new banner by me...

เธอผู้สวยงาม...

คุณเปนบุคคลที่ไม่ชอบให้ใครถามเรื่องส่วนตัว...แต่คุณอยากให้คนรอบกายสนใจ...
คุณมั่นใจและแสดงถึงความเก่งหยิ่งของคุณให้ผู้คนรอบข้างเห็น...แต่ลึกๆคุณต้องการคนเข้าใจและคุณเหงา
คุณมีบุคลิคมากมายและพยายามทำทุกวินาทีให้มีค่าเป็นที่จดใจ...เพราะคุณไม่เคยลืมสิ่งดีๆที่เคยได้ผ่านเข้ามาในชีวิตคุณ
คุณดูเข็มแข็งไม่เคยสนใจใคร...แต่ใจคุณอ่อนแอและไม่เคยลืมเขาคนนั้น...ผมไม่ได้เอ่ยคำว่าคุณกลัวความรัก

สุดท้ายคุณก็กลัวคนที่ทำให้คุณสนใจและดูคล้าย...ดูคล้ายกับว่าเขารู้ใจคุณ

คุณคือบุคคลที่มีใจสวยงาม - ผู้ที่สับสนและกังวลกับการตัดสิดใจ
ผมชอบคุณ...

DOOMSAYER

FUCK U!!!!U GONNA' GOING TO DIEEEE!!!!

I dun care woiiiiiiiiiiii!

I dun care wat u says!!!
I'm gonna' buy this book!!!
fuck u!
I'm rock!

whattttttttttttt!

ช่วงนี้ไม่รู้เปนเหี้ยไร..."ของแม่งมีแต่เสีย"
เริ่มจาก แอร์ เสีย
ลำโพงที่ห้องนอน เซงโคต!
adapter notebook อันนี้เซ็งสัด
ไฟที่ห้องนอน
lan card desktop pc...
แต่ที่น่าแปลกที่สุดคือ "นาฬิกา"
เสียหมดทั้ง 4 เลือน
ใส่อะไรไปก็เสีย งง โคตๆ

such a tragedy!

ROCK STAR

Chris Cole was born to rock. His longtime girlfriend Emily believes his talent could take him all the way - but Chris worships at the altar of Bobby Beers, the fiery frontman for heavy metal legends Steel Dragon. By day, Chris still lives at home with his parents and spends his days repairing copy machines. But when Chris takes the stage, fronting Pennsylvania's premiere Steel Dragon tribute band, all of that disappears.



Chris Cole is Bobby Beers - mesmerizing audiences with his perfect imitation of Beers' electrifying vocals. The night his bandmates boot him out of the group, Chris is devastated - until an unexpected phone call changes his life forever: He, Chris Cole, has been tapped to replace Bobby Beers as the lead singer of Steel Dragon. In an instant, Chris rockets to the dizzying heights of sudden stardom, rising from devotee to icon, from rock fan to rock god - the wanna-be who got to be. So what happens when an average guy gets everything he wants - and discovers it's not enough?

Al Gore

Albert Arnold "Al" Gore, Jr. (born March 31, 1948) is an American politician, businessman, and environmentalist. Gore served in the United States House of Representatives (1977–85) and the United States Senate (1985–93) representing Tennessee. From 1993 to 2001, he was the forty-fifth Vice President of the United States, under Bill Clinton.

Gore was the Democratic nominee for President in the 2000 election, which was one of the most controversial elections in American history. After a series of voting discrepancies and court challenges in the state of Florida the United States Supreme Court, with its final ruling on Bush v. Gore, stopped ongoing ballot recounts, giving George W. Bush the electoral college victory, and consequently the presidency.

Today, Gore is president of the American television channel Current TV, chairman of Generation Investment Management, a director on the board of Apple Inc., an unofficial advisor to Google's senior management, and chairman of the Alliance for Climate Protection.



Gore lectures widely on the topic of global warming, which he calls "the climate crisis", and in 2006 starred in the Academy Award-winning documentary An Inconvenient Truth, discussing global warming and the environment. Under his leadership, one of Gore's organizations, Save Our Selves, organized the benefit concert Live Earth in an effort to raise awareness about climate change. The concert was held all over the world on July 07, 2007 (07.07.07). In July 2007, he announced teaming with actress Cameron Diaz for a TV climate contest 60 Seconds to Save the Earth to gain people's support in solving the climate crisis.

Gore's 2007 book, The Assault on Reason, is an analysis of what he calls the "emptying out of the marketplace of ideas" in civic discourse which, according to Gore, is due to the influence of electronic media, especially television, and which endangers American democracy; but he also expresses the belief that the Internet can revitalize and ultimately "redeem the integrity of representative democracy."

While Gore has frequently stated that "I'm not planning to be a candidate again," there is frequent speculation that he may run for the 2008 Democratic presidential nomination.



Political career (1976–2000)

Congressional service
When Congressman Joe L. Evins announced his retirement after 30 years, Gore quit law school in March 1976 to run for the United States House of Representatives, in Tennessee's fourth district. Gore defeated Stanley Rogers in the Democratic primary, then ran unopposed in the general election and was elected to his first Congressional post. He was re-elected three times, in 1978, 1980, and 1982. In 1984, Gore successfully ran for a seat in the United States Senate, which had been vacated by Republican Majority Leader Howard Baker. Gore served as a Senator from Tennessee until 1993, when he became Vice President.

While in Congress, Gore was a member of the following committees: Armed Services (Defense Industry and Technology Projection Forces and Regional Defense; Strategic Forces and Nuclear Deterrence); Commerce, Science and Transportation (Communications; Consumer; Science, Technology and Space- chairman 1992; Surface Transportation; National Ocean Policy Study); Joint Committee on Printing; Joint Economic Committee; and Rules and Administration.

On March 19, 1979, Gore became the first person to appear on C-SPAN, making a speech in the House chambers.[17] In the late 1980s, Gore introduced the Gore Bill, which was later passed as the High Performance Computing and Communication Act of 1991. The bill was one of the most important pieces of legislation directly affecting the expansion of the internet.

Opposition to U.S. government support of Saddam Hussein

While Senator, Gore twice attempted to get the U.S. government to pull the plug on support to Saddam Hussein, citing Hussein's use of poison gas, support of terrorism, and his burgeoning nuclear program, but was opposed both times by the Bush-Reagan and Bush-Quayle administrations. In the wake of the Al-Anfal Campaign, during which Hussein staged deadly mustard and nerve gas attacks on Kurdish Iraqis, Gore cosponsored the Prevention of Genocide Act of 1988 which would have cut all assistance to Iraq. The bill was defeated in part due to intense lobbying of Congress by the Bush-Reagan White House and a veto threat from President Reagan. Gore's positions as a Senator with regard to Iraq would later become an issue in his 1992 campaign for Vice President.


1988 Presidential election
Main article: Al Gore presidential campaign, 1988
Gore ran for President in the 1988 United States presidential election, but failed to obtain the Democratic nomination, which went to Michael Dukakis. During the campaign, Gore's strategy involved skipping the Iowa caucus and putting little emphasis on the New Hampshire Primary in order to concentrate his efforts on the South. He won Arkansas, Kentucky, North Carolina, Oklahoma and Tennessee in the Super Tuesday primaries but dropped out of the presidential race in April after a poor showing in the New York primary.

On April 3, 1989, Gore's six-year-old son Albert was nearly killed in an automobile accident while leaving the Baltimore Orioles' opening day game. Because of the resulting lengthy healing process, his father chose to stay near him during the recovery instead of laying the foundation for a presidential primary campaign. Gore started writing Earth in the Balance, his book on environmental conservation, during his son's recovery. It became the first book written by a sitting Senator to make The New York Times bestseller list since John F. Kennedy's Profiles in Courage.



Promoting environmental awareness


Gore has been called many epithets like the 'Noah of Modern Times', the EnvironmentAl Evangelist etc for his role in bringing the problem of global warming to the attention of Americans and other citizens. According to a February 27, 2007 article in The Concord Monitor, "Gore was one of the first politicians to grasp the seriousness of climate change and to call for a reduction in emissions of carbon dioxide and other greenhouses gases. He held the first congressional hearings on the subject in the late 1970s."During his tenure in Congress, Gore co-sponsored hearings on toxic waste in 1978–79, and hearings on global warming in the 1980s.

On Earth Day 1994, Gore launched the GLOBE program, an education and science activity that, according to Forbes magazine, "made extensive use of the Internet to increase student awareness of their environment".

In the late 1990s, Gore strongly pushed for the passage of the Kyoto Treaty, which called for reduction in greenhouse gas emissions.He was opposed by the Senate, which passed unanimously (95-0) the Byrd-Hagel Resolution (S. Res. 98), which stated the sense of the Senate was that the United States should not be a signatory to any protocol that did not include binding targets and timetables for developing as well as industrialized nations or "would result in serious harm to the economy of the United States".On November 12, 1998, Gore symbolically signed the protocol. Both Gore and Senator Joseph Lieberman indicated that the protocol would not be acted upon in the Senate until there was participation by the developing nations.The Clinton Administration never submitted the protocol to the Senate for ratification.

In recent years, Gore has remained busy traveling the world speaking and participating in events mainly aimed towards global warming awareness and prevention. His keynote presentation on global warming has received standing ovations, and he has presented it at least 1,000 times according to his monologue in An Inconvenient Truth.

Gore is a vocal proponent of carbon neutrality, buying a carbon offset each time he travels by aircraft.Gore and his family drive hybrid vehicles.

Interest in Al Gore's speeches reached such a point that a public lecture at University of Toronto on February 21, 2007, on the topic of global warming, led to a crash of the ticket sales website within minutes of opening.A few weeks later, he spoke at another event in the same city and, for the first time, made the argument that employers have a significant role to play in mobilizing their employees to take action on climate change.

During Global Warming Awareness Month, on February 9, 2007, Al Gore and Richard Branson announced the Virgin Earth Challenge, a competition offering a $25 million prize for the first person or organization to produce a viable design which results in the removal of atmospheric greenhouse gases.

On July 7, 2007, Live Earth benefit concerts were held around the world in an effort to raise awareness about climate change. The event was the brainchild of both Gore and Kevin Wall of Save Our Selves.

Gore starred in the documentary film An Inconvenient Truth, which won the 2007 Academy Award for Documentary Feature.The Oscar was awarded to director Davis Guggenheim, who asked Gore to join him and other members of the crew on stage. During this time, Gore gave a brief speech: "My fellow Americans, people all over the world, we need to solve the climate crisis. It's not a political issue; it's a moral issue. We have everything we need to get started, with the possible exception of the will to act. That's a renewable resource. Let's renew it."

The film, released on May 24, 2006, documents the evidence for anthropogenic global warming and warns of the consequences of people not making immediate changes to their behavior. In late July, it surpassed Bowling for Columbine as the third-highest-grossing documentary in U.S. history.Gore also published a book of the same title, which became a bestseller.

Gore has made also made numerous appearances in popular culture related to environmentalism. He appeared twice on Saturday Night Live, hosting on December 14, 2002 (episode #533) and May 13, 2006 (episode #603). In an opening sketch, Gore is in a parallel Earth in which he won the 2000 Presidential race. Gore describes the state of the nation: global warming has been stopped; gasoline costs 19¢ a gallon; George W. Bush is Baseball Commissioner; welfare and Social Security have been reformed and America now enjoys universal health care; Gore helped develop an anti-hurricane/tornado machine; and the federal surplus is down to eleven trillion dollars. Gore also appeared on the Weekend Update sketch and engaged in a debate on global warming with Amy Poehler.

Gore has twice appeared as a guest star on the television series Futurama, for which his daughter Kristin was a writer from 2001-2003. During the course of his 2000 presidential campaign, Gore cited Futurama and The Simpsons as his two favorite popular culture shows During the opening sequence in The Simpsons episode "A Tale of Two Springfields" for his chalkboard gag Bart writes on the chalkboard "I will not plant subliminal messagores". This episode first aired two days before the 2000 Presidential Election. Futurama producer David X. Cohen noticed these remarks in print and offered Gore the chance to appear in the 2000 season finale, Anthology of Interest I. In this episode, Gore led his team of "Vice Presidential Action Rangers" in their goal to protect the space-time continuum.

In 2002, Gore appeared again on Futurama in the episode Crimes of the Hot, voicing his own preserved head in a jar.Gore is initially introduced by Van who states: "Thank you all for coming. It is my pleasure to introduce the host of the Kyoto Global Warming Convention. The inventor of the environment and first Emperor of the Moon: Al Gore."[74] Gore then offers his own introduction in which he says: "My fellow Earthicans, as I discuss in my book Earth in the Balance and the much more popular Harry Potter and the Balance of Earth, we need to defend our planet against pollution. As well as dark wizards."Gore later used a short clip from this episode to explain how global warming works in his presentations and in An Inconvenient Truth.

Gore's willingness to poke fun at himself on the show was later cited by pundits as an example of the way he re-invented the purportedly stiff and emotionless persona that he had displayed in public before his electoral loss in 2000.In a review of the episode, Washington Post writer Howard Kurtz called it a "groundbreaking role" and suggested that it was "post-election reemergence ... as carefully choreographed as a political campaign".

Gore will reprise the role in the upcoming December 2007 film, Futurama: Bender's Big Score.


-for more information"http://en.wikipedia.org/wiki/Al_gore"-

http://www.midnightuniv.org/

http://www.midnightuniv.org/

thats it!

lol

I like to "listen" this song...
ENTER SHIKARI - Sorry Youre Not A Winner!

ห้ามดู!!!

!!!บอกแล้วน่ะคับว่าอย่าดู!!!










ก็เตือนแล้วน่ะคับ^^"

ई दिए फ़ॉर रोमांस!

!!!I DIE FOR ROMANCE!!!
nothing!
just says it!
yeah!

untitle

ถ้าคนๆหนึ่งเป็นความอ่อนแอของอีกคนหนึ่ง...เอ๋ย!ถ้าแนวเพลงแนวหนึ่งเป็นความอ่อนแอของแนวเพลงอีกแนวหนึ่งคุณจะชอบไหม...
แล้วถ้าแนวเพลงหนึ่งเหม็นขี้หน้าของอีกแนวเพลงหนึ่งคุณจะว่ายังไง...
แล้วถ้าแนวเพลงหนึ่งแปลกและลึกลับมากจนพาไปพบกับสิ่งที่คุณไม่คาดคิดคุณชอบไหม...
แล้วถ้าแนวเพลงหนึ่งมีเป้าหมายที่คุณคาดเดาไม่ถึงคุณจะฟังไหม...
แล้วถ้าคุณด่าแนวเพลงนั้นแต่คุณชอบฟังคุณจะเป็นคนอย่างไร...
แล้วถ้าแนวเพลงที่คุณฟังอยู่ถูกอีกแนวเพลงด่าคุณจะทำอย่างไร...
แล้วถ้าแนวเพลงที่คุณฟังอยู่บ้าการเมืองคุณจะบ้าไหมครับ...
แล้วถ้าแนวเพลงที่คุณฟังอยู่สนใจต่อสภาพแวดล้อมของโลกคุณคิดอย่างไรดีครับ...
แล้วท่าแนวเพลงหนึ่งมุ่งแต่จะทำลายทุกสิ่งคุณคงชอบใช่ไหมครับ...
แล้วถ้าแนวเพลงหนึ่งไม่สนใจอะไรแล้วบนโลกใบนี้คุณก็คงไม่อยากจะฟัง...
แล้วถ้าแนวเพลงหนึ่งอยู่บนอวกาศแล้วคุณก็คงลอยตามมันไป... ... ...แล้วถ้าแนวเพลงหนึ่งที่มีแต่ความสุขกับความสัมพันธ์ระหว่างเพื่อนล่ะคับคุณคงไม่ชอบ...

...แล้วถ้าทั้งหมดเป็นแค่หินก้อนหนึ่ง...???

Jackson Pollock

Paul Jackson Pollock (January 28, 1912 – August 11, 1956) was an influential American painter and a major force in the abstract expressionist movement.


Early life

The youngest of five sons, Pollock was born in Cody, Wyoming in 1912, and grew up in Arizona and California, studying at Los Angeles' Manual Arts High School. In 1930, following his brother Charles, he moved to New York City, where they both studied under Thomas Hart Benton at the Art Students League. Benton's influence on Pollock's formative work can be seen in his use of curvilinear undulating rhythms and in the use of rural American subject matter.


The Springs period and the unique technique

In October 1945, Pollock married his long term lover Lee Krasner and in November they moved to what is now known as the Pollock-Krasner House and Studio in Springs on Long Island, New York. Peggy Guggenheim loaned them the down payment for the wood-frame house with a nearby barn that Pollock made into a studio. It was there that he perfected the technique of working spontaneously with liquid paint. Pollock was introduced to the use of liquid paint in 1936, at an experimental workshop operated in New York City by the Mexican muralist David Alfaro Siqueiros. He later used paint pouring as one of several techniques in canvases of the early 1940s, such as "Male and Female" and "Composition with Pouring I." After his move to Springs, he began painting with his canvases laid out on the studio floor, and developed what was later called his "drip" technique, although "pouring" is a more accurate description of his method. He used hardened brushes, sticks and even basting syringes as paint applicators. Pollock's technique of pouring and dripping paint is thought to be one of the origins of the term action painting.
In the process of making paintings in this way he moved away from figurative representation, and challenged the Western tradition of using easel and brush, as well as moving away from use only of the hand and wrist; as he used his whole body to paint. In 1956 Time magazine dubbed Pollock "Jack the Dripper" as a result of his unique painting style.
“My painting does not come from the easel. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.”
“I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign matter added.
When I am in my painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fear of making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.”
Pollock observed Indian sandpainting demonstrations in the 1940s. Other influences on his pouring technique include the Mexican muralists and also Surrealist automatism. Pollock denied "the accident"; he usually had an idea of how he wanted a particular piece to appear. It was about the movement of his body, over which he had control, mixed with the viscous flow of paint, the force of gravity, and the way paint was absorbed into the canvas. The mix of the uncontrollable and the controllable. Flinging, dripping, pouring, spattering, he would energetically move around the canvas, almost as if in a dance, and would not stop until he saw what he wanted to see. Studies by Taylor, Micolich and Jonas have explored the nature of Pollock's technique and have determined that some of these works display the properties of mathematical fractals; and that the works become more fractal-like chronologically through Pollock's career. They even go on to speculate that on some level, Pollock may have been aware of the nature of chaotic motion, and was attempting to form what he perceived as a perfect representation of mathematical chaos - more than ten years before Chaos Theory itself was discovered.
In 1950 Hans Namuth, a young photographer, wanted to photograph and film Pollock at work. Pollock promised to start a new painting especially for the photographic session, but when Namuth arrived, Pollock apologized and told him the painting was finished. Namuth's comment upon entering the studio:
“A dripping wet canvas covered the entire floor. . . . There was complete silence. . . . Pollock looked at the painting. Then, unexpectedly, he picked up can and paint brush and started to move around the canvas. It was as if he suddenly realized the painting was not finished. His movements, slow at first, gradually became faster and more dance like as he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee and I were there; he did not seem to hear the click of the camera shutter. . . My photography session lasted as long as he kept painting, perhaps half an hour. In all that time, Pollock did not stop. How could one keep up this level of activity? Finally, he said 'This is it.”
“Pollock’s finest paintings… reveal that his all-over line does not give rise to positive or negative areas: we are not made to feel that one part of the canvas demands to be read as figure, whether abstract or representational, against another part of the canvas read as ground. There is not inside or outside to Pollock’s line or the space through which it moves…. Pollock has managed to free line not only from its function of representing objects in the world, but also from its task of describing or bounding shapes or figures, whether abstract or representational, on the surface of the canvas.(Karmel 132)


The 1950s and beyond


Pollock's most famous paintings were during the "drip period" between 1947 and 1950. He rocketed to popular status following an August 8, 1949 four-page spread in Life Magazine that asked, "Is he the greatest living painter in the United States?" At the peak of his fame, Pollock abruptly abandoned the drip style.
Pollock's work after 1951 was darker in color, often only black, and began to reintroduce figurative elements. Pollock had moved to a more commercial gallery and there was great demand from collectors for new paintings. In response to this pressure his alcoholism deepened.








His death



Jackson Pollock's grave in the rear with Lee Krasner's grave in front in the Green River Cemetery.
After struggling with alcoholism his whole life, Pollock's career was cut short when he died in an alcohol-related, single car crash less than a mile from his home in Springs, New York on August 11, 1956 at the age of 44. One of his passengers, Edith Metzger, died, and the other passenger in the Oldsmobile convertible, his girlfriend Ruth Kligman, survived. After his death, his wife Lee Krasner managed his estate and ensured that his reputation remained strong in spite of changing art-world trends. They are buried in Green River Cemetery in Springs with a large boulder marking his grave and a smaller one marking hers.

Legacy

The Pollock-Krasner House and Studio is owned by the Pollock-Krasner Foundation which is administered by State University of New York at Stony Brook. There are regular tours of the house and studio during the summer.
In 2000 a biographical film titled Pollock was made about his life. Marcia Gay Harden won the Academy Award for Best Supporting Actress for portraying Lee Krasner. The movie was the project of Ed Harris who portrayed Pollock and directed it. He was nominated for Academy Award for Best Actor.
In November 2006 Pollock's "No. 5, 1948" became the world's most expensive painting, when it was auctioned to an undisclosed bidder for the sum of $140,000,000. The previous owner was film and music-producer David Geffen. It is rumored that the current owner is a German businessman and art collector.
An ongoing debate rages over whether 24 paintings and drawings found in a Wainscott, New York locker in 2003 are Pollock originals. Physicists have argued over whether fractals can be used to authenticate the paintings. The debate is still inconclusive.
In 2006 a documentary, Who the Fuck Is Jackson Pollock?, was released which featured a truck driver named Teri Horton who bought what may be a Pollock painting worth millions at a thrift store for five dollars.

Relationship to Native American art

The influence of the Native American art is very evident in the work of Jackson Pollock. Pollock and Native artists work using a similar process; Pollock takes direct images from the unconscious mind like images from the natives’ “spirit world”; he uses a primitivist aesthetic; he becomes “part of” the painting, akin to native American sand painters, and he exhibits similarly universalised subject matter to the Native Americans. Essentially a timeless visual language is explored when linking Native American primitive art to Pollock’s modernist art.
Pollock had been influenced by Native cultures from his early days in Arizona, where he witnessed native lore, ceremonies and myths. This provided him with an incentive to visit an exhibition - “Indian Art and the United States” at the Museum of Modern Art in 1941. There he witnessed the art of Native American cultures, notably the method of "sand painting". He attended its demonstration several times. This artform performed by medicine men in a focused or "trance like" state influenced Pollock greatly as he developed his famous pouring method; the medicine men pour coloured sands onto a flat surface, which they can approach from all sides as the image unfolds.
Pollock states: “I feel nearer, more a part of the painting, since this way I can walk round it, work from the four sides and literally be in the painting. This is akin to the methods of the Indian sand painters of the West.” From: Jackson Pollock, "My Painting", in Pollock: Painting (edited by Barbara Rose), Agrinde Publications Ltd: New York (1980), page 65; originally published in Possibilities I, New York, Winter 1947-8
This was also in key with the concept of surrealist automatism, a process in which painting unfolds "automatically". The process is demonstrated in Andre Masson's work; "Meditation on an Oak Leaf", which Pollock admired greatly.
Pollock was familiar with other "in vogue" concepts; of Psychoanalysis and Primitivism, which provided another basis for his connection to Native American art. Pollock created many "psychoanalytical drawings" whilst he was being treated for alcoholism under to Jungian psychoanalysts. These drawings were used by Pollock to facilitate discussion about his own mental state with his doctors. One could say that the source of these drawings - the unconscious/subconscious is similar to that of Native American cultures, where hallucinogenic states prompted by the use of drugs such as the san-pedro cactus, prompt a journey into the "spirit world". This world is one where full blown hallucinations may combine abstract and figurative images. The resulting portrayals of the spirit world are similar in aesthetic to Pollock's psychoanalytical drawings because they combine both the abstract and the geometric, spanning from the "inner depths" of the mind.
In terms of primitivism: Pollock was very influenced by the work of Picasso, and the work Guernica, after reading an article by John D. Graham entitled “Primitive Art and Picasso”. A key concept within this article was the exploration of “Ahistorical issues of psychology that link the personal and the primordial”. The idea that all human beings are "wired the same way" provides the basis for the idea that they can all be affected by similar subconscious symbols and imagery. Psycho-analytical drawings of Pollock’s, as a result, contained a strange resemblance to Picasso’s. These drawings, like the art of ancient cultures, featured semi-human monsters, sharply horned masks, and dagger-like tongues, often shifting into different forms and surrounded by patterns or shapes. Primitivism in itself was a popular aesthetic amongst modernists, and Pollock chose a culture "close to home" to explore visually.
As a result, the subject matter between Pollock's art and the art of Native America becomes similar. The focus is on universal symbols and concepts such as animals, cycles of life and birth or gender, and the means of exploring these subjects is a focus on essence rather than naturalistic representation. Pollock was taught by Thomas Benton, who emphasised this focus on essence and analytical drawing. In Pollock's "Birth" the "essence of birth", you might say, is explored through violent transformational and shifting imagery. A collection of invented or derived, unclear, and ambiguous images seem to come together to create something that visually inspires, universally, the essence of the subject. Like Native American art, the images are constantly transforming and shifting, becoming part of others. Native Chavin art is well-known for holding multiple readings depending on how one observes the overal image, perhaps from upside-down. Native art focuses on a constant world of change, seasons, weather, life and birth etc. to inspire these transformations.
The “strong graphic rhythms, zoomorphic imagery, and myths of man-beast transformation in the art of these cultures had made a deep impression [on Pollock]” (Frank, E in Pollock, 1983, Cross River Press)
Although these links can be asserted visually, one can question them. Pollock was not well-known for being definitive in his approach to explaining his work:
Pollock, “While he may well have talked up shamanism or alchemy, and even nurtured some superstitions about ritual and healing,” he never once suggested that this kind of thing shaped the way his paintings were made or should be understood” (Vanedoe, K , in Jackson Pollock, 1998, Museum of Modern Art, New York)
and, in 1944, Pollock stated “Some people find references to American Indian art and calligraphy in parts of my pictures. That wasn’t intentional; probably was the result of early memories and enthusiasms” (Published in Arts and Architecture in February 1944)
However, one can conclude, despite these statements, that Pollock could not have resisted popular art theory and philosophy, and was still greatly influenced by sandpainting methods and modernist primitivism. Ultimately, The art of Jackson Pollock is definitely linked to the art of the Native Americans:
Each look at images from an altered state of mind – the unconscious/subconscious (the idea of psychoanalysis) Each follow a “primitivist” aesthetic They use a similar “automatist” process; being in the work, and of “pouring” They both focus on “essence” and universal images , with a similar mixing of abstract and figurative, transforming forms Also, the linking of modernist work and primitive work can show us the idea of a timeless visual language – something “wired into” all human beings.

Critical debate

Pollock's work has always polarized critics and has been the focus of many important critical debates.
Harold Rosenberg spoke of the way Pollock's work had changed painting, "what was to go on the canvas was not a picture but an event. The big moment came when it was decided to paint 'just to paint.' The gesture on the canvas was a gesture of liberation from value — political, aesthetic, moral."
Clement Greenberg supported Pollock's work on formalistic grounds. It fitted well with Greenberg's view of art history as being about the progressive purification in form and elimination of historical content. He therefore saw Pollock's work as the best painting of its day and the culmination of the Western tradition going back via Cubism and Cézanne to Monet.
Posthumous exhibitions of Pollock's work had been sponsored by the Congress for Cultural Freedom, an organization to promote American culture and values backed by the CIA. Certain left wing scholars, most prominently Eva Cockcroft, argue that the U.S. government and wealthy elite embraced Pollock and abstract expressionism in order to place the United States firmly in the forefront of global art and devalue socialist realism.In the words of Cockcroft, Pollock became a 'weapon of the Cold War'.
Painter Norman Rockwell's work Connoisseur also appears to make a commentary on the Pollock style. The painting features what seems to be a rather upright man in a suit standing before a Jackson Pollock splatter painting. The contrast between the man and the Pollock painting, along with the construction of the scene, seems to emphasize the disparity between the comparatively unrecognizable Jackson Pollock style and traditional figure and landscape based art styles, as well as the monumental changes in the cultural sense of aesthetics brought on by the modern art movement.
Feminists criticized the machismo surrounding abstract expressionism, seeing Pollock's work in particular as the acting out of the phallocentric male fantasy on the symbolically supine canvas.

lowlife...dreamer

...waiting for new destiny...

Oh...what you find for...

Joel is stunned to discover that his girlfriend Clementine has had the memories of their tumultuous relationship erased. Out of desperation, he contacts the inventor of the process, Dr. Howard Mierzwiak, to have Clementine removed from his own memory. But as Joel's memories progressively begin to disappear, he begins to discover their earlier passion. From deep within the recesses of his brain, Joel attempts to escape the procedure. As Dr. Mierzwiak and his crew chase him through the maze of his memories, it's clear that Joel can't get Clementine out of his head.





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ป.ล.แต่ผมเองก็อยากใช้บริการของ Lacuna Inc. เหมือนกันคับ...

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ม็อบ "พีทีวี" ของบริษัท เพื่อนพ้องน้องพี่ โดยอดีตแกนนำพรรคไทยรักไทย ที่ท้องสนามหลวง เมื่อเย็นวันที่ 23 มีนาคมที่ผ่านมา เรียกความนิยมจากพ่อยกแม่ยกได้มากกว่ากลุ่มอื่นๆ ที่มาชุมนุมคัดค้านคณะมนตรีความมั่นคงแห่งชาติ (คมช.) และรัฐบาล พล.อ.สุรยุทธ์ จุลานนท์ นายกรัฐมนตรี ก่อนหน้านี้มาก

ม็อบก่อนหน้านี้ ไม่ว่า กลุ่มวันเสาร์ไม่เอาเผด็จการ กลุ่มพิราบขาว ฯลฯ ล้วนระดมผู้คนได้เรือนร้อย ขนาดสัปดาห์ก่อน นพ.เหวง โตจิราการ และครูประทีป อึ้งทรงธรรม ฮาตะ แกนนำกลุ่มสมาพันธ์ประชาธิปไตย นัดมวลชนไปบุกบ้าน พล.อ.เปรม ติณสูลานนท์ ประธานองคมนตรีและรัฐบุรุษ ก็ระดมได้แค่ 1,000 คน

ทว่าม็อบพีทีวีมีผู้คนเข้าร่วมราว 3,000 คน

ผู้บริหารบริษัท เพื่อนพ้องน้องพี่ มากันครบทีม ตั้งแต่ประธานบริษัท นายวีระ มุสิกพงศ์ ลูกทีมอย่าง นายณัฐวุฒิ ใสยเกื้อ นายจักรภพ เพ็ญแข นายจตุพร พรหมพันธุ์ และนายก่อแก้ว พิกุลทอง

แม้จะปฏิเสธว่าไม่ได้มีความเกี่ยวข้องกับพรรคไทยรักไทยแล้ว แต่อดีต ส.ส.พรรคไทยรักไทย หรือคนใกล้ชิด พ.ต.ท.ทักษิณ ชินวัตร อดีตหัวหน้าพรรค ยังไปเดินป้วนเปี้ยนรอบเวทีหลายคน เช่น นพ.วัลลภ ยังตรง อดีต ส.ส.พรรคไทยรักไทย นายเกรียงกมล เลาหะไพโรจน์ อดีตที่ปรึกษา พ.ต.ท.ทักษิณ ซึ่งไม่ได้เดินดูเฉยๆ แต่ยังขึ้นช่วยพูดไม่ให้เกิดการปะทะกันระหว่างเจ้าหน้าที่ตำรวจกับม็อบอีกต่างหาก

นอกจากนี้ยังมีนายธนู จำปาทอง คณะทำงานของนายจาตุรนต์ ฉายแสง หัวหน้าพรรคไทยรักไทย มาฟังคำปราศรัยและแจกใบปลิว อ้างว่าทำในนามส่วนตัว

ที่ขาดไม่ได้คือ ตำรวจเกือบทุก สน.ถูกเกณฑ์มาร่วมกับเทศกิจ แถมด้วยตำรวจปราบจลาจล 191 ถือโล่กระบองมาร่วมดูแลม็อบด้วย ทำให้บรรยายกาศดูตึงเครียด หนำซ้ำยังมีการปล่อยข่าวว่ามีทหารนอกเครื่องแบบไม่ต่ำกว่า 100 นาย ซุ่มดูสถานการณ์อยู่ที่โรงแรมรัตนโกสินทร์อีกต่างหาก

เป็นที่น่าสังเกตอีกอย่าง คือ ม็อบครั้งนี้มีการจัดตั้งกันอย่างหลวมๆ แต่ละกลุ่มต่างเตรียมอุปกรณ์กันมาเอง เช่น เสื้อ "กลุ่มวันเสาร์ไม่เอาเผด็จการ" ใส่กันมาเป็นทีม โปสเตอร์รูป พ.ต.ท.ทักษิณ รูปครอบครัว พ.ต.ท.ทักษิณในกรอบ โปสเตอร์ "NO PREM-TAKSIN OK" เป็นต้น ทุกคนพร้อมชูให้ช่างภาพถ่ายชัดๆ ว่า "ข้าคือสาวกทักษิณ"

หลายคนหน้าตาคุ้นๆ เพราะอยู่ในกลุ่ม "คนรักทักษิณ" ที่เคยปะทะกับกลุ่ม "คนไม่เอาทักษิณ" ก่อนเกิดรัฐประหารวันที่ 19 กันยายน 2549

ขณะที่อีกมุมหนึ่ง แฟนประจำกลุ่มพิราบขาว และกลุ่ม 19 กันยาฯ ราว 200 คน ยังคงปักหลักฟังปราศรัยจากเวทีย่อยด้านหน้ามหาวิทยาลัยธรรมศาสตร์ กลุ่มคนวันเสาร์ไม่เอาเผด็จการ กลุ่มพลเมืองภิวัฒน์

กลุ่มอำนาจเก่าเริ่มอุ่นเครื่องหยั่งอารมณ์สังคมแล้ว คาดว่าในการชุมนุมอีกครั้งวันศุกร์ที่ 30 มีนาคมนี้ จะมีการจัดตั้งอย่างเป็นระบบมากขึ้น

เห็นแล้วทำให้นึกถึงภาพกลุ่มคนไม่เอาทักษิณเต็มถนนราชดำเนิน ในห้วงกลางปี 2549 ยังไงก็ไม่รู้

เหี้ยพอกัน...ถึงอยู่กันได้

สัมพันธ์ลึก"ทักษิณ-สนธิ" เหมือนจะแพ้ แต่ชนะเหมือนจะรัก แต่ขัดแย้ง



ถ้าย้อนอดีตกลับไปเมื่อประมาณ 15 ปีก่อน ถ้ามีใครบอกว่าวันหนึ่ง "ทักษิณ ชินวัตร" กับ "สนธิ ลิ้มทองกุล" จะขัดแย้งกันอย่างรุนแรงถึงขั้นต้อง "ล้ม" กันไปข้างหนึ่ง

ก็คงไม่มีใครเชื่อ

เพราะในวันนั้นทั้งคู่คือ "คนรุ่นใหม่" ที่มีสายสัมพันธ์กันอย่างลึกซึ้งทั้งทางธุรกิจและส่วนตัว

เรื่องที่ "สนธิ" บอกว่าเคยให้หุ้น "ไออีซี" กับ "ทักษิณ" ก็เป็นหนึ่งในตัวอย่างความสัมพันธ์ในช่วงที่ยังรักกันหมายชื่น

"สนธิ" ซื้อบริษัทอินเตอร์เนชั่นแนลเอ็นจิเนียริ่ง หรือ "ไออีซี" จาก "ปูนซิเมนต์ไทย"

และแบ่งหุ้นส่วนหนึ่งขายให้ "ทักษิณ" ในราคาพาร์ 10 บาทก่อนแต่งตัวเข้าตลาดหุ้น

ส่วนหนึ่งเพราะต้องการสร้างสัมพันธ์กับ "ทักษิณ" ในเรื่องการขายโทรศัพท์มือถือ ซึ่ง "เอไอเอส" ของ "ทักษิณ" เป็นเจ้าของเครือข่ายเซลลูลาร์ 900

เพราะคนที่จะขายมือถือในยุคนั้นต้องได้รับความยินยอมจากเจ้าของเครือข่ายก่อน

แต่เมื่อ "ไออีซี" เข้าตลาดหุ้นได้พักใหญ่ ไม่รู้ว่าเพราะขัดแย้งกันในเรื่องแนวทางธุรกิจหรือ "ทักษิณ" ต้องการทำกำไรจากราคาหุ้น

เขาก็เทขายหุ้น"ไออีซี" ฟันกำไรไปเป็นหลัก 100 ล้าน

นั่นคือ จุดเริ่มต้นความไม่พอใจของ "สนธิ" ที่มีต่อ "ทักษิณ"

จากนั้นเส้นทางความสัมพันธ์ระหว่าง "สนธิ" กับ "ทักษิณ" ก็เป็นไปในลักษณะกอดคอกันบ้าง เหยียบเท้ากันบ้างตลอดเวลาตามดีกรีความหมั่นไส้ของคนรุ่นเดียวกัน

ครั้งหนึ่ง "สนธิ" เคยซื้อคลื่นความถี่ 1800 จาก "ดีแทค" มาทำระบบโทรศัพท์มือถือแข่งกับ "ทักษิณ"

ครั้งหนึ่ง "สนธิ" เคยคิดลงทุนทำดาวเทียม "ลาวสตาร์" แข่งกับดาวเทียม "ไทยคม"

และครั้งหนึ่ง "เชิดศักดิ์ กู้เกียรตินันท์" ต้องลาออกจากตำแหน่งกรรมการผู้จัดการบริษัท ชินวัตร คอมพิวเตอร์ หรือ "ชินคอร์ป" ในปัจจุบัน เพราะเข้าไปช่วย "สนธิ" เทกโอเวอร์กิจการหนึ่งในขณะที่ "ทักษิณ" ไม่เห็นด้วย

รวมถึงการเข้าไปมีส่วนเกี่ยวพันกับการแข่งขันชิงสัมปทานสมุดโทรศัพท์หน้าเหลือง

"ทักษิณ" ไม่พอใจมากและกดดันให้ "เชิดศักดิ์" ลาออก

ที่สำคัญ กลุ่ม "ขุนพลเศรษฐกิจ" ของรัฐบาลทักษิณวันนี้ล้วนแต่เคยทำงานร่วมกับ "สนธิ" มาแล้ว

ไม่ว่าจะเป็น "สมคิด จาตุศรีพิทักษ์-ทนง พิทยะ" หรือ "พันศักดิ์ วิญญรัตน์"

เป็นตัวเสริมสายสัมพันธ์ที่ลึกซึ้งให้แน่นแฟ้นยิ่งขึ้น



"สนธิ" เห็นแววของ "สมคิด" ตอนที่ยังเป็นอาจารย์อยู่ที่ "นิด้า" เขาเชิญ "สมคิด" มาเขียนคอลัมน์ประจำในหนังสือพิมพ์ผู้จัดการ

และเข้ามาช่วยดูแลหนังสือ "สหพัฒน์ โตแล้วแตก แตกแล้วโต" ของ "สมใจ วิริยะบัณฑิตกุล"

"สมคิด" เคยเป็นกรรมการของกลุ่มผู้จัดการ

เขารู้จักกับ "ทักษิณ" ตอนที่เป็นกรรมการของ "ไออีซี"

และจากนั้นสายสัมพันธ์ระหว่าง "ทักษิณ-สมคิด" ก็เริ่มก่อตัวขึ้น จนกลายเป็นหนึ่งในกลุ่มผู้ก่อตั้งพรรคไทยรักไทย

เป็น "ขุนพลเศรษฐกิจ" ตัวจริงเสียงจริงของ "ทักษิณ"

ส่วน "ทนง" เป็นเพื่อนนักเรียนอัสสัมชัญของ "สนธิ"

เป็นอาจารย์นิด้าก่อนเข้ามาทำงานที่แบงก์ทหารไทย

ขึ้นสู่ตำแหน่ง "รองกรรมการผู้จัดการใหญ่" แต่โดน "ศุภชัย พานิชภักดิ์" แซงโค้งเข้าป้ายในตำแหน่งกรรมการผู้จัดการใหญ่

คุ้นเคยกับ "สนธิ" ระดับเที่ยวเตร่ด้วยกัน

เมื่อ "ทนง" ลาออกจากแบงก์ ตอนที่กำลังว่างงานก็ไปนั่งอยู่กับ "สนธิ" ที่ "ผู้จัดการ"

"สนธิ" เป็นคนแนะนำ "ทนง" กับ "ทักษิณ" พร้อมยืนยันในเรื่องฝีมือและความสามารถ

"ทักษิณ" ดึง "ทนง" มาช่วยวางระบบเรื่องการเงินให้กับกลุ่มชินคอร์ป

จากนั้นไม่นาน "ทนง" ก็กลับไปนั่งเก้าอี้กรรมการผู้จัดการใหญ่ธนาคารทหารไทยอีกครั้ง เมื่อ "ศุภชัย" พ้นจากตำแหน่ง

ช่วงนั้น "ทนง" ให้สัมภาษณ์ว่ามี 2 คนที่เขาจะไม่ลืม เพราะเป็นคนให้ความช่วยเหลือเขาในตอนที่ลำบาก

คนหนึ่ง คือ "ทักษิณ ชินวัตร"

open your eyes

Handsome, wealthy and charismatic, New York City publishing executive David Aames leads a charmed life. But one night David makes a small mistake that causes him to lose Sofia, the girl of his dreams. In his search for her, David is thrust unexpectedly into a rollercoaster ride of romance, sex, lies and suspicion that results in his ex-girlfriend's suicide and a car accident that leaves David hideously disfigured. Soon, however, his luck seems to change when Sofia declares her love for him and the doctors are able to rebuild his face. But when strange things begin to happen, he starts to realize that his life has taken a turn beyond his control.

...

Stay with me you're the one I need
You make the hardest things
Seem easy
Keep my heart
Somewhere drugs don't go
Where the sunshine slows
Always keep me close
If only you could see
The stranger next to me
You promise you promise that you're done
But i cant tell you from the drugs
Don't let go
Well dig a great big hole
Down an endless hole
We'll both go
You're so blind!
You can't save me this time
Hope comes from inside
And I feel so low tonight
If only you could see
The stranger next to me
You promise you promise that you're done
But I can't tell you from the drugs
I wish you could see
This face in front of me
You're sorry you swear it you're done
But I can't tell you from the drugs



(take me) I need your help
(so far away) To pull me up take the wheel
(take me) Out from me
(so far away) Out from me
(Take me) If only you could see (I need your help)
(So far away) The stranger next to me (To pull me up take the pain)
(Take me) You promise you promise that you're done (Out from me)
(So far away) But I can't tell you from the drugs (Out from me)
(Take me) I wish that you could see (I need your help)
(So far away) This face in front of me (To pull me up take the wheel)
(Take me) You're sorry you swear it you're done (Out from me)
(So far away) But I can't tell you from the drugs (Out from me)
Keep my heart
somewhere drugs don't go
Where the sunshine slows
always keep me close...

I'm fucking damn pop!

Doom metal is among the oldest forms of heavy metal, rooted in the music of early Black Sabbath, who are one of the first heavy metal bands. Their music is rooted in blues, but with the specific loud guitar playing of Iommi, and the then-uncommon dark and pessimistic lyrics and atmosphere, they set the standards of early heavy metal and inspired various doom metal bands. In the early 1970s both Black Sabbath and the American band Pentagram composed and performed this heavy and dark music, which would in the 1980s begin to be known and referred to as doom metal by subsequent musicians, critics and fans. From the late 1970s to mid 1980s, bands such as Trouble, Saint Vitus, Candlemass, Pentagram and Witchfinder General contributed much to the formation of doom metal as a distinct genre. The form of music played by these artists can be described as being rooted in both the music of Black Sabbath and, especially in the case of Witchfinder General, in the New Wave of British Heavy Metal. Some North American acts such as Cirith Ungol and Manilla Road also influenced the rise of the style, especially its epic side which Candlemass defined on their classic, debut album Epicus Doomicus Metallicus.


Candlemass debut album Epicus Doomicus Metallicus (1986) genre-defining classic of 1980s doom scene
During the 1980s, doom metal was deeply underground and gathered only small circles of cult-following fans. In the 1980s, metal was dominated by speed and thrash metal, and in many commercial areas by glam and "stadium-anthem" pseudo-metal bands. Slower, heavier and pessimistic in its nature, doom metal bands didn't receive much attention even among some die-hard metal fans of that time. Bands such as Trouble established the use of Christian imaginery and themes in the lyrical side of doom metal which led these bands to be seen as "weird" and unacceptable amongst some metalheads. It should be noted that although Trouble were Christian, other later doom bands actually weren't. However, many of them, such as Candlemass or Saint Vitus, still embraced elements of Christian imagery, only not as a religious viewpoint but as a lyrical symbolism for themes they deal with in their lyrics such as pain and suffering. Doom metal remained more or less underground at this point.
Doom metal developed further in the early 1990s. The most influential doom metal band from the early 1990s to the present was Cathedral (a band led by ex Napalm Death singer Lee Dorrian). Their debut album Forest of Equilibrium (1991) was a traditional doom release, yet this album opened a wide range of possible influences and directions for the coming doom metal bands. Besides Cathedral, a whole wave of influental doom bands followed during the early 1990s including Solitude Aeturnus, Count Raven, The Obsessed, Penance, Sleep, Revelation, Confessor, etc. Underground labels who most supported the scene in these years were Germany's Hellhound Records and Rise Above (owned by Lee Dorrian).
From the late 1990s to the present, another wave of traditional doom metal has emerged, mostly due to the success of bands such as the British Electric Wizard, the Finnish Reverend Bizarre, and the American High on Fire. Other bands include Orodruin, The Gates Of Slumber, While Heaven Wept, Warning, Solstice, Mirror Of Deception, etc.

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