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Archive for October, 2008

“Dead Love, Dead Hearts, Dead City Goodbye!” [a poem]

Deep Days in the Dead City

Deep days in the dead city, in its jungle like streets,
‘Our days are numbered,’ I’ve heard that somewhere along life’s line; in songs, perhaps in the Bible, here, there, but I’m still here. Everyone wants to play in this game called life, I just want to get away, out of the city, its parks and dogs, its streets, and family members that are more strangers to me than strangers I’ve just met; I think a city over 50,000-you lose something (if not your heart, your head).
The Devils around more of the time I believe, in such bigger cities; I know He’s here in my hometown, St. Paul, Minnesota; He’s at the movies a lot also, I’d say. I’m not missed here much, and I live here, no reason to stay, love is in some other place. But He likes it like this, more games to play.

I had to cross many rivers, many streets, or so I feel to get to so many people that are too busy to give a damn, or a once of time, whom are more stuck in their own cocoons than I. What is my solution? Go to the mountainsleave them all behind, leave them before you lose your mind, there is no love no affection, pretense is like a vine, it wraps around their busy, busy, busy minds. Here my eyes never go dry; I’m like a ship sinking, everyone grabbing the rafts from melet him sink, they sing, we got money to make, do other thing.

Goodbye, goodbye, goodbye, hope never to see you again, everyone. Don’t need me anymore anyway, time, struggles, the big city, the jungle streets: you never gave an once of peace, or sleep, and everyone thinks he or she is the great somebody, the man, the king of the house, the whore who never scored, the bitch who got rich, and lost her soul for a dead fish. Raise the kids to spit farther, too late to teach them right from wrong, respect or regret, the city will tell you how to act and raise them, or perhaps it did: it’s your children, the city’s got your best interests: and the kids turn out to be worthless. The walking dead, better you talk to stranger, less dread, or go to the mountains instead.

See Dennis’ web site: http://dennissiluk.tripod.com

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Cities Full of Chaotic Order

I have spent most of my adult life in a city, London, UK in fact, and travelling to and from cities in one country or another. I couldn’t understand why even though they were havens for chaos I felt at ease in them.

I have spent many years as a graphic designer too, all of these years in fact were in the same cities. Unfortunately being a graphic designer, unbelievably, caused me to miss this feeling, or at least miss-understand what it was. As I believe it, graphics was all about solving other people’s briefs, or theories, over short periods of time; the nature of graphics.

I have often looked out of the window while I was contemplating an idea and something made me feel good, enough to return to the issue with vigour. I believe this was the fact that I was staring out into a city.

Why do I find tranquillity in a chaotic city? A city cannot survive unless it is operating properly, so when I am in London, or Sydney, Singapore City or Paris, and others; I understand that these cities are well established, hence they must have some order.

I was day dreaming in the studio - in my late re-introduction into art, since just before Christmas 2005, after a 5 year break from Graphic Design, I have rented my own studio, and embarked on a fine-art journey, this time solving my own theories - and while taking a break from a very strenuous charcoal and pastel morning, I sat down and looked at all of the bits of charcoal I had accumulating.

My nature provided the first part of my artists journey, fast, furious, and flowing actions. When finished I am “stuffed”. I sat down and noticed all the bits left over from burning away at the charcoal sticks. (I say burning as I have, many times been burnt, forgetting in my passion, that charcoal sticks don’t remain the same length!).

I picked one bit up while thinking, “wouldn’t it be nice to do some smaller artworks, be a change, be cheaper too”, and started rolling and smudging it around a pad of cartridge paper, A2 in size.

It felt nice. I had tons of space, and a very small piece of charcoal. I was day dreaming still and just let the paper take me where ever it wanted. Shapes appeared in the images, and still in a state of tranquillity I continued with mild direction. It was great, people love them, I feel a bit embarrassed as I am having difficulty accepting they are mine, I know I did them, but who was pushing the charcoal?

Anyway, I did another. While doing this it gave me time to think, I used another piece of charcoal and started a drawing with vertical straight lines, then naturally I put in a horizontal line, a bit of shade and another vertical line, and so on.

Good God! I was drawing edges of buildings, they looked familiar, it was a scene of about anywhere in London, any “alley way”, or terrace house rear.
I was at home. I now had a theme, and caught a feeling. While drawing I realised that from all of London’s billions of chaotically placed bricks, drain pipes, windows, curtains, outside toilet cisterns; like in any established city, there was order.

A tranquillity has come from the variety of chaos, which over the years had found its own order.
I have started putting them up on my website now, you can see the first four at the bottom of my “projects” page on my website www.alecellis.com - these are the first, as I mentioned above, but the ones I have yet to put up are more intense, and more tranquil.
It shows how happy I am with my new discovery, I have already had these four mounted and framed for my wall in the studio. I am off up to Sydney next week to take allot of alley way shots, sketch some close views of bricks and drain pipes. The dirtier, uglier, and seedier the better.

I love the way the front of the house is a face, yet the alley ways, in which people are not expected to venture or observe, nor the rears of terrace housing, are given any real attention. Drain pipes, dirty walls, bins, old fencing, little side windows that still retain the fifties or even thirties original curtains, the curtains that came with the house.

A million pieces of chaos come to order… lovely.

Alec Ellis
Artist
http://www.m6.net
For eighteen years as a Graphic Designer from London College of Printing, UK, I have never had as much fun, freedom and serious focus as I have now. I have spent many years creating solutions for clients but now I start on a journey, from scratch, working out my own theory or theories to solve, for the rest of my life.

My personal website is http://www.alecellis.com and I am a member of http://www.m16artspace.com Art Gallery and studios in Canberra, Australia. Both websites are gratefully sponsored by M6.net my first choice in web hosts.

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Performing Magic for Kids Part II - How These Four Things Will Make Or Break Your Magic Show

Four Critical Keys to Performing Magic for Kids

Children don’t understand many of the common cues in a live performance.
Most children are raised in the age of television. Not a bad thing,
except the laugh tracks prompt the children when to laugh. No laugh
tracks and the children are left out in the cold. They are quick and
will get up to speed in no time. But they need your help.

The same issue is even more problematic with applause. Children are not
used to clapping. They don’t understand applause cues. Those wonderfully
timed applause cues will leave you and your audience with a lot of
uncomfortable silence.

What can be done? Everything. One of your most important tasks as a
children’s magician is your opening. The beginning of your show must do
four things:

  • Establish audience control
  • Teach the children to react to applause cues
  • Set the tone for the show
  • Introduce your performing personality

The audience needs to be warmed up prior to your magic show. It seems
hokey and a waste of time, but it can make the difference between a
great magic show and a horrible one.

Children love to have fun. Even in school children are taught to obey
those in authority. For some reason, many magicians forget to establish
authority early in the show. The result resembles a saloon brawl in the
wild west.

When you step out for the start of your show, you have the perfect
opportunity to establish the ground rules for the show. I don’t mean
that you should bring out a list of house rules for the show. Instead
come out with confidence and warm up your audience.

After you welcome everyone to the show, look out over the audience and
say, “This looks like a really great crowd. Let’s see how loud you can
clap. On the count of three ONE. . . TWO . . THREE . .Not bad! Let’s try
it again. On three . .” After some byplay conclude by saying, “What do
we do when we like the magic? (pause) What do we do when we LOVE the
magic?” (pause and react strongly to the crowd)

Four things are being done by that warm up. You have taught the children
to clap when they like the magic. It also trains them to react to the
applause cues in the rest of the show. The warm up establishes that you
are in control for this show. Finally, it sets a fun tone for the show.
This is the first time your audience gets a sense of your performing
personality.

The next article explains how your performing personality can put your magic show over the top with the kids.

Copyright © 2005 J.L. Siefers, All rights reserved.

J.L. Siefers has been performing great magic for years. He has written extensively on many topics in magic. He has shown hundreds of people how to successfully learn to do great magic tricks.

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