Cara Delevingne Writes, Records Song for Movie Soundtrack

DELEVINGNE’S DUALITY: Not only is Cara Delevingne starring in Luc Besson’s “Valerian and the City of a Thousand Planets,” but the model-actress is also featured on the soundtrack of the film. Earlier this week, Delevingne took to Instagram to release footage from a music video involving a song from the movie’s soundtrack. Delevingne wrote and recorded the song “I Feel Everything,” which was produced by Pharrell Williams.

Rihanna, Clive Owen and Ethan Hawke are among stars featuring in the movie “Valerian and the City of a Thousand Planets,” which is currently in theaters.
SEE ALSO: Shear Fantasy: Cara Delevingne on ‘Valerian,’ Inspiring Young Girls and ‘Not Needing Hair to Be Beautiful’ >>
Delevingne has already worked with Williams, in 2015. She sang the song “CC The World,” which he wrote. The two also dance together in the short film “Reincarnation,” a teaser for a Chanel show in 2014. The two performed together, as well, at Karl Lagerfeld’s request, at the Chanel Métiers d’Art show in New York at the Park Avenue Armory that same year.
Delevingne recorded the acoustic track “Sun Don’t Shine” with singer-songwriter Will Heard in 2013.
SEE ALSO: Chanel Parties With Pharrell, Cara Delevingne >>
She has been writing in addition to singing. Earlier

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Drake Writes Song for Louis Vuitton Men’s Show

READING THE SIGNS: The soundtrack of the Louis Vuitton men’s show in Paris on Thursday will feature a new song specially composed by Drake.
The rapper unveiled the collaboration on his Instagram: “New song inspired by @louisvuitton @mrkimjones new collection 🌼 Drake x LV premieres tmrw produced by @ovo40.” The image featured a Hawaiian-style floral print with the words: “Drake signs LV.”

An image from Drake’s Instagram account. 

A spokeswoman for Vuitton confirmed the track was titled “Signs,” and said the score was curated by October Firm, the music project created by Drake and Oliver El-Khatib, co-founder of his Ovo Sound label.
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After Postmodernism: Michael Pearce Writes About ‘Art in the Age of Emergence’

Postmodernity is being supplanted by a new emergent age, characterized by the internet’s ability to bring together communities and give them the tools to organize themselves and express the truth as they see it.

– Michael Pearce


Michael Pearce: photo by Harold Muliadi

After hearing a 2013 talk by theologian Philip Clayton–The New Sciences of Emergent Complexity: Evolving Religion in an Evolving World–artist Michael Pearce found himself tremendously excited. Emergence, a cross-disciplinary theory which deals with the way that higher-order complexity can arise out of chaos, presented a powerful new model for aesthetics. For Pearce, a figurative artist and one of the founders of The Representational Art Conference, emergence opened a dynamic alternative to what he feels have been the reductive and culturally erosive tendencies of Postmodernism in art:

Complexity and emergence offer an explanation for the positive experience of the art object, and fills the gap critiqued by Adorno as the great failing of aesthetic writing – that there is no metanarrative in a world in which idealism has been crushed.


Art in the Age of Emergence

Hardcover: 195 pages

Published by Cambridge Scholars Publishing (January 1, 2015)

Serious discussions about emergence have been appearing in other fields since the postwar era, especially in physics, chemistry and biology. For example, in biology, emergence has been used to explain properties of life forms that go beyond explanation and transcend their component parts. In the words of one postwar biologist: “Life itself is an emergent property.”

More recently, In the field of theology, Philip Clayton has taken an interdisciplinary approach to emergence, and posited that emergence suggests a new approach to the problem of consciousness, which is neither reducible to brain states nor proof of a mental substance or soul. In his book, Mind and Emergence: From Quantum to Consciousness, he advocates emergentist panentheism and a Christian constructive theology consistent with the new sciences of emergence.

Michael Pearce’s book is first major effort to use emergence as a model for aesthetic theory. Like Clayton, Pearce takes an interdisciplinary approach, weaving together quotes and observations by archaeologists, art historians, evolutionary biologists, philosophers, physicists, semioticians, and theologians. Partly a personal meditation, but also an exploration of scientific and philosophical ideas, Art in the Age of Emergence is intended to challenge the current orthodoxies of contemporary aesthetics.

In the book’s first chapter, for example, Pearce argues for a new “authenticity” in works of art, which he feels is an antidote to the capitalist excesses of the contemporary art market. Pearce writes:

The desire for authenticity is antithetical to the money dominated postmodern art world, in which those who purchase art are manipulated by cynical artists and dealers who exploit socialist pretensions but luxuriate in the benefits of a rampant, unregulated free market capitalism.

Pearce’s idealism will strike many readers as being gloriously out of touch: something which he would likely take as a compliment. As well-stocked as his book may be with elegant theories and interdisciplinary overlaps, Pearce is nearly alone among serious art writers in his taste and orientation. One of the book’s insistences–that representational art is a favored manifestation of emergence–seemed worth questioning. I asked Pearce: “Why do you feel that Emergence works so well in relation to representational art? Wouldn’t it work for abstraction too?”

Yes, it does. Emergent aesthetics support both abstraction and representation. But abstraction is only a part of the whole, not a theme that is superior to representation. To think that abstraction is superior to it is an idea that comes straight out of Kant, who thought that we could somehow detach ourselves from emotional responses to art and view it with “disinterested interest”, with an analytical approach that distanced the work from the viewer.

It’s an idea that was promoted in the early twentieth century by modernists like Herman Broch and Walter Gropius, who were attempting to reinvent culture as a response to the horrors of the world wars. But the idea that we could detach ourselves from emotion dehumanizes us as badly as ever. Broch even said that beauty was evil! He wrote a lengthy essay about it, describing how kitsch led to it. He wanted to dispose of anything kitsch, and to get rid of sentiment.

But sentiment is a thoroughly human quality – what could be more kitsch than the mother holding a newborn baby? And how could anyone regard a moment like that without feeling the kitsch sentiment it inspires? To pretend that human beings can be detached from emotional responses like this is ridiculous.

Again, I’m not saying that abstraction is bad and wrong – but that it’s only a part of the art we make as a response to human experience. We’ve tried to separate emotion from art for a century, but disinterested interest is a completely artificial imposition upon the way mind works. The emergent mind is founded upon sensory experience. If art reflects mind, then why would we attempt to deny the value and importance of sentiment in our art?

Art in the Age of Emergence is a dense book that is ultimately quite optimistic, and a genuine conversation-starter. In its postscript, Pearce states that “We are moving beyond the negative impact upon human consciousness caused by the first half of the twentieth century…We all know what an emergent experiences feels like: it is a moment of harmony, of wonder, of completion, felt both as a deep affirmative feeling of unity and as a physiological experience that takes place in the brain.”

For Pearce’s ideas to be validated his friends and admirers are going to have to make works of art that live up to his very high expectations. For the time being, Pearce is perhaps the only serious art writer in America who offers toasts to Bouguereau and looks to theology for ideas about aesthetics. He is already at work on another book which will deal with emergence and kitsch. For now, his ideas and enthusiasms mark Pearce as decidedly contrarian. Or course, in the art world taste can shift very suddenly and unpredictably. If things move in the direction Pearce feels they will, he will likely see it as a manifestation of emergence, something he noticed before everyone else caught on.

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Arts – The Huffington Post
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Michael Jai White Writes Letter Of Apology To His Ex-Girlfriends: ‘I Believed All Women Were Crazy’

Following years of trial and error with romantic relationships, it appears actor Michael Jai White has stumbled upon an epiphany when it comes to dating, love and his former girlfriends.

Earlier this week the “For Better Or Worse” star took to his Facebook page to pen an open letter aptly titled, “Apologies To All My Ex’s.” In the letter, White detailed some of his previous dating issues and thoughts on how women were “crazy” with their relationship demands.

“As a man, you have to deal with hand holding, ‘yes dearing,’ and freaking cuddling! I endured this for years until my relationships reached their natural demise due to some natural chemistry flaw between us or the woman’s natural chemical imbalance- Yes I said it,” he wrote.

“I believed all women were crazy and the only choice a man had was to decide exactly how much crazy he’s willing to deal with to sustain a relationship. It’s crazy to think I, as a man, would ever want to spend every waking moment with a woman, to be all-up-on each other constantly, to talk endlessly about ‘every-damned-thing’ and see each other “every-damned-day!”

Now happily married, White credits his undying love for wife, Gillian Waters, who, he says, has helped him gain a better understanding on how to cater to a woman’s needs like “a man.”

“I simply didn’t love my ex’s in the capacity their spirits knew organically needed to be loved,” he said. “I believe woman nowadays have learned to settle for what’s familiar to love. In turn, they’ve had to decide how much of a man’s love they can live without to sustain a relationship.”

“I can say that I am now the very best version of myself and that’s due entirely to my relationship.”

Read more of Michael Jai White’s letterbelow.

APOLOGIES TO ALL MY EX’S! In all my years as a grown man I knew, without a doubt, that women were different than men…

Posted by Michael Jai White on Sunday, April 12, 2015

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Rocket Writes a Story

Rocket Writes a Story

The #1 New York Times BestsellerThis irresistible sequel to the New York Times bestselling How Rocket Learned to Read is “a perfect choice to inspire new readers and writers,” according to a starred review from Kirkus Reviews.Rocket loves books and he wants to make his own, but he can’t think of a story. Encouraged by the little yellow bird to look closely at the world around him for inspiration, Rocket sets out on a journey. Along the way he discovers small details that he has never noticed before, a timid baby owl who becomes his friend, and an idea for a story. Declared a best children’s book of the year by Amazon, Barnes & Noble, School Library Journal, and Publishers Weekly, this book is sure to appeal to kids, parents, teachers, and librarians.From the Hardcover edition.

Price: $
Sold by Kobo Inc.