![]() ![]() In her paintings of the same period Popova similarly demonstrated architectural aspirations. In this context Rodchenko decided to introduce the grid into his last series of paintings, and identify the line as ‘the new’ and, more importantly, ‘the last form of the non-objective art’. The latter were further delayed by the architects’ commitment to study and adopt the principles of modernist painting that had shifted theoretical debates, continued in the newly formed Institute of Artistic Culture (INKhUK), surrounding two-dimensional art. Post-Revolution economic hardship and political instability prevented Rodchenko and his Zhivskul’ptarkh colleagues from realising most of their architectural projects. While some drawings relied on planar compositions, expressed at the same time in his non-objective paintings, other proposed models of socialist urban spaces imitated the steel grids of skyscrapers. Rodchenko derived his painting grids from his radical and stylistically diverse architectural drawings made between 19 when briefly a member of the Zhivskul’ptarkh. Technically speaking, Malevich’s eidetic suprematism relied on the intersection of planes rather than lines (the main operative tool of the grid) and is less relevant to the genealogy of this emblematic modernist structure than Aleksandr Rodchenko’s and Liubov Popova’s constructivist paintings (figs.1 and 2) and their sculptural sequels called ‘spatial constructions’ (figs.3 and 4). Reading (and Curating) from Right to Left On the Politics of Art and Space in Beirut Two Exhibition-Related Films by Jef Cornelis Les Immatériaux Revisited: Innovation in Innovations.Les Immatériaux or How to Construct the History of Exhibitionsįrom Over- to Sub-Exposure: The Anamnesis of Les Immatériaux.‘Remembering Exhibitions’: From Point to Line to Web If the directory structure of your music library won’t change during your move, all you need to do is grab the whole directory (including ArtCache/ – that’ll save you some time rebuilding said cache) and move it to the same location on your new computer before launching Swinsian there for the first time.To Be Continued: Periodic Exhibitions ( dOCUMENTA, for Example) ![]() You should be able to find it within ~/Library/Application Support/Swinsian/, right next to a backup of your license key: As luck would have it, Swinsian, the native, fast, minimalist, but fully-featured music player I’ve been using for the last couple of years 2 stores all of its data in a basic SQLite database. Having recently taken delivery of a new 1 computer, the question of how to move my library without losing playlists and (questionably) valuable metadata such as play counts presented itself. In the context of remotely adjusting a Mac’s system volume, I’ve previously outed myself as an approximately-270-year-old who listens to music (MP3 files, no less!) on his computer instead of, say, a smart speaker. Moving a Swinsian Library to a New Location (or Computer) Without Losing Playlists or Resetting Play Counts and Other Metadata Excessively Adequate Moving a Swinsian Library to a New Location (or Computer) Without Losing Playlists or Resetting Play Counts and Other Metadata Posted on August 8, 2022 ![]()
0 Comments
Leave a Reply. |