Art Of The Unspoken

I hope this book brings you joy, comfort and love. I hope it helps you express the feelings that you cannot explain. That it holds you in your darkest times while listening and wiping your tears when you want to cry. This book is not just my art. It is yours too, for this is the art of the unspoken.A poetry book divided into three categories, falling in love, heartbreak and moving on. Holding your hand on your journey in the circle of love.

"This book focuses on the influence of rhetoric, dramatic concepts, and the singing voice in Classical and Romantic solo piano music. These traditions were shared by composers, performers and pedagogues but have gradually fallen into obscurity. Rhetoric provides a guide for logical organization and persuasion, dramatic plot and character influence form and musical content, while singing offers a natural model for expression and inflection. Historical and aesthetic information along with literary and musical aspects are presented here to inform current performance practice. Composers consciously employed rhetorical figures and expected performers to recognize and apply them in performance. Thinking of music in terms of plot and character cultivates habits of purposeful direction and clear definition of individual thematic material. Literary comparisons incite the imagination and can be useful in addressing more complex aesthetic issues, such as 'organic' quality in art, the concept of unity in diversity, memory, evolution and incompleteness. The desire to achieve vocal expressivity on the keyboard predates all the technical developments of the piano. These concepts have practical application to modern performance training, and a wider pianistic pedagogical context is explored in the final chapter, advocating for an integrated and meaningful approach to performance"--

Artist, Therapist and Teacher is a compilation of writings taken from the author's 40 years of experience. The book is organized chronologically, earlier works are presented first and the most recent, last. Chapters include writings from particular years accompanied with commentaries by Chris Belkofer, Ph.D. that highlight their relevance to contemporary art therapy practices. Bruce L. Moon uses music, performance art, poetry, sports activities, visual art forms, and other task-oriented modalities to cultivate relationships with clients. His vision of art therapy work is intimately connected to creativity, artistic self-expression, and exploration of meaning. Based on the author's art therapy practice, his overwhelming sense is that art therapy is continually being reshaped and transformed. This sense of ongoing “re-creation” is connected to the foundation of art's healing power, which resides in the ability of art to constantly shift and find new forms of expression. Unique features include: social applications of the arts, art-based group therapy, art therapy education as performance, metaphor, artfully constructed narratives, and case vignettes. Further enhanced with 12 illustrations to completely clarify the vignettes discussed, this book is a call to art therapists to embrace the artistic dimensions of professional identity, and use creativity when presenting ideas about the discipline of art therapy. This book will be an excellent resource for art therapists, art lovers, artists, art educators, and other mental health professionals.

In The Brothers Karamazov, Fyodor Dostoevsky proposes ministry as the way to resist and overcome the world’s evil. He employs two plotlines to do so. The action plot concerns the events surrounding the murder of Fyodor Karamazov. All evidence points to Dmitri Karamazov. Rational, circumstantial evidence convicts him; yet the reader knows he is innocent. The ministry plot occurs in this dark context where “small acts of love” are performed by The Elder Zosima, Alyosha Karamazov, and many others. These acts of love all answer this unspoken question, “What can be said and done in Jesus’ name that opens the future to new possibilities in contexts heretofore deemed closed and without hope?” Asking and answering this question is the essence of ministry, and since the question can be asked in any context, ministry is possible anywhere. Dostoevsky’s unabashed antisemitism, however, undermines his brilliant analysis. The concluding chapters document how unconfessed sins like antisemitism exert a death-dealing power that undermines our cultures, our communities, and our ministries. The Freedom to Choose Life shows how ministry resists and overcomes evil by these small acts of love and by the global effects of repenting of humanity’s unconfessed sins.

Conspiracy has been a political phenomenon throughout history, relevant to any form of power from antiquity to the post-modern era. This means of resistance against power was prevalent during the Renaissance, and the Italian fifteenth century, in particular, can be regarded as an 'age of plots'. This book offers the first full-length investigation of Italian Renaissance literature on the topic of conspiracy. This literature covered a range of different genres and it enjoyed widespread diffusion during the second half of the fifteenth century, when the development of this literary production was connected with the affirmation of centralized political thought and princely ideology in Italian states. The centrality of conspiracies also emerges in the sixteenth century in Machiavelli's work, where the topic is closely interlaced with problems of building political consensus and management of power. This volume presents case studies of the most significant humanist texts (representative of different states, literary genres, and of prominent authors—Alberti, Poliziano, Pontano—and minor, yet important, literati), and it also investigates Machiavelli's political and historical works. Through interdisciplinary analysis, this study traces the evolution of literature on plots in early Renaissance Italy. It points out the key function of the classical tradition and the recurring narrative approaches, the historiographical techniques, and the ideological angles that characterize the literary transfiguration of the topic. This volume also offers a reconsideration of the complex facets of humanist political literature that played a crucial role in the development of a new theory of statecraft.

Since entering the performance lexicon in the 1970s, the term Live Art has been used to describe a diverse but interrelated array of performance practices and approaches. This volume offers a contextual and critical introduction to the scene of contemporary Live Art in Britain. Focusing on key artists whose prolific body of work has been vital to the development of contemporary practice, this collection studies the landscape of Live Art in the UK today and illuminates its origins, as well as particular concerns and aesthetics. The introduction to the volume situates Live Art in relation to other areas of artistic practice and explores the form as a British phenomenon. It considers questions of cultural specificity, financial and institutional support, and social engagement, by tracing the work and impact of key organizations on the UK scene: the Live Art Development Agency, SPILL Festival of Performance and Compass Live Art. Across three sections, leading scholars offer case studies exploring the practice of key artists Tim Etchells, Marisa Carnesky, Marcia Farquhar, Franko B, Martin O'Brien, Oreet Ashery, David Hoyle, Jordan McKenzie, and Cosey Fanni Tutti.

(Music Pro Guide Books & DVDs). Here, record producer Beinhorn reveals how to deal with interpersonal issues record producers face when they work with artists one on one or in small groups. The situations and solutions are based upon the author's personal and professional experience working with a variety of different artists, such as Herbie Hancock, the Red Hot Chili Peppers, Soul Asylum, Hole, Soundgarden, Ozzy Osbourne, Courtney Love, Marilyn Manson, Social Distortion, Korn, and Mew. Beinhorn's unique methods and perspective, applied to record producing and music making in the studio, opens the door to successful collaborative efforts. The author shows you how to find what he calls your sensory connection to the creativity process, which ultimately helps you find the intent behind your creative choices. You can read dozens of articles and books that feature a hundred different people talking about what microphones they used when they recorded Record X or how they set their stereo buss compressor, but you will never find out what prompted them to make these choices. Beinhorn's focus on collaborative effort enables record producers and artists to find solutions while working as a creative team. This perspective is especially valuable as it is transdisciplinary and can be applied to many occupations and modes of creativity outside of record production.