artaculous.com | AT THE PULSE OF ART™: Josh Kopecek's contacts

David Goodall

Wed, 27 May 2009 22:19:15 +0200

I'm a composer with a ProTools HD2 studio for use in South Lanarkshire. I've scored many films and TV shows, and often collaborate with other writers via email and FTP.

I do websites and demo reels for other performers and creative people.

András László Weil Fisher diPalotta

Sun, 31 May 2009 10:58:29 +0200

In my life

work

are

words,

notes,

sounds,

happenings

paint on a palette

and

your mind

my canvas.

Daniel Koch

Wed, 03 Jun 2009 09:36:55 +0200

Hello,

my name is Daniel Koch and I am working as art photographer and commercial photographer since 1996 in Denmark, Ireland, Greece and now - since 2008 - in Dresden, Germany. I also opened a small photo gallery in connection with my studio here.

My art work consists mainly of landscape photography for decoration and people and art for exhibtion and decoration. You can find a small selelction of my work on my website: http://www.fotografie-und-gestaltung.com in german. An english and danish language site can be found at http://www.dk-media.dk

Obviously you are more than welcome to pass around the gallery if you are around Dresden. Or give me a call before on +49 - 351 - 160 9177 if you want to be sure, that I am around.

stefano patarnello

Sun, 05 Jul 2009 17:49:05 +0200

QT Records

Fri, 17 Jul 2009 17:42:40 +0200

PRO CREATIVE

QT RECORDS introduces a new initiative to expand the boundaries of creativity. We invite creative individuals to become a participant of our enterprise to document and respond in an artistic format. Works will be post on the QT RECORDS website and other platforms. This project is open to all creative minds; video, sound, web design, photographers, etc. An continue selection process will take place to find the most interesting artists. We invite all to submit a small selection of their work to be considered for this Project. Submissions can only take place in online portfolios or websites. Just drop a mail with your link to contest@qt-records.com

Peter Zimolong * photoZ

Sun, 02 Aug 2009 13:29:27 +0200

________________________________________________________________________________________________

For me is photography a means of communication: a possibility to engage with my world, to closely approach it at the distance, to newly discover it in and through a frame - to focus; to communicate my perception, to take perspectives and convey them - to transport the "Augenblick"; to choose and arrange, without judging that which becomes visible.

Fotografieren ist für mich eine Möglichkeit, mich mit meiner Welt auseinanderzusetzen, mich ihr mit Abstand zu nähern, sie im und durch den Rahmen anders zu erkennen - zu fokussieren; meine Wahrnehmungen zu kommunizieren - Perspektiven einzunehmen und mitzuteilen, Augenblicke zu transportieren; - auszuwählen und zu arrangieren, ohne das sichtbar werdende bewerten zu wollen.

Peter Zimolong

________________________________________________________________________________________________

futher websites:

WhiteWall-Gallery: www.whitewall.com/photoZ
MyGall-Gallery: www.mygall.net/zimolong
ARTRING.de
artists.de - profile
saatchi-gallery - profile
XING - profile

________________________________________________________________________________________________

NERIA

Wed, 19 Aug 2009 14:32:32 +0200

Composer Neria Cepaite works as Operist, Symphonist and Songwriter. She performances her music like Pianist and Conductor as well. "In my creation I orient towards genres of music of gross extents such as Oratorio, Opera, Musical and Film's Music. I am planning to relate musical - creative conception with Operatic, Musical's and Film's music works. My aim is to look for new Expanse, Inovations in this sphere relating Operatic - all Theatrical sphere's Language, Dramaturgy and a Plot as the totality of realization of Scenic visual and Sonic genre's Expression." Neria Cepaite was born in 1976. She studied choir conducting at the Kaunas Conservatory and composition at the Lithuanian Academy of Music in 1995-1999 (studies Bachelor of Arts), 1999-2001 (Postgraduate studies). She also finished Orchestra Conducting with Prof.J.Aleksa. In study year N.Cepaite attended New Music Courses for composers, where she studied with Prof. L.Andriessen, R .Kelterborn.Her works have been perfomed at the contemporary music festival “ Gaida “.In 1999 was published her CD “ Mini Opera “. During her studies Neria Cepaite oriented towards musical particularity of Massive, Concert, Symphonic, Oratorical genres. Her meaningful and debut piece of music became oratorio "Requiem ", which was created during studies in 2001; and the premiere of which took place in 2002 and was performed by the Lithuanian National Symphony Orchestra, Kaunas State chorus and soloists conducting by professor. P.Bingelis. Since 2003 she has been a freelance artist, working creative work. Particular attention is given to concert, oratorical genre, the composer does not avoid looking for new brave decisions. For the musical slant of the composer are typical dramatic, concert combinations of statics and action, aleatorics, sonorics and light music. As a result of this grandiose oratorio ,,Gloria " was born. Alongside with academic monumental music Neria Cepaite also accompanies light music.

Sarina del Fuego

Thu, 20 Aug 2009 15:32:27 +0200

A glamorous talent born to have a spotlight cast upon it. A deep love for the vintage and the antique. A fiery passion for art and classical dance.

Sarina Del Fuego’s burlesque flair has enraptured global audiences as far and wide as the Edinburgh and Adelaide Fringe Festivals, The Sydney Opera House Bar on New Years Eve and the famous travelling Spiegeltent. Sarina’s sophisticated and lavish performances are always replete with the feathers, diamantes, glitz and glamour her audiences have grown to expect. Sarina is the performer they take home in their dreams.

Sarina promises to grasp each and every audience member gently by the hand, and lead them back in time to a bygone era, elegantly embracing the colourful excitement and risqué exhibition of the cabaret and burlesque worlds. Whether a seductive feather fan dance from 1920s Europe or the heart-raising high kicks of 1960s Las Vegas, Sarina displays playful tease, wry humour and alluring sensuality in every perfectly-practised movement.

To book Sarina for cabaret or burlesque shows, photo shoots, life modelling or any corporate event that requires a daring dose of exotic splendour, please email sarina@sarinadelfuego.com

Tyrone Rosmond

Fri, 21 Aug 2009 21:25:25 +0200

- Born and raised in the Bronx, New York.
- Love to entertain people in the future (acting, filmmaking, play music).
- 60% evil, 40% good.
- Sarcastic.
- Opinionated.
- Cool guy once you get to know me.
- I trust true friends who have my back.
- I have the drive to be a success.
- You work to earn my respect, then i'll respect you.
- If you think i'm a bad person, cool. At least you have something to talk about. that also means, you like me alot more. LOL.
- I don't let anyone take advantage of my kindness cause i can turn sour.
- Funny.
- Down to earth.
- Love alot of heavy music (metal, screamo, grunge, punk.)
- You'll be seeing alot of me. Trust me.

ATTENTION BANDS IN THE NYC UNDERGROUND SCENE: If you need live performances to be filmed, hit me up by the AIM or e-mail listed above.
Price rates are as follows:
Live shows and live sets (which is about 25-30 minutes) - $10.00-$15.00.
Projects (music videos, documentaries, etc.) - $20.00 an hour to record
with the video to be cut for free.

Malcolm James McLean

Wed, 02 Sep 2009 19:31:08 +0200

My artwork is physically varied, almost so much that it is indefinable. Conceptually, it is more coherent thematically, with recurring motifs concerned with our relationship with the unknown, the unseen, and the unintelligible forces that are at play within this place that we understand to be reality.

With this in mind, it could be interpreted as a commentary on the obsessive nature of the artist in juxtaposition with the human desire for greater understanding of the things that can never be understood. Along the same lines, I am also drawing reference to the primal need for security. In many cultures, that safety net comes in the form of a god, either singular or multiple. This notion of religion has existed for millennia, from when people believed that the gods were responsible for natural phenomenon right through to the present day. Part of what I am interested in is the question of what it is that possesses people to fabricate mythical anecdotes to accompany their lives.

Did anything exist prior to the first being that perceived it? Did anything exist prior to the moment at which you read this sentence? If so, why? What place does art have in a state in which even the cause for life is shrouded in obscuration?

There is futility in creating in a world where any act of creation is immediately absorbed and taken for granted. There is futility in existing in a state that doesn’t seem to have any purpose other than simply being. By believing that something is there when it is not, we are deceiving ourselves. This is also the case by believing that nothing is there when it has the potential to be.

As aforementioned, despite the fact that thematically, my work carries its own continuity, it tends to be multidisciplinary. Photography is critical in informing my practice, as are relics – forgotten traces of past times that have lost their context. I often use everyday materials to explore mysteries that may never be resolved. A work might feel like it has enormity but in actual fact is made from something mundane.

There is a duality in my work – aesthetic control versus the conceptual, the latter of which is unconcerned with aesthetics. Over the course of the last year, for example, I have moved from aesthetics relating to symmetry, as seen in religious mandalas and the pseudo-scientific Rorschach inkblot test to a kind of non-aesthesia.

Most recently, I have developed controlled experiments that involve singular processes which are repeated entropically until a certain variable expires, for example, photocopying photocopies of a master image perpetually until I run out of money, or using only a specific amount of bleach on inkjet prints over a period of several weeks. This usually results in the obliteration of the image, after which minor defects in the equipment I am using begin to emerge and take over the work. Because the reactions that occur between materials act beyond my control, the final products of these experiments are often unpredictable. Although I might be able to prophesy in a vague sense what a certain material might do, I am not able to foretell what precisely the outcome might be. As such, I have had to step away from the more traditional notion of image-making, where the artist sets out with an aesthetic in mind when creating a particular artwork. In order to keep the system pure, I do not tamper with the image when an experiment is complete.