Rendering 16 Music

The history of rock music.

The headline of the article is "The History of Rock Music". The author of the article is Mihaela Schwartz. The article was published on the web site www.helium.com on May 04.2012. The article provides the information about the the foundations that laid by the rock and roll.

   In the beginning of the article the author states that people nowadays call rock is a musical genre that developed on the foundations laid by the rock and roll. The latter one has its roots in various styles of Afro-American music. When trying to trace the origins of rock music, we as back as the late 30s and to the big jazz bands of Count Basie and Jay Mc Shann. Their music, inspired by rhythm and blues, was afterwards popularized by black artists like Chuck Berry and Fats Domino, before being adopted by white singers such as Bill Haley and Elvis Presley.

   Mihaela also states in her article that the year 1954 featured by Bill Haley’s recording of “Around the Clock” (that remained number one in the U.S. for 8 weeks and went on to sell 20 million copies worldwide) is considered the official date when the rock music was born. The same year, Elvis Presley nicknamed The King issued one of earliest rock pieces – “That’s Alright Mama” – in which he introduced elements of country music. 

   The author in her article states that in the 60s, the rock music starts getting into Europe. The beginning of this decade is marked by several moves such as the first Rolling Stone’s concert in 1962 and the first hit of the notorious Beatles – Love Me Do. At the end of this decade, the sentimental words of rock songs give way to more committed texts, particularly under the influence of Bob Dylan - an artist whose work was influenced by the American folk.

  In conclusion the author gives us the information about this period that was also marked by major figures such as Jimi Hendrix, The Doors, The Who, Pink Floyd and Jefferson Airplane, all influenced by the hippie movement and by the emancipation events of the years 1968-1970 in the U.S. and Europe.

   In my opinion Mihaela is right to say that rock and roll music has some roots from the Afro-American culture. As for me I didn't know before this article about it.

Rendering 15 Music

Angelina Jolie's aunt Debbie Martin dies of breast cancer

The headline of the article is "Angelina Jolie's Aunt Debbie Martin Dies of Breast Cancer". The author of the article is Sam Jones The article was published on the web site www.guardian.com on May 27.2013. The article provides the information about Angelina Jolie's aunt has died of breast cancer less than two weeks afterthe Hollywood actor revealed that she had undergone a double mastectomy to avoid the disease that killed her mother at 56.

In the beginning of the article the author states Debbie Martin, 61, died in a hospital in Escondido, near San Diego, California, according to her husband, Ron. She was the younger sister of Jolie's mother, Marcheline Bertrand, whose death from ovarian cancer in 2007 prompted the actor to have the surgery she described in a New York Times article this month.

Then Sam reports that Jolie revealed that she had a defective gene, BRCA1, which significantly increased her risk of developing breast and ovarian cancer. "Once I knew that this was my reality, I decided to be proactive and to minimise the risk," she wrote.

Anyway the author states that Ron Martin said his wife also carried the gene but had not been not aware of it until she was diagnosed with cancer in 2004. "Had we known, we certainly would have done exactly what Angelina did," he told Associated Press. Also the author states that Ron added that after developing breast cancer, his wife had her ovaries removed to minimise her chances of the disease returning.

The author adds that in the New York Times article, published on 14 May, Jolie explained how her mother's death had informed her decision to have surgery. "My mother fought cancer for almost a decade and died at 56," she wrote. "She held out long enough to meet the first of her grandchildren and to hold them in her arms. But my other children will never have the chance to know her and experience how loving and gracious she was."

In the very end of the article the author provides the information of Jolie's decision to share her experiences was widely praised. Wendy Watson, founder of the UK's National Hereditary Breast Cancer Helpline, said the article had helped to focus attention on the issue. "It is excellent, because it is the highest profile you can get for it," she said. "It raises the profile for other women to look to if they have a family history and would benefit from being screened more frequently, or having surgery or having a genetic test.

"She probably feels that undergoing the operation is common sense but it probably does take a certain amount of courage to face it."

In my opinion it is very sad because younger sister of Jolie's mother had defective gene but was not aware of it until cancer diagnosis in 2004.

Rendering 14 Music

Stormy Weather Can Set the Stage for Sounds Both Old and New

‘The Baroque Vanguard,’ at the Miller Theater

   The author of the article is Anthony Tommasini. It was published on April 30, 2013 on the page of the New York Times. The article provides the information about the Miller Theater at Columbia University has long been a hot spot for adventurous programming. But in promoting “The Baroque Vanguard,” the second of three concerts in the theater’s “Bach, Revisited” series, which took place on Saturday night, the presenters may have overstated its novelty.

   In the beginning of the article the author reports that the program was fresh and pleasurable. The lively harpsichordist Kristian Bezuidenhoutjoined Ensemble Signal, the dynamic New York-based contemporary-music group, under its conductor Brad Lubman. Just a week earlier on the same stage the ensemble had played a formidable program of works by the British composer Oliver Knussen, who was in attendance. Then Anthony states saturday’s concert opened and ended with wild pieces separated by 260 years, both inspired by stormy weather: “Chaos” by the French Baroque composer Jean-Féry Rebel was the first, and “Weather One” by the American composer Michael Gordon, written in 1997, the last. In between the ensemble played seldom-heard sinfonias by C. P. E. Bach and W. F. Bach and a well-known piece by their father, J. S. Bach: the Harpsichord Concerto in D minor.

   Futher the author emphasizes that mr. Bezuidenhout, as quoted in the program notes, promised that the combination of old and new works would make for “a very progressive and challenging” experience. But these days juxtaposing old and new music has become quite common.

  Then Anthony, the author of the article, states that still, “The Baroque Vanguard” was a good concert and it was inspiring to see the accomplished players of Ensemble Signal reveling in the 18th-century pieces. “Chaos,” from Rebel’s suite “Les Élémens,” depicts the emergence of the universe from turbulence. From the way it started you might have thought this was some crazy contemporary piece. Cosmic chaos is conveyed through gnashing tremolos and dissonant harmonies. As the music unfolds, the intensity subsides, but the overall flow remains radically formless, until strands of lines and inner voices slowly coalesce.

  In conclusion the author reports of Mr. Gordon’s “Weather One,” an engrossing 20-minute piece scored for six strings, opens with insistent riffs that repeat obsessively, though with strategic alternations and fractured bits. Chaotic weather is evoked through music that sputters, growls and tosses phrases into fits. In the context of this program the piece seemed linked in spirit to the era of extreme Baroque inventiveness.

  As for me I think that the Miller Theater at Columbia University is really an undoubtful spot for  programming. And I believe that more and more concerts will be played in this Theater. So if I had an opportunity to visit it, I wouldn't miss it.

Rendering 13 Music

Jessye Norman to Sing Ellington, Simone, Baker and More in Paris

The author of the article is PlaybillArts Staff. It was published on 01 Sep 2010, on the website www.playbill.com. This particular article provides us with the information about  Jessye Norman who a famous musician and performer who was going to give a concert in Paris.

In the beginning of the article the author gives the epigraph that states: "Acclaimed soprano Jessye Norman will make a rare appearance at Paris' historic music hall, the Olympia, November 19.". According to the text after her lyric career spanning forty years that took her to the great opera houses of the world, she returns to sing her songs of the Duke Ellington, Nina Simone, Josephine Baker, Ella Fitzgerald and others. 

Further the author states about the program: "My Baby Just Cares for Me, "J'ai deux amours," "Stormy Weather" and other jazz standards. So that 

The informer also states that the Olympia is hallowed ground for the world of song. There are mentioned some  musicians and producers such as Edith Piaf, Jacques Brel, Marlene Dietrich, Josephine Baker, Judy Garland and Charles Trenet. 

In conclusion the author tells that these famous people gave iconic concerts there, and many still available on recordings. Among other names treading those famed boards were Jimi Hendrix, Paul McCartney, Luciano Pavarotti, the Beatles, the Jackson Five, James Brown and even Lady Gaga. 

In my opinion the performance is ought to be seen by many people who managed to hear about at least some of these people. If you are interested in music you can't but visit Paris and see the performance. 

Rendering 12 Cinema

Alien, Yet Familiar
‘Man of Steel,’ Directed by Zack Snyder



The article is tittled "Alien, Yet Familiar". It was published on the web site www.nytimes.com on May 22, 2013 by Dave Itzkoff.

In the very beginning of the article the author states BURBANK, Calif. — In a dimly lighted editing suite here on the Warner Brothers lot, blinds drawn for maximum secrecy and walls decorated with signs and posters celebrating “Star Wars,” Indiana Jones and “Game of Thrones,” Zack Snyder was discussing his philosophy on the totemic character who arguably gave rise to every fantasy series of the last 75 years: Superman.

Then he reports For too long, said Mr. Snyder, the director of “Man of Steel,” a new Superman movie that Warner Brothers will release on June 14, modern-day interpretations of this DC Comics superhero had been apologizing for the outdatedness of his origins; they sought to conceal him in contemporary trappings instead of embracing an essential mythology that, he said, was as bulletproof as the character himself.

Later Dave writes: “When they try to dress him up,” Mr. Snyder said here a few weeks ago, “put him in jeans and a T-shirt or a leather jacket with an S on it, I go: ‘What? Guys, it’s O.K. It’s Superman. He’s the king daddy. You should all be bowing down to him.' ”

What his film tries to do, he said, is “respect the S.”

Though he agrees saying yes, “Man of Steel” is the latest effort to rejuvenate a decades-old pop-culture franchise and, in doing so, renew both the fortunes of Warner Brothers as it searches for new blockbusters and the career of Mr. Snyder after recent misfires. But it is being built on the back of a character who, for as often as writers and filmmakers have lately tried to reinvent him, has proved particularly unsusceptible to attempts to make him more relatable. Audiences seem to want him to be grounded, at the same time that they want to believe he can fly.

Then the author states “I used to imagine that I was Batman,” Mr. Goyer said, “but not Superman.”

His thinking changed when he looked at Superman in his earliest incarnation, written and illustrated by Jerry Siegel and Joe Shuster in the late 1930s. Here was a character whose fundamental mythology was still in flux — even his signature power of flight was not yet established, and he instead leapt great distances — and whose most transformative quality had seemingly never been seized upon.

In my opinion even Superman;s signature power of flight was not yet established, and he instead leapt great distances — and whose most transformative quality had seemingly never been seized upon. I believe this film is worth seeing espescially by those who are interested in Marvel's comics and films.

Rendering 11 Cinema

After Chaos, a Hero Rises to the Occasion

‘Iron Man 3,’ With Robert Downey Jr.

The author of the article is Manohla Dargis. It was published on May 2, 2013 on page of the New York Times. The article provides the information about Tony Stark a k a Iron Man a k a Robert Downey Jr. It states that right before the author saw “Iron Man 3,” a publicist implored the several hundred attendees — professionals and civilians jammed into a multiplex box and throbbing with excitement — not to reveal any crucial information about the movie to anyone else.

In the beginning of the article the author also reports that Robert Downey Jr. jokes and poses, wears his superhero suit and flirts with Pepper Potts (Gwyneth Paltrow). Also the article have the information about the makers of the film — including the director Shane Black, who wrote the script with Drew Pearce — could not, of course, have known that their carefully engineered entertainment would open so soon after the Boston attack.

Futher the author states that not that anyone wants to see that, especially with kids in the theater. (The movie is rated PG-13.) “Iron Man 3” is conspicuously meant to be escapist entertainment (a pathetic conceit given what it says movie people think about real life — or rather the real lives of their customers).

The next information is about the fact that “Iron Man 3” uses that iconography in the extreme, with a terrorist figurehead, the Mandarin (Ben Kingsley), made up to look like Osama bin Laden; a televised execution; Middle East locations; American soldiers; and a complexly choreographed scene of falling bodies. It all looks and sounds familiar, though this is strictly Marvel’s world with its own rules and reality.

In conclusion we can read that those are loud and generally less impressive than Mr. Pearce or especially Mr. Kingsley, who turn in the sort of engaged performances that Mr. Downey no longer gives in the franchise. The “Iron Man” films turned Mr. Downey into a huge star, but the role has gradually, maybe inexorably, swallowed him.

As for me I really enjoy the Marvel's comics and book about super heroes and believe that Iron Man is worth seeing on the screen. I will find time for watching it in the cinema so as to feel the whole entertaining atmosphere of the film.

Rendering 10 Cinema

Have you been watching ... Game of Thrones?

The headline of the article is "Have you been Watching...Game of Thrones?". The author of the article is Sarah Hughes The article was published on the web site www.guardian.com on Sunday 26.2013. The article provides the information about the Game of Thrones which first started two years ago, naysayers said it would never work.

In the beginning of the article the author asks this question: "Who would want to watch a fantasy drama featuring squabbling families, dark magic, dragons and something very nasty lurking beyond a wall? The answer, it turns out, is rather a lot of people."

Then she states ts ratings are rising week upon week – it's Sky Atlantic's biggest show, and averages over five million viewers in the US – while the number of people watching illegally has grown so high, with up to four million viewers downloading each episode, that the US Ambassador to Australia recently begged Australian viewers to "stop the game of clones".

In fact the author states yet, for all the intimacy, Game of Thrones never loses its epic sweep. Whether two combatants finding love on the edge of the world or a young warrior queen freeing an army of slaves and convincing them to fight for her, this series has been filled with cinematic moments to make you gasp and swoon.

Further Sarah reports that In the first two seasons, there was a slight sense that they were constrained by the subject matter, worried of alienating loyal book fans. This time, there's a freedom to their storytelling, and a sense that they're prepared to take risks.

Then the author states that collision between the fantastical and the emotionally real is the reason behind Game of Thrones' growing success. Yes, this is a world where anything can (and probably will) happen, but it's propelled forward by the accuracy of its feelings. We watch not simply to see dragons fly, wondrous as they are, but because we believe in these characters, their fights, their dreams, their loves, their loss. "If you think this has a happy ending, you've not been paying attention," remarked Theon's nameless torturer in episode six. He may well be right, but the great joy of Game of Thrones is the way it keeps us hoping against all hope.

In my opinion it is worth seeing by many people. All in all, who would want to watch a fantasy drama featuring squabbling families, dark magic, dragons and something very nasty lurking beyond a wall? Now you know the answer.

Rendering 9 Cinema

Neverwhere: box set review.
The headline of the article is "Neverwhere: box set review". The author of the article is Marc Burrows The article was published on the web site www.guardian.com on Thursday May 02.2013. The article provides the information about Richard Mayhew is a hangdog office nobody who comes across an injured girl in the street and finds himself drawn downwards into a place called London Below. In this murky underworld, a parallel city to the one above, we encounter a strange array of characters: the Earl of Earl's Court, ruling his fiefdom from a tube carriage; the Black Friars, guarding their secrets in their abbey; and the shepherds of Shepherd's Bush, who terrify everyone.

In the beginning of the article the author states that Part Alice in Wonderland, part Hitchhiker's Guide to the Galaxy, Neverwhere was created by Neil Gaiman and (wait for it) Lenny Henry. Gary Bakewell, who played Paul McCartney in Backbeat, is the Alice/Arthur Dent character and it's all appealingly bonkers: a world of talking rats, brutal assassins and an angel called Islington, who interact with the near-invisible beggars and buskers of the "real" city above.

Marc also notes that plotwise, the series, which aired on BBC2 in 1996, is your basic whodunnit: a hunt for, and an escape from, the villains who massacred the family of the injured girl, who goes by the name of The Lady Door (handily abbreviated to Door). In the course of six episodes, heroes become villains, principals are killed off then resurrected, as all the while Mayhew stares goggle-eyed at a succession of British character actors having an absolute ball.

The author believes Neverwhere has dated a little, not least because it was lit for film but shot on video, the budget running out before a planned "filmising" in post production. So the show occasionally has the feel of a weird EastEnders omnibus. But Neverwhere's ideas, fizzing energy and weird characters more than compensate, with Brian Eno's atonal score adding to the delightfully queasy vibe.

Marc Burrows later states that gaiman was raised on Doctor Who and mentored by Douglas Adamsand there are traces of both here, as the tone shifts from eccentric to scary often in the same scene. One of the darkest moments – in which a near-suicidal Mayhew must endure a mysterious, ritualistic "ordeal" – begins with the solemn and equally ritualistic offering of "the nice cup of tea". It isn't too hard to imagine Hitchhiker's Arthur Dent saying, as Mayhew does: "Is this the kind of ordeal like going to visit a rather elderly, ill-kempt and female relative is an ordeal? Or like a plunging your hand into scalding hot water to see how fast it takes off the skin sort of ordeal?"

In conclusion he states although hardly a big success at the time, Neverwhere was one of the most imaginative British TV dramas of the 1990s. The show has achieved a satisfying afterlife, however, via a bestselling novelisation, a comic book serial, and most recently a radio drama starring James McAvoy and Benedict Cumberbatch.

In my opinion that it was always intended for the small screen though – and that's still the best way to enjoy this creepy, funny and deeply odd gem.

Rendering 8 Theatre

Horrible Histories is back and it's as brilliant as ever.

The headline of the article is "Horrible Histories is Back and it's Brilliant as Ever". The author of the article is Sarah Dempster The article was published on the web site www.guardian.com on Sat 25.2013. The article provides the information about Horrible Histories (Monday, 4.30pm, CBBC) is back for a fifth series of rambunctious yore-times glee.
In the beginning of the article the author states any fears that familiarity might have diluted the anarchic wonderment are dispelled within seconds of Woden, Thunor and Frigg cartwheeling into a forest clearing, ducking the CGI thunderbolts and whooshy superhero graphics and bellowing "Weekdays".
Sarah also states "But it's all so unpleasant," blurt the yore-bores, their mortarboards engulfed in a cloud of equations and outrage-dust. "There's a lack of narrative context to this constant barrage of death, idiocy and rectum-related facts!
Then the authro states that dazzling writing and fastidious research ensures the past becomes a bottomless well of gasps, guffaws, sighs, hoots of disbelief and tuts of dismay.
The author reports that wants to stop pondering the boring stuff and celebrate the ongoing anarchic joy with a CGI cape-flap and a hey nonny nonny. As Rattus Rattus squeals, exasperated by the folly of yet another dunderskulled olden type: "I can't believe they did that!"
In my opinion that nothing is flat in the show, that 'makes history look bad' with this way of writing and pop pastiches.

Rendering 7 Theatre

Making a play: theatre needs risk-takers now more than ever.

The headline of the article is "Making a play: theatre needs risk-takers now more than ever". The author of the article is Lyn Gardner The article was published on the web site www.guardian.com on Monday 27 May 2013. The article provides the information about the last year's press conference at London's National theatre, which highlighted the challenges facing regional theatre, Gavin Machin fromSalisbury Playhouse rightly suggested that risk in the theatre means different things in different places.

In the beginning of the article the author states that ffter all, audiences in Salisbury may find new experimental work a bigger stretch than audiences at BAC in London or even West Yorkshire Playhouse in Leeds, which through itsTransform seasons is exploring how to bring 21st-century theatre into a regional rep.

Then she states managing risk is one of the trickiest challenges artistic directors face, particularly in times of funding cuts. ACE recently announced that it would have to pass on the cut of 1.09% that resulted from the budget to its NPOs. Maria Miller has made it clear she sees the arts as a commodity and that the arts must accept their share of cuts. The next spending review, which takes place in June, is likely to bring more misery. Further cuts would almost certainly bring the viability of some theatres and companies into doubt.

The author adds that as Bristol Old Vic's Tom Morris recently said in an interview, "If you've got less money, you have to manage your risks prudently and inevitably one of the risk areas is new writing." On this note, Fin Kennedy and Helen Campbell Pickford, who produced the In Battalions report which detailed how government cuts were affecting new writing, have just launched a new Delphi study, which asks the question: how can theatremakers, theatres and the Arts Council work together to help protect risk-taking on new work and new talent within their organisations without creating significant extra expense? There's more information here.

Then she reports northampton and other regional theatres are between a rock and a hard place. They can carry on taking risks and try and build an audience that way, or they can just try to give audiences what they think audiences want. The difficulty is that if producers always knew what audiences wanted they'd all be very rich – and they're not. Giving the audience what you think they want didn't work in the 1980s, and it's unlikely to work now. The danger is that we will see an increasing gap between what's happening in London and other metropolitan hotspots and what's happening in the rest of the country.

Anyway the author reports somewhere between theatremakers doing what they want, and theatres giving audiences what they think they want (which often turns out to be not what audiences want at all) lies the possibility of opening up a real dialogue, a level of engagement with audiences that puts them right at the heart of the process. That would embrace them not just as consumers of whatever the theatre decides to give them, but as equal participants.

In the very end of the article the author writes that this transformation of a building into an organic community would require unprecedented transparency on the part of theatres and a genuine transformation in the way they view audiences. At a time of limited resources, it may seem like a stretch too far – but those who saw the decline of regional theatre that followed the funding cuts of the 1980s and early 1990s will know that retreating to the past or burying your head in the sand will only lead to disaster.

In my opinion as funding cuts push theatres to the brink of financial viability, managing risk becomes paramount. Can we do it intelligently? I think we can.

Rendering 6 Theatre

How to use stage lighting to convey mood and atmosphere.

   The headline of the article is "How to use stage lightning to convey mood and atmosphere". The author of the article is Kali-Renee. It was published on the web site www.helium.com on Jan 17.2013. This particular article provides the information about the way of putting together a production one of the most important key elements. This is lighting. The author states that creating proper lighting for specific scenes, whether it is for theater production or music concerts, can make or break the production if not done properly.

   In the beginning of the article the author informs that With effective lighting you can create context, can convey an expressive story or provide a predetermined emotional response from your audience. Producers invest a lot of money into hiring very skilled and talented lighting companies because of the role that lighting plays. If used or displayed in the wrong manner, it can leave the audience confused if the mood that’s being set does not coincide with what is happening on stage. It can also leave them feeling disinterested or feeling as if the production is of poor quality. You want to pull out a certain desired emotion, pull your audience to parts of the stage that you want them to focus on and create an overall positive experience.

   The author states that There are many types of lighting that can give you the desired affect you seek. Parabolic Aluminum Reflector lamps and Ellipsoidal lamps are the two main lighting units used in stage production lighting. PARs have the ability to produce massive amounts of lighting with very few lights. They act something like flood lights and are able to be moved from place to place around the stage.

   In conclusion the author emphasizes that with the proper amount of research you can achieve whatever experience you want to create. Exploitation of the proper use of lighting can express meaning and established a desired atmosphere. You can put together a winning production with effective lighting even if the show itself is subpar. Evoking the desired emotions and setting the proper mood is easily attainable when you know what it takes to create it.

   In my opinion that effective lighting can create context and also it can emphasize an expressive story or even make people feel emotional response. So I absolutely agree with the author of this particular article. 

Rendering 5 Theatre

Full Casting Announced for U.K. Premiere of David Mamet'sRace at London's Hampstead Theatre.

The author of this particular article is Mark Shenton. It was published on 16 Apr 2013 on the website www.playbill.com. The article gives us the information about David Mamet's casting in U.K.

In the very beginning of the article the author informs us about opening of the casting on May 29 for a run through June 29. 

Further the author says about Terry Johnson who won the 2010 Tony Award for Best Direction of a Musical for the transfer of his London staging of La Cage aux Folles. 

The author also gives us some information about the performance: "Race". He says that in it a man is accused of rape. The accused is white, the accuser black. Two lawyers, one black and one white, must uncover and sift the facts of the case. He asks the question next: "Is the man guilty?" Also adding that Race premiered on Broadway in 2009 in the auhtor's own production. 

Next stages of information are the people who play in this particular permormance. They are Peters who plays Henry, Britton who plays Jack and Toussaint-White who plays Susan. 

In conclusion the author provides us with the information how to purchase the tickets, giving the telephone number, the box office number and the website for more details.

In my opinion David Mamet have managed to form a great crew for his performance. I'm sure that he is talented person who direct perfect plays. 

Rendering 4 Arts

An Artist Depicts His Demons


The title of the article is "An Artist Depicts His Demons". It was published on the web site www.nytimes.com. The author of the article is Edward Wong and it was published on May 26, 2013.

In the very beginning of the article the author states that their task was to reconstruct scenes from Mr. Ai’s illegal detention in 2011, when he was held for 81 days in a secret prison guarded by a paramilitary unit. What took shape this spring at an industrial space in the Chinese capital were six fiberglass dioramas that depict, at half-scale, his often banal daily existence as a captive of the vast government security apparatus.

Anyway he also states that The dioramas were quietly transported out of China — Mr. Ai declined to say exactly how — to Venice, where they will be publicly exhibited starting on Tuesday in a church being used as an art gallery by the Zuecca Project Space, in parallel with the 2013 Venice Biennale, though not officially part of it.

The author writes that Each diorama is enclosed in a 2 ½-ton iron box. There are sculptures of Mr. Ai sleeping, eating, showering, undergoing interrogation and sitting on the toilet, all under the watch of two young guards in green uniforms. Mr. Ai said the details were meticulously recreated from memory, down to his blue flip-flops and the white padding taped to the walls of the room.

in the very end of the article Edward can't but mention that Philip Tinari, director of the Ullens Center for Contemporary Art in Beijing, said in general, “Weiwei has been looking, in the years since his detention, for a way to use art to talk about social issues in a way that still codes and functions as art.” The metal rods from Sichuan, he said, are “a good example of his search for this middle road between overtly political and purely formal.”

In my opinion it is a good example of his search for the middle road between overtly political and formal. I believe this is a great way of producing art.

Rendering 3 Arts

Kanye West's New Slaves screening shut down by Houston police.

The headline of the article is "Kanye West's New Slaves screening shut down by Houston police". The author of the article is Sean Michaels The article was published on the web site www.guardian.com on Monday 27 May 2013. The article provides the information about the police in Houston, Texas put a quick stop to a local promotional campaign for Kanye West's new album, Yeezus. Officers threatened to arrest fans who had gathered outside the city's Rothko Chapel on Saturday night, hoping to watch a video for West's latest song, New Slaves, which was expected to be projected on to the chapel's wall.

In the beginning of the article the author states it was the second weekend in a row that West had organised screenings of New Slaves at sites around the world, projecting the new video on the walls of major landmarks. On Friday, Saturday and Sunday there were events in more than 20 cities, including Manchester and Glasgow.

Then he reports in Houston, the rapper had scheduled three Saturday screenings, and none of them happened. At the landmark Rothko Chapel, whose interior includes 14 paintings by Mark Rothko, dozens of "upbeat, respectful" fans were sent home by police, according to the Houston Chronicle. Officials "pulled several cars on to the grass, flashed lights and sirens and demanded everyone leave or be arrested for trespassing", it reported.

The author writes about Houston police that said the cancellations were due to issues of permits and public safety, some observers have wondered if the content of the song caused the authorities to intervene. As West rages against institutionalised racism in New Slaves, he has some special words for the prison-industrial complex, in which police play an important role. "TheDEA teamed up with the CCA," West raps. "They tryin' to lock niggas up/ They tryin' to make new slaves/ See that's that privately owned prisons/ Get your piece today."

In the very end of the article the author states that Yeezus, West's sixth album, will reportedly be released on 18 June. Described as "dark" and "very raw", the LP may include collaborations with Daft Punk, Skrillex, Frank Ocean, Tyler the Creator, James Blakeand Malik Yusef.

In my opinion this doesn't surprise me because projection of rapper's new music video on side of landmark building blocked by Texas police. I think it's fair.

Rendering 2 Arts

On Caravaggio's lust, talent and power.

The headline of the article is "On Caravaggio's lust, talent and power". The author of the article is Jonathan Jones. The article was published on the web site www.guardian.com on Monday 27 May 2013. The article provides the information about the difficulty to forget the first time I saw Caravaggio's painting Victorious Cupid. I turned a corner in a museum in Berlin and my heart froze. Plainly, it is painted from life. A youth has stood naked in Caravaggio's studio, wearing fake wings. The ragazzo grins cockily as he displays his flesh, in a light that somehow leads all eyes directly to, well, the penis of Cupid. It is overt sexuality, not romantic notion of love, that triumphs in this painting.

In the beginning of the article the author states that at his feet lie symbols of ambition and creativity: armour, musical instruments, mathematical tools, a crown. Cupid's insolent nakedness and provocative smile declare casually that everything, in the end, is less important than sex. It is a precociously modern point of view. Caravaggio means it to be disturbing. His picture proves what it preaches. However you react to it – with shock, revulsion, embarrassment, fascination or confusion – you are caught in its compelling grip.

Then he states that Caravaggio's masterpiece is more than 400 years old – he painted it in 1601 or 2. It amazed his contemporaries. They saw it as a personal confession: to them it proved Caravaggio guilty of the crime they called "sodomy", which in Caravaggio's case, outside of marriage, plainly meant homosexuality. The Christian society of his day was known to burn people alive for this.

Jonathan also reports that Caravaggio was born Michelangelo Merisi in 1571 near Milan. By the time he made a name for himself as a painter in Rome in the late 1590s, he was already known by the name of his home town, Caravaggio. He became the most celebrated – and controversial – artist in Rome, but in 1606 killed a man in a street fight and fled the eternal city. On the run in the south, he painted masterpieces in Malta, Sicily and Naples before dying of fever at Porto Ercole, Tuscany, in 1610.

Anyway the author believes that Caravaggio's sexuality is at the heart of his genius. His paintings are acts of defiance in an age when the wrong kind of love could get you executed. This fact has shaped perceptions of his art for centuries. He was virtually forgotten in the respectable Victorian age, when his florid young men were just too much for corseted psyches to take, then rediscovered in the 20th century.

The author tends to note that ultimately, sex was the sword that Caravaggio swung to get attention when, as a young penniless unknown arriving in Rome from the provinces in the 1590s, he painted pictures of young men who posed as – and probably were – prostitutes. Caravaggio revealed the secret life of the city of God in his paintings of young poor bodies for sale.

Then he states the painter's "boy, that laid with him" strikes a curious pose, with one of his bare legs raised to give the fullest view of his penis. This pose is based on a male nude painted by Michelangelo in the Sistine Chapel – which Michelangelo was accused of turning into a "brothel" with all his depictions of male members. The same boyfriend also appears nude in Caravaggio's painting St John the Baptist in the Capitoline Museum, Rome. Here he hugs a ram while sitting on luxurious red and white sheets. Golden light bathes the youth's legs while a fall of shadow leads the eye, once again, to his penis – another pose based on one of Michelangelo's nudes in the Sistine Chapel.

In the very end of the article the author writes that he needs to do that because his art is a sustained attempt to shock us into recognising, with a new freshness, the rough reality of life. By being so real, Caravaggio's art makes us see the world and one another with a new intensity. Grinning back at us, his boy posing as Cupid defies both law and death. Caravaggio grants his idol immortality, even as the youth tramples ambition, culture and knowledge. Sex is more real than all that stuff. It slithers like a snake through Caravaggio's art, sending a shiver under the skin that heightens our sense of being alive.

In my opinion that sex was the sword that Caravaggio swung to get attention. I believe It is very interesting way of producing of art.

Rendering 1 Arts

American beauty: Vanessa Winship's photos of still, small-town US life.

The headline of the article is "American beauty: Vanessa Winship's photos of still, small-town US life". The author of the article is Sean O'Hagan The article was published on the web site www.guardian.com on Monday 27 May 2013. The article provides the information when I first wrote about Vanessa Winship in 2011, she had just become the first woman to win the Henri Cartier-Bresson award since its inception in 1988. Her new book, She Dances on Jackson, is the end result of a number of road trips she made across the States, funded by the €30,000 grant from the Cartier-Bresson foundation. It is a thing of still beauty that gives a glimpse of another America, both quotidian and luminous.

In the beginning of the article the author states the first image sets the tone: an almost stationary river with concentric ripples at its centre, where a fish could just have broken the surface to catch a fly. Beyond the river lies a reeded bank, a row of dark trees and a sky as grey as the water. The stillness is palpable, yet you can almost hear the echo of a soft splash. Another image shows a flock of birds in flight around a leafless tree, as if they have been startled by the shutter click of her camera. Again, the silence of the image is somehow amplified by the suggestion of sound.

The he states Winship's photographs are all about suggestion. What emerges cumulatively is an America of the imagination: her own imagination, of course, plus the received traces of other photographers who traversed the continent before her: the inevitable Walker Evans and Robert Frank– she actually sought out a site in Montana that Frank photographed in The Americans – but also the more localised work of William Eggleston, as well as Alec Soth's Sleeping by the Mississippi.

The author reports in three consecutive road trips, Winship roamed the US, though she chose to caption none of the images. This works for me, though, because the profound sense of place would be lessened by specific information about locales. Instead, we are left with their melancholy visual poetry. You sense someone drifting over America letting her eye rest on whatever fascinates her, even if she may not know why until later. Winship spoke recently of how her father's death in December 2011 loomed over the project. The sad stillness that comes off these images may well be, in part, her own.

In the very end of the article the author believes that "Very early you come to the realisation that nothing will ever take you away from yourself," muses Frank Bascombe, the restless, grieving narrator of Richard Ford's great American novel The Sportswriter. "But in these literal and anonymous cities of the nation, your Milwaukees, your St Louises, your Seattles, your Detroits, even your New Jerseys, something hopeful and unexpected can take place …" In She Dances on Jackson, you can sense the desire for something unexpected to emerge from the stillness.

In my opinion the photos are rather fine and worth seeing inspite the fact the are black and white, I mean not color.

My Pleasure Reading

Year I Term I - Ernest Hemingway "The Nick Adams Stories"

Year I Term II - Ernest Hemingway "Green Hills of Africa"

Year II Term III - J. R. R. Tolkien "Leaf by Niggle"

Year II Term IV - Ernest Hemingway "The Old Man and the Sea"

Year III Term V - Ernest Hemingway "Farewell to arms"

Year III Term VI - Jack London "Martin Eden"