(title photograph by pheobe riley law)

Saturday, December 24, 2016

Monday, December 19, 2016

Monday, October 10, 2016

Mary Ellen Solt

to see you                                                 

I know again
I won’t know

  to begin

Eva Hesse continues to bring pleasure

Wednesday, September 28, 2016


as readers of this blog know it started as a way to document some of the everyday joys my daughter, Pheobe, and I discovered. Its fair to say that there have been periods of regular posts and times when the pace of life meant gaps between posts were stretched out.

the thing is, i'm just back from helping Pheobe move to University

I think surreal is the word I would currently use for how, no matter how lengthy and involved preparations for and thoughts about this shift in our lives, this all feels. Daily routines still exist in ones mind of course, roads to running practice or back and forth between my home and Pheobe's mothers house seem to look different despite their familiarity, the atmosphere in each room at home seems stuck somehow - waiting for all of its essential elements.

I am immensely proud of Pheobe and I share in her excitement for the course (fine art) and can only imagine all the adventures she will have meeting new friends and settling in. I look forward, always, to seeing or hearing about each step of her journey

Its ok that we both miss each other a lot, that we feel tearful quite a lot and its ok that it will take us both time to understand it all.

I currently have no real idea what the other parts of my life mean. That might sound dramatic but I think (?) it must be quite normal. Being a parent to Pheobe has been the most important, wonderful (by a very long way) part of my life in a very direct way for 19 years and so now that that role is shifting in terms of the shape of its daily expression the other aspects of life that should simply come forward and re-position themselves seem even smaller. Being a parent is, quite simply, an immensely powerful, warm, loving experience. It changes you and it changes how you experience the world. Any change in it, large or small, has the ability to spin you around - often in very good ways and sometimes in ways that leave you dizzy and unsure of your footing.

i'm not sure what form this blog will take now. For some time its been more general - posts about music, art or film that we have found and it might continue that way. It might also, sometimes, reflect on this new shape to life.

I think, for now, i'll just say thank you for the first 19 years of you Pheobe - you are an inspiration and a deep joy

Tuesday, July 26, 2016

this evening I made time to look properly at the 'Eames - beautiful details' book. Both it and the 6 dvd box set of their films are recommended....

the book also reminded me of Ray Eames career as a fine artist (though I tend to view all of her & indeed Charles' work as 'art' full stop anyway)

Sunday, June 26, 2016

Thursday, April 21, 2016

the bauhaus ballet

Saturday, April 16, 2016

pheobe riley law
six questions # 5: ellen welsh 
six questions # 6: wilma vissers 
six questions # 7: cathy van eck 
six questions # 8: liz orton 
acoustic cameras
onchi koshiyo
eileen gray
hugo simbergin
jessica dismorr
josef breitenbach
pollen 1837
ten thai artists 

japanese book covers 
marcel-louis baugniet 

Thursday, January 21, 2016

Saturday, December 26, 2015

small moments of xmas season so far....

Wednesday, December 16, 2015

Saturday, November 21, 2015

browsing the Eva Hesse archives (again)

Friday, November 20, 2015

Sunday, November 15, 2015

covering the years between 1955-1964, this first dip into the frankly staggering oeuvre of Toru Takemitsu’s scores for film, tv, theatre, radio & tape shows him joyfully celebrating his fascination with jazz, tape music, Japanese traditional music and numerous other influences. 

Takemitsu composed for almost 100 feature films. Aside from a few early lost scores, the monumental ‘Complete Takemitsu’ box set series gathers all the remaining music he composed for the screen - 92 in total. Given Takemitsu’s daily trips to the cinema (he stated that during is adolescence & adult life he went to the cinema at least once a day every day of the year, with only a few exceptions) and the huge number of pieces for concert hall one does struggle to understand how he found the time & energy to create it all, let alone how the quality remains consistently impressive throughout, no matter what stylistic attributes he draws on. 

Takemitsu’s approach to writing for the screen was unconventional to say the least. Throughout his career he spent more and more time on the sets of the productions, often also being involved in filming and preparing or altering the scripts. Unlike any other composer he also began to remove more and more of the music he had prepared - not because it didn’t work or wasn’t ‘right’ but because he wanted more space in the sound, and crucially, he wanted the sounds of the locations themselves to be present. The ‘stage’ was part of his compositional process, a process that began with the notes written on paper but rarely ended there. Although the title of the box set series uses the word ‘complete’ one can only really here the ‘complete’ scores by watching the films themselves, as every sound was considered part of the ‘score’ so to speak - an approach that links to Japanese traditional theatre for example. 

There are 5 box sets in the ‘complete Takemitsu’ edition (now out of print) containing 58 discs (officially, though one of the ones I own also has an extra disc of choral songs) & each box set comes with its own hardback book of between 300-500 or so pages - in Japanese of course. Several years ago now I took the plunge & ordered from Japan volumes 3,4 & 5, covering music for film, tv, theatre, radio, tape and popular song. Prior to this I had 6 or the 7 JVC ‘film music of Toru Takemitsu’ series, as well as numerous discs of Takemitsu’s ‘classical’ output, and was eager to hear more. Needless to say I was not disappointed and although I believed I already knew just how remarkable a composer he was, I was not prepared for the sheer range and depth of the works contained in these sets. The keep revealing new layers.

Given how hard it is to find these sets now and their cost when one does, I decided to put together a series of mixes that will allow others to experience what is still only a fraction of this unique artistic achievement. enjoy….