are, moreover, acoustic puns. Yet for music-drama they are essential: they alone can hook up voices and instruments, text and score.
Friedrich Kittler, "World-Breath: On Wagner's Media-Technology," in Opera Through Other Eyes, ed. David J. Levin (1994)
Happy Lunar New Year from LA Opera Young Artists Yuntong Han and Sujin Choi. In honor of today, we're sharing a beautiful rendition of Chine
Yuntong Han singing Han Gong Chun - Li Chun Ri
okay everyone needs to listen to this right now, obsessed with this guyâs voice
this is fucking killing me btw
[WSO Clemenza pic courtesy of Marcella Ruiz Cruz & LEADERSNET/ C. M. Stowasser]

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They are asking (respectfully) to see your coin collection (no intentions of taking to add to their horde)
My soul song rn