A simple webring to show the sketches and researches of 2019 PCA Generative _______ workshops.
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{"manifestos":[{"title":"Discourses on Art","author":"Sir Joshua Reynolds","date":"1769","text":"I wished you to be persuaded, that success in your art depends almost entirely on your own industry; but the industry which I principally recommend, is not the industry of the hands, but of the mind... We may go so far as to assert, that a painter stands in need of more knowledge than is to be picked off his pallet, or collected by looking on his model, whether it be in life or in picture. He can never be a great artist, who is grossly illiterate... He ought to know something concerning the mind, as well as a great deal concerning the body of man.","analysis":{"x":0,"y":0,"z":0,"_text":"I wished you to be persuaded, that success in your art depends almost entirely on your own industry; but the industry which I principally recommend, is not the industry of the hands, but of the mind... We may go so far as to assert, that a painter stands in need of more knowledge than is to be picked off his pallet, or collected by looking on his model, whether it be in life or in picture. He can never be a great artist, who is grossly illiterate... He ought to know something concerning the mind, as well as a great deal concerning the body of man.","_features":{"text":"I wished you to be persuaded, that success in your art depends almost entirely on your own industry; but the industry which I principally recommend, is not the industry of the hands, but of the mind... We may go so far as to assert, that a painter stands in need of more knowledge than is to be picked off his pallet, or collected by looking on his model, whether it be in life or in picture. He can never be a great artist, who is grossly illiterate... He ought to know something concerning the mind, as well as a great deal concerning the body of man.","tokens":"I wished you to be persuaded , that success in your art depends almost entirely on your own industry ; but the industry which I principally recommend , is not the industry of the hands , but of the mind . . . We may go so far as to assert , that a painter stands in need of more knowledge than is to be picked off his pallet , or collected by looking on his model , whether it be in life or in picture . He can never be a great artist , who is grossly illiterate . . . He ought to know something concerning the mind , as well as a great deal concerning the body of man .","pos":"prp vbd prp to vb vbn , in nn in prp$ nn vbz rb rb in prp$ jj nn ; cc dt nn wdt prp rb vb , vbz rb dt nn in dt nns , cc in dt nn . . . prp md vb rb rb in to vb , in dt nn vbz in nn in jjr nn in vbz to vb vbd in prp$ nn , cc vbn in vbg in prp$ nn , in prp vbp in nn cc in nn . prp md rb vb dt jj nn , wp vbz rb jj . . . prp md to vb nn vbg dt nn , in rb in dt jj jj vbg dt nn in nn .","stresses":"1 1 1 1 1 0/1/0 , 1 0/1 0 1 1 0/1 1/0 0/1/0/0 1 1 1 1/0/0 ; 1 0 1/0/0 1 1 1/0/0 0/0/1 , 1 1 0 1/0/0 1 0 1 , 1 1 0 1 . . . 1 1 1 1 1 1 1 0/1 , 1 1 1/0 1 0 1 1 1 1/0 1 1 1 1 1 1 1 1/0 , 1 0/1/0 1 1/0 1 1 1/0 , 1/0 1 1 0 1 1 0 1/0 . 1 1 1/0 1 1 1 1/0 , 1 1 1/0 0/1/0/0 . . . 1 1 1 1 1/0 0/1/0 0 1 , 1 1 1 1 1 1 0/1/0 0 1/0 1 1 .","phonemes":"iy w-ih-sh-t y-uw t-uw b-iy p-er-s-w-ey-d-ah-d , dh-ae-t s-ah-k-s-eh-s ih-n y-ao-r aa-r-t d-ih-p-eh-n-d-z ao-l-m-ow-s-t ih-n-t-ay-er-l-iy aa-n y-ao-r ow-n ih-n-d-ah-s-t-r-iy ; b-ah-t dh-ah ih-n-d-ah-s-t-r-iy w-ih-ch iy p-r-ih-n-s-ih-p-l-iy r-eh-k-ah-m-eh-n-d , ih-s n-aa-t dh-ah ih-n-d-ah-s-t-r-iy ah-v dh-ah hh-ae-n-d-z , b-ah-t ah-v dh-ah m-ay-n-d . . . w-iy m-ey g-ow s-ow f-aa-r ae-z t-uw ah-s-er-t , dh-ae-t ey p-ey-n-t-er s-t-ae-n-d-z ih-n n-iy-d ah-v m-ao-r n-aa-l-ah-jh dh-ae-n ih-s t-uw b-iy p-ih-k-t ao-f hh-ih-z p-ae-l-ah-t , ao-r k-ah-l-eh-k-t-ah-d b-ay l-uh-k-ih-ng aa-n hh-ih-z m-aa-d-ah-l , w-eh-dh-er ih-t b-iy ih-n l-ay-f ao-r ih-n p-ih-k-ch-er . hh-iy k-ae-n n-eh-v-er b-iy ey g-r-ey-t aa-r-t-ah-s-t , hh-uw ih-s g-r-ow-s-l-iy ih-l-ih-t-er-ah-t . . . hh-iy ao-t t-uw n-ow s-ah-m-th-ih-ng k-ah-n-s-er-n-ih-ng dh-ah m-ay-n-d , ae-z w-eh-l ae-z ey g-r-ey-t d-iy-l k-ah-n-s-er-n-ih-ng dh-ah b-aa-d-iy ah-v m-ae-n .","syllables":"iy w-ih-sh-t y-uw t-uw b-iy p-er/s-w-ey/d-ah-d , dh-ae-t s-ah-k/s-eh-s ih-n y-ao-r aa-r-t d-ih/p-eh-n-d-z ao-l/m-ow-s-t ih-n/t-ay/er/l-iy aa-n y-ao-r ow-n ih-n/d-ah-s/t-r-iy ; b-ah-t dh-ah ih-n/d-ah-s/t-r-iy w-ih-ch iy p-r-ih-n/s-ih/p-l-iy r-eh/k-ah/m-eh-n-d , ih-s n-aa-t dh-ah ih-n/d-ah-s/t-r-iy ah-v dh-ah hh-ae-n-d-z , b-ah-t ah-v dh-ah m-ay-n-d . . . w-iy m-ey g-ow s-ow f-aa-r ae-z t-uw ah/s-er-t , dh-ae-t ey p-ey-n/t-er s-t-ae-n-d-z ih-n n-iy-d ah-v m-ao-r n-aa/l-ah-jh dh-ae-n ih-s t-uw b-iy p-ih-k-t ao-f hh-ih-z p-ae/l-ah-t , ao-r k-ah/l-eh-k/t-ah-d b-ay l-uh/k-ih-ng aa-n hh-ih-z m-aa/d-ah-l , w-eh/dh-er ih-t b-iy ih-n l-ay-f ao-r ih-n p-ih-k/ch-er . hh-iy k-ae-n n-eh/v-er b-iy ey g-r-ey-t aa-r/t-ah-s-t , hh-uw ih-s g-r-ow-s/l-iy ih/l-ih/t-er/ah-t . . . hh-iy ao-t t-uw n-ow s-ah-m/th-ih-ng k-ah-n/s-er/n-ih-ng dh-ah m-ay-n-d , ae-z w-eh-l ae-z ey g-r-ey-t d-iy-l k-ah-n/s-er/n-ih-ng dh-ah b-aa/d-iy ah-v m-ae-n ."}}},{"title":"Futurism","author":"FT Marinetti","date":"1909","text":"1. We intend to sing the love of danger, the habit of energy and fearlessness. 2. Courage, boldness, and rebellion will be the essential elements in our poetry. 3. Up to now, literature has extolled a comtemplative stillness, rapture and reverie. We intend to glorify aggressive action, a restive wakefulness, life at the double, the slap and the punching fist.","analysis":{"x":0,"y":0,"z":0,"_text":"1. We intend to sing the love of danger, the habit of energy and fearlessness. 2. Courage, boldness, and rebellion will be the essential elements in our poetry. 3. Up to now, literature has extolled a comtemplative stillness, rapture and reverie. We intend to glorify aggressive action, a restive wakefulness, life at the double, the slap and the punching fist.","_features":{"text":"1. We intend to sing the love of danger, the habit of energy and fearlessness. 2. Courage, boldness, and rebellion will be the essential elements in our poetry. 3. Up to now, literature has extolled a comtemplative stillness, rapture and reverie. We intend to glorify aggressive action, a restive wakefulness, life at the double, the slap and the punching fist.","tokens":"1 . We intend to sing the love of danger , the habit of energy and fearlessness . 2 . Courage , boldness , and rebellion will be the essential elements in our poetry . 3 . Up to now , literature has extolled a comtemplative stillness , rapture and reverie . We intend to glorify aggressive action , a restive wakefulness , life at the double , the slap and the punching fist .","pos":"cd . prp vbp to vb dt nn in nn , dt nn in nn cc nns . cd . nnp , nn , cc nn md vb dt jj nns in prp$ nn . cd . in to rb , nn vbz vbd dt nn nn , nn cc nn . prp vbp to vb jj nn , dt jj nns , nn in dt jj , dt nn cc dt vbg nn .","stresses":"1 . 1 0/1 1 1 0 1 1 1/0 , 0 1/0 1 1/0/0 1 1/0/0 . 1 . 1/0 , 1/0 , 1 0/1/0 1 1 0 0/1/0 1/1/0 0 1/0 1/0/0 . 1 . 1 1 1 , 1/0/0/0 1 0/1 1 1/1/1/0 1/0 , 1/0 1 1/0/0 . 1 0/1 1 1/0/0 0/1/0 1/0 , 1 1/0 1/0/0 , 1 1 0 1/0 , 0 1 1 0 1/0 1 .","phonemes":"w-ah-n . w-iy ih-n-t-eh-n-d t-uw s-ih-ng dh-ah l-ah-v ah-v d-ey-n-jh-er , dh-ah hh-ae-b-ah-t ah-v eh-n-er-jh-iy ae-n-d f-er-l-ah-s-s-n-ah-s . t-uw . k-er-ah-jh , b-ow-l-d-n-ah-s , ae-n-d r-ih-b-eh-l-y-ah-n w-ih-l b-iy dh-ah ih-s-eh-n-sh-ah-l eh-l-eh-m-ah-n-t-s ih-n aw-er p-ow-ah-t-r-iy . th-r-iy . ah-p t-uw n-aw , l-ih-t-er-ah-ch-er hh-ae-z ih-k-s-t-ow-l-d ey k-aa-m-t-eh-m-p-l-ey-t-ih-v s-t-ih-l-n-ah-s , r-ae-p-ch-er ae-n-d r-eh-v-er-iy . w-iy ih-n-t-eh-n-d t-uw g-l-ao-r-ah-f-ay ah-g-r-eh-s-ih-v ae-k-sh-ah-n , ey r-eh-s-t-ih-v w-ey-k-f-ah-l-n-ah-s , l-ay-f ae-t dh-ah d-ah-b-ah-l , dh-ah s-l-ae-p ae-n-d dh-ah p-ah-n-ch-ih-ng f-ih-s-t .","syllables":"w-ah-n . w-iy ih-n/t-eh-n-d t-uw s-ih-ng dh-ah l-ah-v ah-v d-ey-n/jh-er , dh-ah hh-ae/b-ah-t ah-v eh/n-er/jh-iy ae-n-d f-er/l-ah-s/s-n-ah-s . t-uw . k-er/ah-jh , b-ow-l-d/n-ah-s , ae-n-d r-ih/b-eh-l/y-ah-n w-ih-l b-iy dh-ah ih/s-eh-n/sh-ah-l eh/l-eh/m-ah-n-t-s ih-n aw/er p-ow/ah/t-r-iy . th-r-iy . ah-p t-uw n-aw , l-ih/t-er/ah/ch-er hh-ae-z ih-k/s-t-ow-l-d ey k-aa-m/t-eh-m/p-l-ey/t-ih-v s-t-ih-l/n-ah-s , r-ae-p/ch-er ae-n-d r-eh/v-er/iy . w-iy ih-n/t-eh-n-d t-uw g-l-ao/r-ah/f-ay ah/g-r-eh/s-ih-v ae-k/sh-ah-n , ey r-eh/s-t-ih-v w-ey-k/f-ah-l/n-ah-s , l-ay-f ae-t dh-ah d-ah/b-ah-l , dh-ah s-l-ae-p ae-n-d dh-ah p-ah-n/ch-ih-ng f-ih-s-t ."}}},{"title":"Staatliche Bauhaus","author":"Walter Gropius","date":"1919","text":"Architects, sculptors, painters – we all must return to craftsmanship! For there is no such thing as 'art by profession'. There is no essential difference between the artist and the artisan. The artist is an exalted artisan.","analysis":{"x":0,"y":0,"z":0,"_text":"Architects, sculptors, painters – we all must return to craftsmanship! For there is no such thing as 'art by profession'. There is no essential difference between the artist and the artisan. The artist is an exalted artisan.","_features":{"text":"Architects, sculptors, painters – we all must return to craftsmanship! For there is no such thing as 'art by profession'. There is no essential difference between the artist and the artisan. The artist is an exalted artisan.","tokens":"Architects , sculptors , painters – we all must return to craftsmanship ! For there is no such thing as ' art by profession ' . There is no essential difference between the artist and the artisan . The artist is an exalted artisan .","pos":"nns , nns , nns – prp dt md vb to nn ! in ex vbz dt jj nn in ' nn in nn ' . ex vbz dt jj nn in dt nn cc dt nn . dt nn vbz dt jj nn .","stresses":"1/0/1 , 1/0 , 1/0 – 1 1 1 0/1 1 1/0/0 ! 1 1 1 1 1 1 1 ' 1 1 0/1/0 ' . 1 1 1 0/1/0 1/0/0 0/1 0 1/0 1 0 1/0/0 . 0 1/0 1 1 0/1/0 1/0/0 .","phonemes":"aa-r-k-ah-t-eh-k-t-s , s-k-ah-l-p-t-er-z , p-ey-n-t-er-z – w-iy ao-l m-ah-s-t r-ih-t-er-n t-uw k-r-ae-f-t-s-m-ah-n-sh-ih-p ! f-ao-r dh-eh-r ih-s n-ow s-ah-ch th-ih-ng ae-z ' aa-r-t b-ay p-r-ah-f-eh-sh-ah-n ' . dh-eh-r ih-s n-ow ih-s-eh-n-sh-ah-l d-ih-f-er-ah-n-s b-ih-t-w-iy-n dh-ah aa-r-t-ah-s-t ae-n-d dh-ah aa-r-t-ah-z-ah-n . dh-ah aa-r-t-ah-s-t ih-s ae-n ih-g-z-ao-l-t-ih-d aa-r-t-ah-z-ah-n .","syllables":"aa-r/k-ah/t-eh-k-t-s , s-k-ah-l-p/t-er-z , p-ey-n/t-er-z – w-iy ao-l m-ah-s-t r-ih/t-er-n t-uw k-r-ae-f-t-s/m-ah-n/sh-ih-p ! f-ao-r dh-eh-r ih-s n-ow s-ah-ch th-ih-ng ae-z ' aa-r-t b-ay p-r-ah/f-eh/sh-ah-n ' . dh-eh-r ih-s n-ow ih/s-eh-n/sh-ah-l d-ih/f-er/ah-n-s b-ih/t-w-iy-n dh-ah aa-r/t-ah-s-t ae-n-d dh-ah aa-r/t-ah/z-ah-n . dh-ah aa-r/t-ah-s-t ih-s ae-n ih-g/z-ao-l/t-ih-d aa-r/t-ah/z-ah-n ."}}},{"title":"Concerning the Spiritual in Art","author":"Wassily Kandinsky","date":"1912","text":"The mutual influence of form and colour now becomes clear. A yellow triangle, a blue circle, a green square, or a green triangle, a yellow circle, a blue square – all these are different and have different spiritual values.","analysis":{"x":0,"y":0,"z":0,"_text":"The mutual influence of form and colour now becomes clear. A yellow triangle, a blue circle, a green square, or a green triangle, a yellow circle, a blue square – all these are different and have different spiritual values.","_features":{"text":"The mutual influence of form and colour now becomes clear. A yellow triangle, a blue circle, a green square, or a green triangle, a yellow circle, a blue square – all these are different and have different spiritual values.","tokens":"The mutual influence of form and colour now becomes clear . A yellow triangle , a blue circle , a green square , or a green triangle , a yellow circle , a blue square – all these are different and have different spiritual values .","pos":"dt jj nn in nn cc nn rb vbz jj . dt jj nn , dt jj nn , dt jj nn , cc dt jj nn , dt jj nn , dt jj nn – dt dt nn jj cc vbp jj jj nns .","stresses":"0 1/0/0 1/0/0 1 1 1 1/1 1 0/1 1 . 1 1/0 1/0/0 , 1 1 1/0 , 1 1 1 , 1 1 1 1/0/0 , 1 1/0 1/0 , 1 1 1 – 1 1 1 1/0/0 1 1 1/0/0 1/0/0/0 1/1 .","phonemes":"dh-ah m-y-uw-ch-ah-w-ah-l ih-n-f-l-uw-ah-n-s ah-v f-ao-r-m ae-n-d k-ah-l-er n-aw b-ih-k-ah-m-z k-l-ih-r . ey y-eh-l-ow t-r-ay-ae-ng-g-ah-l , ey b-l-uw s-er-k-ah-l , ey g-r-iy-n s-k-w-eh-r , ao-r ey g-r-iy-n t-r-ay-ae-ng-g-ah-l , ey y-eh-l-ow s-er-k-ah-l , ey b-l-uw s-k-w-eh-r – ao-l dh-iy-z aa-r d-ih-f-er-ah-n-t ae-n-d hh-ae-v d-ih-f-er-ah-n-t s-p-ih-r-ih-ch-ah-w-ah-l v-ae-l-uw-z .","syllables":"dh-ah m-y-uw/ch-ah/w-ah-l ih-n/f-l-uw/ah-n-s ah-v f-ao-r-m ae-n-d k-ah/l-er n-aw b-ih/k-ah-m-z k-l-ih-r . ey y-eh/l-ow t-r-ay/ae-ng/g-ah-l , ey b-l-uw s-er/k-ah-l , ey g-r-iy-n s-k-w-eh-r , ao-r ey g-r-iy-n t-r-ay/ae-ng/g-ah-l , ey y-eh/l-ow s-er/k-ah-l , ey b-l-uw s-k-w-eh-r – ao-l dh-iy-z aa-r d-ih/f-er/ah-n-t ae-n-d hh-ae-v d-ih/f-er/ah-n-t s-p-ih/r-ih/ch-ah/w-ah-l v-ae/l-uw-z ."}}},{"title":"Dada","author":"Tristan Tzara","date":"1918","text":"A work of art is never beautiful by decree, objectively and for all. Hence criticism is useless, it exists only subjectively, for each man separately, without the slightest character of universality... Dada was born of a need for independence, of a distrust toward unity. Those who are with us preserve their freedom. We recognize no theory.","analysis":{"x":0,"y":0,"z":0,"_text":"A work of art is never beautiful by decree, objectively and for all. Hence criticism is useless, it exists only subjectively, for each man separately, without the slightest character of universality... Dada was born of a need for independence, of a distrust toward unity. Those who are with us preserve their freedom. We recognize no theory.","_features":{"text":"A work of art is never beautiful by decree, objectively and for all. Hence criticism is useless, it exists only subjectively, for each man separately, without the slightest character of universality... Dada was born of a need for independence, of a distrust toward unity. Those who are with us preserve their freedom. We recognize no theory.","tokens":"A work of art is never beautiful by decree , objectively and for all . Hence criticism is useless , it exists only subjectively , for each man separately , without the slightest character of universality . . . Dada was born of a need for independence , of a distrust toward unity . Those who are with us preserve their freedom . We recognize no theory .","pos":"dt nn in nn vbz rb jj in nn , rb cc in dt . rb nn vbz jj , prp vbz rb rb , in dt nn rb , in dt jjs nn in nn . . . nnp vbd vbn in dt nn in nn , in dt nn in nn . dt wp vbp in prp vbp prp$ nn . prp vbp dt nn .","stresses":"1 1 1 1 1 1/0 1/0/0 1 0/1 , 0/1/0/0 1 1 1 . 1 1/0/0/0 1 1/0 , 1 0/1 1/0 0/1/0/0 , 1 1 1 1/0/0/0 , 0/1 0 1/0 1/0/0 1 0/0/0/1/0/0 . . . 1/0 1 1 1 1 1 1 0/0/1/0 , 1 1 0/1 0/1 1/0/0 . 1 1 1 1 1 0/1 1 1/0 . 1 1/0/0 1 1/0 .","phonemes":"ey w-er-k ah-v aa-r-t ih-s n-eh-v-er b-y-uw-t-ah-f-ah-l b-ay d-ih-k-r-iy , aa-b-jh-eh-k-t-ih-v-l-iy ae-n-d f-ao-r ao-l . hh-eh-n-s k-r-ih-t-ih-s-ih-z-ah-m ih-s y-uw-s-l-ah-s , ih-t ih-g-z-ih-s-t-s ow-n-l-iy s-ah-b-jh-eh-k-t-ih-v-l-iy , f-ao-r iy-ch m-ae-n s-eh-p-er-ah-t-l-iy , w-ih-th-aw-t dh-ah s-l-ay-t-ah-s-t k-eh-r-ih-k-t-er ah-v y-uw-n-ah-v-er-s-ae-l-ah-t-iy . . . d-aa-d-aa w-aa-z b-ao-r-n ah-v ey n-iy-d f-ao-r ih-n-d-ih-p-eh-n-d-ah-n-s , ah-v ey d-ih-s-t-r-ah-s-t t-ah-w-ao-r-d y-uw-n-ah-t-iy . dh-ow-z hh-uw aa-r w-ih-dh ah-s p-r-ah-z-er-v dh-eh-r f-r-iy-d-ah-m . w-iy r-eh-k-ah-g-n-ay-z n-ow th-ih-r-iy .","syllables":"ey w-er-k ah-v aa-r-t ih-s n-eh/v-er b-y-uw/t-ah/f-ah-l b-ay d-ih/k-r-iy , aa-b/jh-eh-k/t-ih-v/l-iy ae-n-d f-ao-r ao-l . hh-eh-n-s k-r-ih/t-ih/s-ih/z-ah-m ih-s y-uw-s/l-ah-s , ih-t ih-g/z-ih-s-t-s ow-n/l-iy s-ah-b/jh-eh-k/t-ih-v/l-iy , f-ao-r iy-ch m-ae-n s-eh/p-er/ah-t/l-iy , w-ih/th-aw-t dh-ah s-l-ay/t-ah-s-t k-eh/r-ih-k/t-er ah-v y-uw/n-ah/v-er/s-ae/l-ah/t-iy . . . d-aa/d-aa w-aa-z b-ao-r-n ah-v ey n-iy-d f-ao-r ih-n/d-ih/p-eh-n/d-ah-n-s , ah-v ey d-ih-s/t-r-ah-s-t t-ah/w-ao-r-d y-uw/n-ah/t-iy . dh-ow-z hh-uw aa-r w-ih-dh ah-s p-r-ah/z-er-v dh-eh-r f-r-iy/d-ah-m . w-iy r-eh/k-ah-g/n-ay-z n-ow th-ih/r-iy ."}}},{"title":"Five Points Towards a New Architecture","author":"Le Corbusier","date":"1926","text":"The following points in no way relate to aesthetic fantasies or a striving for fashionable effects, but concern architectural facts that imply an entirely new kind of building, from the dwelling house to palatial edifices... The age of the architects is coming.","analysis":{"x":0,"y":0,"z":0,"_text":"The following points in no way relate to aesthetic fantasies or a striving for fashionable effects, but concern architectural facts that imply an entirely new kind of building, from the dwelling house to palatial edifices... The age of the architects is coming.","_features":{"text":"The following points in no way relate to aesthetic fantasies or a striving for fashionable effects, but concern architectural facts that imply an entirely new kind of building, from the dwelling house to palatial edifices... The age of the architects is coming.","tokens":"The following points in no way relate to aesthetic fantasies or a striving for fashionable effects , but concern architectural facts that imply an entirely new kind of building , from the dwelling house to palatial edifices . . . The age of the architects is coming .","pos":"dt vbg nns in dt nn vbp to jj nns cc dt vbg in jj nns , cc nn jj nns in rb dt rb jj nn in vbg , in dt vbg nn to jj nns . . . dt nn in dt nns vbz vbg .","stresses":"0 1/0/0 1 0 1 1 0/1 1 0/1/0 1/0/0 1 1 1/0 1 1/0/0/0 0/1 , 1 0/1 0/0/1/0/0 1 1 0/1 1 0/1/0/0 1 1 1 1/0 , 1 0 1/0 1 1 0/1/0 1/0/1/0 . . . 0 1 1 0 1/0/1 1 1/0 .","phonemes":"dh-ah f-aa-l-ow-ih-ng p-oy-n-t-s ih-n n-ow w-ey r-ih-l-ey-t t-uw eh-s-th-eh-t-ih-k f-ae-n-t-ah-s-iy-z ao-r ey s-t-r-ay-v-ih-ng f-ao-r f-ae-sh-ah-n-ah-b-ah-l ah-f-eh-k-t-s , b-ah-t k-ah-n-s-er-n aa-r-k-ah-t-eh-k-ch-er-ah-l f-ae-k-t-s dh-ae-t ih-m-p-l-ay ae-n ih-n-t-ay-er-l-iy n-uw k-ay-n-d ah-v b-ih-l-d-ih-ng , f-r-ah-m dh-ah d-w-eh-l-ih-ng hh-aw-s t-uw p-ah-l-ey-sh-ah-l eh-d-ah-f-ay-s-ah-z . . . dh-ah ey-jh ah-v dh-ah aa-r-k-ah-t-eh-k-t-s ih-s k-ah-m-ih-ng .","syllables":"dh-ah f-aa/l-ow/ih-ng p-oy-n-t-s ih-n n-ow w-ey r-ih/l-ey-t t-uw eh-s/th-eh/t-ih-k f-ae-n/t-ah/s-iy-z ao-r ey s-t-r-ay/v-ih-ng f-ao-r f-ae/sh-ah-n/ah/b-ah-l ah/f-eh-k-t-s , b-ah-t k-ah-n/s-er-n aa-r/k-ah/t-eh-k/ch-er/ah-l f-ae-k-t-s dh-ae-t ih-m/p-l-ay ae-n ih-n/t-ay/er/l-iy n-uw k-ay-n-d ah-v b-ih-l/d-ih-ng , f-r-ah-m dh-ah d-w-eh/l-ih-ng hh-aw-s t-uw p-ah/l-ey/sh-ah-l eh/d-ah/f-ay/s-ah-z . . . dh-ah ey-jh ah-v dh-ah aa-r/k-ah/t-eh-k-t-s ih-s k-ah/m-ih-ng ."}}},{"title":"The Laws of Sculptors","author":"Gilbert & George","date":"1967","text":"1. Always be smartly dressed, well groomed, relaxed, friendly, polite and in complete control. 2. Make the world believe in you and to pay heavily for this privilege. 3. Never worry, assess, discuss or criticize but remain quiet respectful and calm. 4. The Lord chisels still, so don't leave your bench for long.","analysis":{"x":0,"y":0,"z":0,"_text":"1. Always be smartly dressed, well groomed, relaxed, friendly, polite and in complete control. 2. Make the world believe in you and to pay heavily for this privilege. 3. Never worry, assess, discuss or criticize but remain quiet respectful and calm. 4. The Lord chisels still, so don't leave your bench for long.","_features":{"text":"1. Always be smartly dressed, well groomed, relaxed, friendly, polite and in complete control. 2. Make the world believe in you and to pay heavily for this privilege. 3. Never worry, assess, discuss or criticize but remain quiet respectful and calm. 4. The Lord chisels still, so don't leave your bench for long.","tokens":"1 . Always be smartly dressed , well groomed , relaxed , friendly , polite and in complete control . 2 . Make the world believe in you and to pay heavily for this privilege . 3 . Never worry , assess , discuss or criticize but remain quiet respectful and calm . 4 . The Lord chisels still , so don't leave your bench for long .","pos":"cd . rb vb rb vbn , rb vbn , vbn , rb , jj cc in jj nn . cd . vb dt nn vbp in prp cc to vb rb in dt nn . cd . rb vb , vb , vb cc vb cc vb jj jj cc jj . cd . dt nnp vbz rb , rb vbp vb prp$ nn in jj .","stresses":"1 . 1/0 1 1/0 1 , 1 1 , 0/1 , 1/0 , 0/1 1 0 0/1 0/1 . 1 . 1 0 1 0/1 0 1 1 1 1 1/0/0 1 1 1/0 . 1 . 1/0 1/0 , 0/1 , 0/1 1 1/0/0 1 0/1 1/0 0/1/0 1 1 . 1 . 0 1 1/0 1 , 1 1 1 1 1 1 1 .","phonemes":"w-ah-n . ao-l-w-ey-z b-iy s-m-aa-r-t-l-iy d-r-eh-s-t , w-eh-l g-r-uw-m-d , r-ih-l-ae-k-s-t , f-r-eh-n-d-l-iy , p-ah-l-ay-t ae-n-d ih-n k-ah-m-p-l-iy-t k-ah-n-t-r-ow-l . t-uw . m-ey-k dh-ah w-er-l-d b-ih-l-iy-v ih-n y-uw ae-n-d t-uw p-ey hh-eh-v-ah-l-iy f-ao-r dh-ih-s p-r-ih-v-l-ah-jh . th-r-iy . n-eh-v-er w-er-iy , ah-s-eh-s , d-ih-s-k-ah-s ao-r k-r-ih-t-ih-s-ay-z b-ah-t r-ih-m-ey-n k-w-ay-ah-t r-ih-s-p-eh-k-t-f-ah-l ae-n-d k-aa-m . f-ao-r . dh-ah l-ao-r-d ch-ih-z-ah-l-z s-t-ih-l , s-ow d-ow-n-t l-iy-v y-ao-r b-eh-n-ch f-ao-r l-ao-ng .","syllables":"w-ah-n . ao-l/w-ey-z b-iy s-m-aa-r-t/l-iy d-r-eh-s-t , w-eh-l g-r-uw-m-d , r-ih/l-ae-k-s-t , f-r-eh-n-d/l-iy , p-ah/l-ay-t ae-n-d ih-n k-ah-m/p-l-iy-t k-ah-n/t-r-ow-l . t-uw . m-ey-k dh-ah w-er-l-d b-ih/l-iy-v ih-n y-uw ae-n-d t-uw p-ey hh-eh/v-ah/l-iy f-ao-r dh-ih-s p-r-ih-v/l-ah-jh . th-r-iy . n-eh/v-er w-er/iy , ah/s-eh-s , d-ih/s-k-ah-s ao-r k-r-ih/t-ih/s-ay-z b-ah-t r-ih/m-ey-n k-w-ay/ah-t r-ih/s-p-eh-k-t/f-ah-l ae-n-d k-aa-m . f-ao-r . dh-ah l-ao-r-d ch-ih/z-ah-l-z s-t-ih-l , s-ow d-ow-n-t l-iy-v y-ao-r b-eh-n-ch f-ao-r l-ao-ng ."}}},{"title":"The Stuckist Manifesto","author":"The Stuckists","date":"1999","text":"1. Stuckism is the quest for authenticity. 2. Painting is the medium of self-discovery. 3. Stuckism proposes a model of art which is holistic. 4. Artists who don't paint aren't artists. 5. Art that has to be in a gallery to be art isn't art.","analysis":{"x":0,"y":0,"z":0,"_text":"1. Stuckism is the quest for authenticity. 2. Painting is the medium of self-discovery. 3. Stuckism proposes a model of art which is holistic. 4. Artists who don't paint aren't artists. 5. Art that has to be in a gallery to be art isn't art.","_features":{"text":"1. Stuckism is the quest for authenticity. 2. Painting is the medium of self-discovery. 3. Stuckism proposes a model of art which is holistic. 4. Artists who don't paint aren't artists. 5. Art that has to be in a gallery to be art isn't art.","tokens":"1 . Stuckism is the quest for authenticity . 2 . Painting is the medium of self-discovery . 3 . Stuckism proposes a model of art which is holistic . 4 . Artists who don't paint aren't artists . 5 . Art that has to be in a gallery to be art isn't art .","pos":"cd . nnp vbz dt nn in nn . cd . vbg vbz dt nn in nn . cd . nnp vbz dt nn in nn wdt vbz jj . cd . nnps wp vbp nn vbp nns . cd . nnp in vbz to vb in dt nn to vb nn vbz nn .","stresses":"1 . 1/1/0 1 0 1 1 0/0/1/0/0 . 1 . 1/0 1 0 1/0/0 1 self-discovery . 1 . 1/1/0 0/1/0 1 1/0 1 1 1 1 0/1/0 . 1 . 1/0 1 1 1 1 1/0 . 1 . 1 1 1 1 1 0 1 1/0/0 1 1 1 1 1 .","phonemes":"w-ah-n . s-t-ah-k-ih-z-ah-m ih-s dh-ah k-w-eh-s-t f-ao-r ao-th-ah-n-t-ih-s-ih-t-iy . t-uw . p-ey-n-t-ih-ng ih-s dh-ah m-iy-d-iy-ah-m ah-v self-discovery . th-r-iy . s-t-ah-k-ih-z-ah-m p-r-ah-p-ow-z-ih-z ey m-aa-d-ah-l ah-v aa-r-t w-ih-ch ih-s hh-ow-l-ih-s-t-ih-k . f-ao-r . aa-r-t-ah-s-t-s hh-uw d-ow-n-t p-ey-n-t aa-r-ah-n-t aa-r-t-ah-s-t-s . f-ay-v . aa-r-t dh-ae-t hh-ae-z t-uw b-iy ih-n ey g-ae-l-er-iy t-uw b-iy aa-r-t ih-z-ah-n-t aa-r-t .","syllables":"w-ah-n . s-t-ah/k-ih/z-ah-m ih-s dh-ah k-w-eh-s-t f-ao-r ao/th-ah-n/t-ih/s-ih/t-iy . t-uw . p-ey-n/t-ih-ng ih-s dh-ah m-iy/d-iy/ah-m ah-v self-discovery . th-r-iy . s-t-ah/k-ih/z-ah-m p-r-ah/p-ow/z-ih-z ey m-aa/d-ah-l ah-v aa-r-t w-ih-ch ih-s hh-ow/l-ih/s-t-ih-k . f-ao-r . aa-r/t-ah-s-t-s hh-uw d-ow-n-t p-ey-n-t aa-r-ah-n-t aa-r/t-ah-s-t-s . f-ay-v . aa-r-t dh-ae-t hh-ae-z t-uw b-iy ih-n ey g-ae/l-er/iy t-uw b-iy aa-r-t ih-z-ah-n-t aa-r-t ."}}},{"title":"Red Alan's Manifesto","author":"Grayson Perry RA","date":"2014","text":"1. Nothing in Art is New or Old fashioned only Good or Bad. 2. Failed paintings to be sent to DISASTER zones to be used to make tents. 3. Bad Sculpture should be installed outside companies guilty of FINANCIAL IRREGULARITIES. 4. POPULAR art will be displayed above head height to we can see it. 5. Videos should be no longer than 10 minutes comfy seating must be provided. 6. HALF of R.A.s must wear DRESSES. 7. An artist's BIGGEST work is very VERY rarely their BEST. 8. Artists are NOT Philosophers, comedians, politicians, priests etc. they will be JUDGED on their ART. 9. Special REMEDIAL help should be given to POSH people to help them become artists. 10. We must DARE to make that difficult first mark on the BLANK CANVAS of the FUTURE. 11. MY FAVOURITE ARTWORK IS THE NEXT ONE i MAKE","analysis":{"x":0,"y":0,"z":0,"_text":"1. Nothing in Art is New or Old fashioned only Good or Bad. 2. Failed paintings to be sent to DISASTER zones to be used to make tents. 3. Bad Sculpture should be installed outside companies guilty of FINANCIAL IRREGULARITIES. 4. POPULAR art will be displayed above head height to we can see it. 5. Videos should be no longer than 10 minutes comfy seating must be provided. 6. HALF of R.A.s must wear DRESSES. 7. An artist's BIGGEST work is very VERY rarely their BEST. 8. Artists are NOT Philosophers, comedians, politicians, priests etc. they will be JUDGED on their ART. 9. Special REMEDIAL help should be given to POSH people to help them become artists. 10. We must DARE to make that difficult first mark on the BLANK CANVAS of the FUTURE. 11. MY FAVOURITE ARTWORK IS THE NEXT ONE i MAKE","_features":{"text":"1. Nothing in Art is New or Old fashioned only Good or Bad. 2. Failed paintings to be sent to DISASTER zones to be used to make tents. 3. Bad Sculpture should be installed outside companies guilty of FINANCIAL IRREGULARITIES. 4. POPULAR art will be displayed above head height to we can see it. 5. Videos should be no longer than 10 minutes comfy seating must be provided. 6. HALF of R.A.s must wear DRESSES. 7. An artist's BIGGEST work is very VERY rarely their BEST. 8. Artists are NOT Philosophers, comedians, politicians, priests etc. they will be JUDGED on their ART. 9. Special REMEDIAL help should be given to POSH people to help them become artists. 10. We must DARE to make that difficult first mark on the BLANK CANVAS of the FUTURE. 11. MY FAVOURITE ARTWORK IS THE NEXT ONE i MAKE","tokens":"1 . Nothing in Art is New or Old fashioned only Good or Bad . 2 . Failed paintings to be sent to DISASTER zones to be used to make tents . 3 . Bad Sculpture should be installed outside companies guilty of FINANCIAL IRREGULARITIES . 4 . POPULAR art will be displayed above head height to we can see it . 5 . Videos should be no longer than 10 minutes comfy seating must be provided . 6 . HALF of R . A . s must wear DRESSES . 7 . An artist's BIGGEST work is very VERY rarely their BEST . 8 . Artists are NOT Philosophers , comedians , politicians , priests etc . they will be JUDGED on their ART . 9 . Special REMEDIAL help should be given to POSH people to help them become artists . 10 . We must DARE to make that difficult first mark on the BLANK CANVAS of the FUTURE . 11 . MY FAVOURITE ARTWORK IS THE NEXT ONE i MAKE","pos":"cd . nnp in nnp vbz jj cc jj vbn rb jj cc jj . cd . vbd nns to vb vbd to nnp vbz to vb vbn to vb nns . cd . jj nnp md vb vbn in nns jj in jj nnps . cd . jj nn md vb vbn in nn nn to prp md vb prp . cd . nnps md vb dt jj in nnp nns jj vbg md vb vbn . cd . nnp in R . dt . s md vb nnps . cd . dt nns jjs nn vbz rb rb rb prp$ jjs . cd . nnps vbp rb nnps , nns , nns , nns nn . prp md vb vbn in prp$ nnp . cd . jj jj vb md vb vbn to jj nns to vb prp vbp nns . nnp . prp md vb to vb in jj jj nn in dt jj nnp in dt nnp . nnp . prp$ nnp nnp vbz dt jj cd i vb","stresses":"1 . 1/0 0 1 1 1 1 1 1/0 1/0 1 1 1 . 1 . 1 1/0 1 1 1 1 0/1/0 1 1 1 1 1 1 1 . 1 . 1 1/0 1 1 0/1 1/1 1/1/1 1/0 1 0/1/0 0/1/0/1/0/0 . 1 . 1/0/0 1 1 1 0/1 0/1 1 1 1 1 1 1 1 . 1 . 1/0/0 1 1 1 1/0 1 1/1/1 1/0 1/0 1/0 1 1 0/1/0 . 1 . 1 1 0 . 1 . 0 1 1 1/0 . 1/0 . 1 artist's 1/0 1 1 1/0 1/0 1/0 1 1 . 1 . 1/0 1 1 0/1/0/0 , 0/1/0/0 , 0/1/1/0 , 1 1 . 1 1 1 1 1 1 1 . 1 . 1/0 0/1/0/0 1 1 1 1/0 1 1 1/0/0 1 1 1 0/1 1/0 . 1/1/1 . 1 1 1 1 1 1 1/0/0 1 1 1 0 1 1/0 1 0 1/0 . 1/1 . 1 0/1 1/0 1 0 1 1 1 1","phonemes":"w-ah-n . n-ah-th-ih-ng ih-n aa-r-t ih-s n-uw ao-r ow-l-d f-ae-sh-ah-n-d ow-n-l-iy g-uh-d ao-r b-ae-d . t-uw . f-ey-l-d p-ey-n-t-ih-ng-z t-uw b-iy s-eh-n-t t-uw d-ih-z-ae-s-t-er z-ow-n-z t-uw b-iy y-uw-z-d t-uw m-ey-k t-eh-n-t-s . th-r-iy . b-ae-d s-k-ah-l-p-ch-er sh-uh-d b-iy ih-n-s-t-ao-l-d aw-t-s-ay-d k-ah-m-p-ah-n-iy-z g-ih-l-t-iy ah-v f-ah-n-ae-n-sh-ah-l ih-r-eh-g-y-ah-l-eh-r-ah-t-iy-z . f-ao-r . p-aa-p-y-ah-l-er aa-r-t w-ih-l b-iy d-ih-s-p-l-ey-d ah-b-ah-v hh-eh-d hh-ay-t t-uw w-iy k-ae-n s-iy ih-t . f-ay-v . v-ih-d-iy-ow-z sh-uh-d b-iy n-ow l-ao-ng-g-er dh-ae-n w-ah-n-z-ih-r-ow m-ih-n-ah-t-s k-ah-m-f-iy s-iy-t-ih-ng m-ah-s-t b-iy p-r-ah-v-ay-d-ah-d . s-ih-k-s . hh-ae-f ah-v r . ey . z m-ah-s-t w-eh-r d-r-eh-ah-z . s-eh-v-ah-n . ae-n artist's b-ih-g-ah-s-t w-er-k ih-s v-eh-r-iy v-eh-r-iy r-eh-r-l-iy dh-eh-r b-eh-s-t . ey-t . aa-r-t-ah-s-t-s aa-r n-aa-t f-ah-l-aa-s-ah-f-er-z , k-ah-m-iy-d-iy-ah-n-z , p-ah-l-ih-t-ih-sh-ah-n-z , p-r-iy-s-t-s eh-t-k . dh-ey w-ih-l b-iy jh-ah-jh-d aa-n dh-eh-r aa-r-t . n-ih-n . s-p-eh-sh-ah-l r-ih-m-iy-d-iy-ah-l hh-eh-l-p sh-uh-d b-iy g-ih-v-ah-n t-uw p-aa-sh p-iy-ow-p-ah-l t-uw hh-eh-l-p dh-eh-m b-ih-k-ah-m aa-r-t-ah-s-t-s . w-ah-n-z-ih-r-ow . w-iy m-ah-s-t d-eh-r t-uw m-ey-k dh-ae-t d-ih-f-ah-k-ah-l-t f-er-s-t m-aa-r-k aa-n dh-ah b-l-ae-ng-k k-ae-n-v-ah-s ah-v dh-ah f-y-uw-ch-er . w-ah-n-w-ah-n . m-ay f-aa-v-r-ay-t aa-r-t-w-er-k ih-s dh-ah n-eh-k-s-t w-ah-n iy m-ey-k","syllables":"w-ah-n . n-ah/th-ih-ng ih-n aa-r-t ih-s n-uw ao-r ow-l-d f-ae/sh-ah-n-d ow-n/l-iy g-uh-d ao-r b-ae-d . t-uw . f-ey-l-d p-ey-n/t-ih-ng-z t-uw b-iy s-eh-n-t t-uw d-ih/z-ae/s-t-er z-ow-n-z t-uw b-iy y-uw-z-d t-uw m-ey-k t-eh-n-t-s . th-r-iy . b-ae-d s-k-ah-l-p/ch-er sh-uh-d b-iy ih-n/s-t-ao-l-d aw-t/s-ay-d k-ah-m/p-ah/n-iy-z g-ih-l/t-iy ah-v f-ah/n-ae-n/sh-ah-l ih/r-eh/g-y-ah/l-eh/r-ah/t-iy-z . f-ao-r . p-aa/p-y-ah/l-er aa-r-t w-ih-l b-iy d-ih/s-p-l-ey-d ah/b-ah-v hh-eh-d hh-ay-t t-uw w-iy k-ae-n s-iy ih-t . f-ay-v . v-ih/d-iy/ow-z sh-uh-d b-iy n-ow l-ao-ng/g-er dh-ae-n w-ah-n/z-ih/r-ow m-ih/n-ah-t-s k-ah-m/f-iy s-iy/t-ih-ng m-ah-s-t b-iy p-r-ah/v-ay/d-ah-d . s-ih-k-s . hh-ae-f ah-v r . ey . z m-ah-s-t w-eh-r d-r-eh/ah-z . s-eh/v-ah-n . ae-n artist's b-ih/g-ah-s-t w-er-k ih-s v-eh/r-iy v-eh/r-iy r-eh-r/l-iy dh-eh-r b-eh-s-t . ey-t . aa-r/t-ah-s-t-s aa-r n-aa-t f-ah/l-aa/s-ah/f-er-z , k-ah/m-iy/d-iy/ah-n-z , p-ah/l-ih/t-ih/sh-ah-n-z , p-r-iy-s-t-s eh-t-k . dh-ey w-ih-l b-iy jh-ah-jh-d aa-n dh-eh-r aa-r-t . n-ih-n . s-p-eh/sh-ah-l r-ih/m-iy/d-iy/ah-l hh-eh-l-p sh-uh-d b-iy g-ih/v-ah-n t-uw p-aa-sh p-iy/ow/p-ah-l t-uw hh-eh-l-p dh-eh-m b-ih/k-ah-m aa-r/t-ah-s-t-s . w-ah-n/z-ih/r-ow . w-iy m-ah-s-t d-eh-r t-uw m-ey-k dh-ae-t d-ih/f-ah/k-ah-l-t f-er-s-t m-aa-r-k aa-n dh-ah b-l-ae-ng-k k-ae-n/v-ah-s ah-v dh-ah f-y-uw/ch-er . w-ah-n/w-ah-n . m-ay f-aa-v/r-ay-t aa-r-t/w-er-k ih-s dh-ah n-eh-k-s-t w-ah-n iy m-ey-k"}}}],"bulktext":"I wished you to be persuaded, that success in your art depends almost entirely on your own industry; but the industry which I principally recommend, is not the industry of the hands, but of the mind... We may go so far as to assert, that a painter stands in need of more knowledge than is to be picked off his pallet, or collected by looking on his model, whether it be in life or in picture. He can never be a great artist, who is grossly illiterate... He ought to know something concerning the mind, as well as a great deal concerning the body of man. We intend to sing the love of danger, the habit of energy and fearlessness. Courage, boldness, and rebellion will be the essential elements in our poetry. Up to now, literature has extolled a comtemplative stillness, rapture and reverie. We intend to glorify aggressive action, a restive wakefulness, life at the double, the slap and the punching fist. Architects, sculptors, painters – we all must return to craftsmanship! For there is no such thing as 'art by profession'. There is no essential difference between the artist and the artisan. The artist is an exalted artisan. The mutual influence of form and colour now becomes clear. A yellow triangle, a blue circle, a green square, or a green triangle, a yellow circle, a blue square – all these are different and have different spiritual values. A work of art is never beautiful by decree, objectively and for all. Hence criticism is useless, it exists only subjectively, for each man separately, without the slightest character of universality... Dada was born of a need for independence, of a distrust toward unity. Those who are with us preserve their freedom. We recognize no theory. The following points in no way relate to aesthetic fantasies or a striving for fashionable effects, but concern architectural facts that imply an entirely new kind of building, from the dwelling house to palatial edifices... The age of the architects is coming. Always be smartly dressed, well groomed, relaxed, friendly, polite and in complete control. Make the world believe in you and to pay heavily for this privilege. Never worry, assess, discuss or criticize but remain quiet respectful and calm. The Lord chisels still, so don't leave your bench for long. Stuckism is the quest for authenticity. Painting is the medium of self-discovery. Stuckism proposes a model of art which is holistic. Artists who don't paint aren't artists. Art that has to be in a gallery to be art isn't art. Nothing in Art is New or Old fashioned only Good or Bad. Failed paintings to be sent to DISASTER zones to be used to make tents. Bad Sculpture should be installed outside companies guilty of FINANCIAL IRREGULARITIES. POPULAR art will be displayed above head height to we can see it. Videos should be no longer than 10 minutes comfy seating must be provided. HALF of R.A.s must wear DRESSES. An artist's BIGGEST work is very VERY rarely their BEST. Artists are NOT Philosophers, comedians, politicians, priests etc. they will be JUDGED on their ART. Special REMEDIAL help should be given to POSH people to help them become artists. 1 We must DARE to make that difficult first mark on the BLANK CANVAS of the FUTURE. 1 MY FAVOURITE ARTWORK IS THE NEXT ONE i MAKE"}