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While many are on their summer holiday, many at the beach, few would choose to take alone James Joyce’s Ulysses, or Finnegan’s
Wake as light summer reading. You may not chose them to take along even on your e-reader. However, would you take along James Joyce himself?

Thanks to, Open Culture, one of the best sites on the internet, you can: James Joyce Reads From Ulysses and Finnegans Wake In His Only Two Recordings (1924/1929)

To quote from the Open Culture post by Josh Jones,**

As much as it is about every part of Dublin that ever passed by James Joyce’s once-young eyes, Ulysses is also a book about books, and about writing and speech—as mythic invocation, as seduction, chatter, and rhetoric, fulsome and empty. Words—two-faced, like open books—carry with them at least two senses, the meaning of their present utterance, and the verso shades of history.

This is at least partly the import of Joyce’s mythical method, as it is that of all expositors of ancient texts, from preachers and theologians to literary critics. It seems particularly significant, then, that the passage Joyce chose for the one and only recording of a reading from Ulysses comes from the “Aoelus” episode, which parodies Odysseus and his companions’ encounter with the god of wind.

Joyce sets the scene in the newspaper offices of the Freeman’s Journal, epitome of writing in the present tense, where reporters and editors give puffed-up speeches punctuated by reductive, pithy headlines. Amidst this business, erudite professor MacHugh and Stephen Dedalus wax literary and historical, making connections. MacHugh recites “the finest display of oratory” he ever heard—a defense of the revival of the Irish language that compares the Irish people to Moses and the ancient Hebrews spurning the seductions of an oppressive empire in the person of an Egyptian highpriest: Vagrants and daylabourers are you called: the world trembles at our name.

Joyce recorded the passage in 1924 at the urging of Shakespeare and Company founder Sylvia Beach, who persuaded the HMV gramophone studio in Paris to make the record, under the provision that she would finance it and that the studio’s name would appear nowhere on the product. Ulysses, recall, was in many places under a ban for obscenity (not lifted in the U.S. until 1933 by Judge John Woolsey).

Five years later, Joyce read from Finnegans Wake. As Open Culture writes,

Joyce chose to read from the “Anna Livia Plurabelle” section of the experimental text—a passage “overflowing,” writes Mental Floss, with “allusions to the world’s rivers.” He reads in the voice of an old washerwoman, and begins with a most succinct statement of the temporal dimensions of language: “I told you every telling has a tailing.” Where Ulysses foregrounds literary history, Finnegans Wake dives deep into geologic time, and privileges the oral over the written.

These are the only two recordings Joyce ever made, and they surely mark what were for him central locations in both books, though he also chose them for their ease of reading aloud (and, perhaps, memorizing).


James Joyce’s Ulysses: Download the Free Audio Book

Hear All of Finnegans Wake Read Aloud: A 35 Hour Reading

* H/T Laura Dziamba

*Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

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According to the Acropolis Museum website,

The area around the Erechtheion was considered the most sacred of the Acropolis. The Erechtheion was a complex marble building in the Ionic order, an exceptional artwork. The eastern part of the Temple was dedicated to Athena, whilst the western part was dedicated to local hero Boutes, Hephaistos and other gods and heroes. Thus, the Erechtheion was a temple with multiple functions, housing older and newer cults, and the site of the ‘Sacred Tokens’, the marks made by Poseidon’s trident and the olive tree, the gift of Athena to the city of Athens.


From Ancient Greece.org, a Greek Tragedy,

Erechtheion “While the Parthenon was the most impressive temple on the Acropolis, another building, the Erechtheion was built to accommodate the religious rituals that the old temple housed. Construction of the Erechtheion began in 420 while the Peloponnesian war was interrupted by the Peace of Nikias and continued through some of the most difficult times for the Athenians at war. During this time the Athenians suffered a devastating defeat at Syracuse, saw their empire unravel through consecutive revolts, had their cherished democracy replaced by a brief oligarchy, and endured major defeat. The Erechtheion construction was concluded in 406 BCE, and soon thereafter, in 403 BCE Athens fell to the Spartans.”

None of the dramatic events that marked the fall of Athens are present in the elegant Ionic lines of the Erechtheion. It seems that the cultural maturity of Athens as expressed through art was reaching a new apogee, just as the forces and institutions that made it possible were unraveling.

An article, “Acropolis Maidens Glow Anew,” by Liz Alderman, in the July 7, 2014 issue of The New York Times reported that,

 For 2,500 years, the six sisters stood unflinching atop the Acropolis, as the fires of war blazed around them, bullets nicked their robes, and bombs scarred their curvaceous bodies. When one of them was kidnapped in the 19th century, legend had it that the other five could be heard weeping in the night.

For three and a half years, conservators at the Acropolis Museum have been cleaning the maidens, Ionic columns in female form believed to have been sculpted by Alkamenes, a student of ancient Greece’s greatest artist, Phidias. Their initial function was to prop up a part of the Erechtheion, the sacred temple near the Parthenon that paid homage to the first kings of Athens and the Greek gods Athena and Poseidon.


The Times article continues,

“Knots of people were glued to a video screen showing footage of the cleaning project, which was set up on the floor of the museum. Conservators wearing dark goggles wielded a dual-wavelength laser developed by the Foundation for Research and Technology-Hellas in Crete, a system that was also employed to restore the Parthenon’s west frieze and the high-relief metopes that adorned the east entrance. Beams of infrared and ultraviolet radiation pulsed across the hem of one Caryatid’s robes, burning soot millimeter by millimeter to reveal the apricot-tinted patina of the original marble.

Starting in 2011, a team of six Greek conservators focused on one Caryatid at a time, setting up fabric rooms around each statue and mapping its surface before attacking an ebony mantle of pollution that had thickened when Athens became a modern metropolis filled with car exhaust, factory fumes and acid rain. Along the way, the conservators found traces of an enormous fire set in the first century B.C. by the Roman general Sulla, and chunks of marble from clumsy repair jobs attempted centuries ago.


 It took six to eight months to transform each statue from night into day, with the crews rotating shifts to avoid fatigue. The in-house restoration costs were minimal and funded with income from ticket and museum shop sales, said Costas Vassiliadis, a conservator who heads the restoration team.”


 The Times,

 “To coincide with the museum’s fifth anniversary, the women — minus one — went on full display in June, gleaming from their modern makeover. The missing Caryatid is installed at the British Museum in London, which acquired it nearly a century ago after Lord Elgin, the British ambassador to the Ottoman Empire, had it sawed off the Erechtheion’s porch, along with shiploads of adornments from the Parthenon to decorate his mansion in Scotland before selling the pieces to pay debts.

 Greek and British authorities have long fought over the return of these so-called Elgin marbles, a dispute that heated up again recently when the actors George Clooney, Matt Damon and Bill Murray came out in support of the sculptures’ being returned home during an appearance in London for the movie ‘The Monuments Men.’”


Visit The Acropolis Museum in the Google Art Project, for a truly breathtaking tour of the Museum and its treasures.






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Chauvet reddots2

                                 A painting located near the entrance to the Chauvet Cave composed of a cluster of large dots, which may represent a mammoth.

Because of the Holiday in the US, this post will stay up until July 9, 2014.

New Post Goes Up Every Wednesday at 8:30pm ET.


The Bradshaw Foundation , whose purposes include “promoting the study of early mankind’s artistic achievements,” reported on World Heritage status recently granted to the Chauvet Cave.

The prehistoric Chauvet Cave in southern France has been granted World Heritage status by the UN cultural agency UNESCO on Sunday, the Chauvet cave contains the earliest known figurative drawings in the world. At a gathering the delegates at UNESCO’s World Heritage Committee voted to grant the status to the Grotte Chauvet after considering cultural and natural wonders for inclusion on the UN list.

Here are some more beautifully photographed IMAGES from the BRADSHAW FOUNDATION, and a desctiption of the significance of the Cave,

Located in the Arceche region of France, Chauvet cave survived for millennia before being discovered in 1994 and contains over 1,000 cave paintings dating to 36,000 years ago and thought to be the first human culture in Europe. French Culture Minister Aurelie Filippetti called the Chauvet cave ‘a major site for humanity‘ that provides an exceptional opportunity for study. It is ‘a jewel whose emotional power is as strong today as when it was conceived,’ she said in a statement. While a French lawmaker for the Ardeche, Pascal Terrasse, went on to describe the cave as ‘a first cultural act‘. ‘This artist has now been recognised,’ Terrasse said. ‘May he forgive us for waiting 36,000 years.’

And a longer video clip of the Cave,

You can also see a film of the Cave, in 3D, made by Werner Herzog called, “The Cave of Forgotten Dreams, and watch the Trailer here.


What more need be said once you’ve see these spectacular paintings? How about a Virtual Tour of the Cave, which demonstrates the power of the tolls of the New Media to make the Cave accessible to everyone.The  Cave’s website has a with simple and well done graphics that put you right there. The Cave’s website also has Tabs for  “Time and Space” , Geological, Archaeological, and Cultural Significance of the Cave, the story of the Discovery , Authentication, Preservation, and the Research of the Cave.To preserve the paintings, The Cave is sealed to most visitors, but a perfect Replica is under construction, expected to open at the end of 2014, where everyone can visit and see the paintings. The Replica “is made possible by a 3D technique developed using a high-prescision scanner to generate a full-scale digital reproduction of the Cave,” another innovative use of New Media technology.


This site, Don’s Maps, ( a true find) has an extensive article on the Chauvet, alond with ariel phptos and, maps of the Cave and surrounding area.






While you’re  deciding whether Abstract Art existed 35, 000 years ago, you might also like to consider

whether Picasso might have been inspired by the same spirit as the painter of the prehistoric

“The Venus and Sorcerer or Man-Bison.”  Indeed, if you study the panoply of art in the Chauvet Cave, you come to the conclusion that the major “Art Movements,” such as Realism, Expressionism, Naturalism, Impressionism, Abstract, and the major “Art Principles,” such as Perspective, Shading, Dimension, and Movement all existed 35,000 years ago.

The question is, “Where did they come from?”





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New Post Goes Up Every Wednesday at 8:30pm ET.
The new MET Interactive, One Met. Many Worlds,  is a beautiful use of New Media technology. As ArtDaily , said,

NEW YORK, NY.- Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced the launch of One Met. Many Worlds., a new interactive feature that is presented in 11 languages on the Museum’s website.One Met. Many Worlds. allows visitors to explore more than 500 highlights from the Museum’s encyclopedic collection in English,   Arabic,   Chinese,   French,   German, Italian,  Japanese,   Korean,   Portuguese,   Russian, and  Spanish. Through details of individual works of art linked to universal themes and concepts, One Met. Many Worlds. also invites visitors to respond by pairing images playfully, poetically, and creatively.

In his Introduction, Introduction Mr. Campbell states,

“This completely reconceived and rewritten guide to the Metropolitan’s encyclopedic holdings—the first new edition of the guidebook in nearly thirty years —provides the ideal introduction to almost 600 essential masterpieces from one of the world’s most popular and beloved museums. It features a compelling and accessible design, beautiful color reproductions, and up-to-date descriptions written by the Museum’s own experts. More than a simple souvenir book, The Metropolitan Museum of Art Guide provides a comprehensive view of art history spanning more than five millennia and the entire globe, beginning with the Ancient World and ending in contemporary times. It includes media as varied as painting, photography, costume, sculpture, decorative arts, musical instruments, arms and armor, works on paper, and many more. Presenting works ranging from the ancient Egyptian Temple of Dendur to Canova’s Perseus with the Head of Medusa to Sargent’s Madame X, this is an indispensable volume for lovers of art and art history, and for anyone who has ever dreamed of lingering over the most iconic works in the Metropolitan Museum’s unparalleled collection”.



Mr. Campbell said, in making the announcement: “One Met. Many Worlds. is another groundbreaking digital tool for experiencing the Museum’s collection. Its foundation is our exceptional scholarship, but it also encourages our audiences to play and explore. This is the first of what I hope will be many multi-lingual approaches to the Met as we strive to reflect the cultures represented in our collection.”

One Met. Many Worlds. takes an innovative approach to the collection. By presenting individual works of art with curatorial descriptions alongside thematic groupings of image details, the web feature incorporates the voices of both the Met’s experts and its audiences. Visitors can leave their mark by offering witty, smart, and thoughtful pairings of images, sharing their creations, and posting them on the One Met. Many Worlds. visitor gallery. They can engage with this content equally in English and in 10 additional languages.




  “The new feature builds on a series of award-winning Metropolitan Museum initiatives online that are inspired by the Museum’s vast collection. The Heilbrunn Timeline of Art History, launched in 2000, continues to evolve and expand, and receives more than one million visits per month. Connections (2011) offers personal perspectives on works of art in the collection by 100 members of the Museum’s staff. 82nd & Fifth (2013) features 100 curators from across the Met who talk about 100 works of art from the collection that changed the way they see the world—one work, one curator, two minutes at a time. And MetCollects (2014) offers first looks at works of art acquired recently by the Museum. One Met. Many Worlds. is the fifth of these collection-inspired Metropolitan Museum online features.”

  “One Met. Many Worlds. is based on and inspired by The Metropolitan Museum of Art Guide, first published by the Museum in English in 2012. Other print editions in Chinese, French, Italian, Japanese, Portuguese, and Spanish followed in 2013, and they can be ordered—as well as new editions to be printed in Arabic, German, Korean, and Russian in late June—at the Museum Store”.

“Also forthcoming in late June is the Kindle edition of the Guide, which can be pre-ordered on Amazon.One Met. Many Worlds. is produced by the Metropolitan Museum’s Digital Media Department in collaboration with CHIPS, the Editorial Department, The Photograph Studio, and curatorial staff of The Metropolitan Museum of Art.”



One Met. Many Worlds is a truly excellent example of museums using the tools of the New Media to make Art  accessible to all, everywhere. It also is demonstrates that the use of New Media tools does not have to be a display of “bells and whistles,” but should result in an easy to use, clean interface, with no barriers between the viewer and the Art. The though and diligence that went into presenting One Met. Many Worlds in 10 languages is a sophisticated and added plus. You really should try it out.


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New Post Goes Up Every Wednesday at 8:30 pm ET

The following is rebloged from artmarketblog.com

GOOGLE LAUNCHES STREET ART PROJECT,  by Nicholas Forrest* – June 11, 2014

google street art project Google Launches Street Art Project, Sotheby’s Honours Banksy   artmarketblog.com“Despite the predictions of certain art world identities that street art was nothing more than a fad, it hasn’t gone away. In fact the market for street art has only strengthened in recent years with prices continuing to rise in conjunction with the increased recognition from the cultural sector.

Street art has been given another major boost by Google who today launched a new project aimed at documenting and preserving street art from the around the world through the Google Art Project. Developed in conjunction with street art experts, the project gives viewers access to more than 5000 images and around 100 exhibitions.

The Google Street Art Project features contributions from collections all over the world including Dallas Contemporary, São Paulo Street Art, Filipino Street Art Project, Street Art 13, Street Art NYC, Street Art Rome, and Street Art London, to name a few.

Thanks to Google the works of renowned street artists such as Os Gemeos, Roa, Vhils, and JR can now be viewed online along with a range of educational resources that chart the history of street art and contextualize the documented works.


“The launch of Google’s Street Art Project coincidentally coincides with the opening of Banksy: The Unauthorised Retrospective at the Sotheby’s S|2 Gallery in London. Heralded as the first, unauthorized, and largest retrospective of works of Banksy’s work, the selling exhibition was curated by gallerist Steve Lazarides who was the agent for Banksy from the beginning of his career until 2008.

The exhibition focuses on the period that Banksy was involved with Lazarides who has selected more than 70 seminal paintings, sculptures, and prints that he believes were pivotal in the artist’s rapid rise. Key works include “Avon and Somerset Constabulary” from the 2000 Bristol Severnshed show as well as the 2006 “Crude Oil” work “Guantanamo Bay” which was exhibited in LA in 2006. Prices range from £4,000 to over £500,000.”


*NICHOLAS FORREST is a Sydney/London based art market analyst, art consultant and writer. He is the founder of the Art Market Blog (artmarketblog.com) which offers independent commentaries as well as research and analysis on the current art market, and has recently been published in Fabrik magazine, Verve magazine, Visual Art Beat magazine, Australian Art Collector magazine, Art & Investment magazine and many others. Nic has made several radio appearances (both nationally and internationally) as an art market expert and has received press from the likes of the New York Times, Conde Nast Portfolio and Times of London.


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colosseum New Post Goes Up Every Wednesday at 8:30pm ET

Actually, Click Here to go to the Colosseum.


There is no doubt that the study of ancient architecture is the study of Fine Art. In the modern world, aside from being part of the financial elite, how does one get to study such architecture when most of the world is sunk in poverty and sinking deeper. Put another way, if most people in the world do not have physical access to such subjects, how can the tools of the New Media help bridge that gap?


There is no doubt that the internet is the most fundamental of the New Media tools. Indeed there is no doubt that the internet has made all of the other tools of the New Media possible. Via the internet, we can go anywhere. In prior posts, we have written about how Museums themselves have used the New Media tools fufill their mission of make Art accessible to all. These have included included the Van Gogh Museum, The Museum of Fine Arts Boston, the Louvre, the Musee d’Orsay, and the Museum of Contemporary Art, Australia.

Also through the Google Art Project, “Museums large and small, classic and modern, world-renowned and community-based from over 40 countries have contributed more than 40,000 high-resolution images of works ranging from oil on canvas to sculpture and furniture. Some paintings are available in ‘gigapixel’ format, allowing you to zoom in at brushstroke level to examine incredible detail.”


Arounder features 100+ world’s top destinations including thousands of attractions and places to see such as prestigious museums and historical cathedrals, unspoiled natural paradises and UNESCO sites. AROUNDERTOUCH, selected by Apple among “top 10 Apps” in 57 countries, ArounderTouch App brings Virtual Reality Panoramas from Arounder directly to smartphones and tablet. And, AROUNDERMAG, the virtual magazine available for iPad which allows readers to interactively visit the most beautiful destinations through a combination of panoramic images and exclusive reportages.

The user interface is clean, intuitive, and easy to use, for panorama, zoom, stop, enlarge, and tilt.

Check out the destinations above, including those in Europe, Asia, America, Africa, and Oceania. We will feature more of these over the summer.


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Rembrantd Selfie – Detail (Image Credit, Fiona, from Kottke)

Here’s a 12-megapixel image of Rembrandt’s 1660 self-portrait…you can see quite a bit of detail

New Post Goes Up Every Wednesday at 8:30 pm ET

FromKottke.org “NYC’s Metropolitan Museum of Art has made a whopping 400,000 high-resolution digital images of its collection available for free download. You can browse the collection here.
New Web Program Allows Free Image Download for Non-Commercial Use

“(New York, May 16, 2014)—Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced today that more than 400,000 high-resolution digital images of public domain works in the Museum’s world-renowned collection may be downloaded directly from the Museum’s website for non-commercial use—including in scholarly publications in any media—without permission from the Museum and without a fee. The number of available images will increase as new digital files are added on a regular basis.

The Metropolitan Museum’s initiative—called Open Access for Scholarly Content (OASC)—provides access to images of art in its collection that the Museum believes to be in the public domain and free of other known restrictions; these images are now available for scholarly use in any media. Works that are covered by the new policy are identified on the Museum’s website (http://www.metmuseum.org/collections) with the acronym OASC.

OASC was developed as a resource for students, educators, researchers, curators, academic publishers, non-commercial documentary filmmakers, and others involved in scholarly or cultural work. Prior to the establishment of OASC, the Metropolitan Museum provided images upon request, for a fee, and authorization was subject to terms and conditions.”



 “How can I identify the Open Access for Scholarly Content (OASC) on the Met’s website?
Look for this icon Open Access for Scholarly Content (OASC) Icon below images in the Collection section of the website to identify images that are part of the OASC initiative.”
“How do I download an image designated for Open Access for Scholarly Content (OASC)?
Look for this icon Open Access for Scholarly Content (OASC) Icon below the image in the Collection section of this website, then click on the download icon next to it Download Icon to save the image to your desktop or device.”



“The Museum also contributes selections of images of artworks from its collection to the Images for Academic Publication (IAP) program hosted by the Artstor Digital Library. The IAP program provides another option for obtaining free images for academic and scholarly publication. Metropolitan Museum IAP images are TIFFs. Authors at participating Artstor institutions can access these images directly through the Artstor Digital Library; others may request temporary access to IAP. Temporary access to IAP requires a user email so a login and password can be issued.”

Additional information and instructions on OASC can be found on the Museum’s website at http://www.metmuseum.org/research/image-resources/frequently-asked-questions.


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