Deze worden later in panelen samengevoegd met een mengsel van kalk en fijn zand of gips, een proces dat ‘mazen’ genoemd wordt.
Deze techniek vereist niet alleen veel creativiteit maar ook een grote vaardigheid met betrekking tot het snijden van tegels en meesterschap in het arrangeren van de verschillende onderdelen voor de samenstelling van de panelen, aangezien ze worden gerangschikt met de geglazuurde kant naar beneden, wat de visualisatie van het eindresultaat onmogelijk maakt.

De term "tegel" (‘azulejo’ in het Portugees) komt van het Arabische "azzellij", wat "gepolijst steen” betekent.
Het is een materiaal dat veel gebruikt wordt in coatings van muren, plafonds, vloeren, kolommen, fonteinen, zwembaden en tafels.
Het productieproces van tegels impliceert het gebruik van een homogene klei, die na een eerste keer koken, bedekt wordt met een vloeistof om het glazuur te verkrijgen.

De kleuren van het glazuur worden verkregen door metaaloxiden – blauw door kobalt, groen door koper, bruin en zwart door mangaan, geel door cadmium, rood door ijzer, wit door tin.

Na het uitsnijden van de stukjes, worden deze gerangschikt met de geglazuurde kant naar beneden, volgens een van te voren gekozen patroon.
Vervolgens worden ze geïntegreerd in een mengsel van kalk en fijn zand of gips, die over de stukjes wordt uitgegoten. Een proces dat, zoals reeds genoemd, "mazen" heet, een term die komt van een klastisch sedimentair gesteente,de zogenaamde “maas”.

Rekeninghoudend met het feit dat moslims geen figuratieve elementen gebruiken, zijn de panelen ontworpen met geometrische motieven, velen van een grote complexiteit.
In deze geometrische complexiteit van de panelen van Andalus-tegels kunnen we de belangrijke bijdrage aan de ontwikkeling van de astronomie en wiskunde van de Arabieren zien.

De techniek van de ‘tangtegel’, zeer in zwang tussen de XII en XIV eeuw, is geëvolueerd vanaf de XVI eeuw tot de creatie van de vierkante polychrome stukjes van ongeveer 14 centimeter breed, waar de techniek van de ‘droge touw’ en "edge" gebruikt werd, om de mengeling van alle kleuren te voorkomen tijdens het bakken.
Later wordt de monochroomtegel algemeen, om dit probleem te voorkomen. Tegenwoordig is de polychrome tegel bedrukt.

Bij de evolutie van de andalusische tegel tot vierkante modules is de rijkdom in textuur van de ‘mazen’ panelen, verloren gegaan.

O termo “azulejo” provem do Árabe “azzellij”, que significa pedra polida.
É um material muito utilizado em lambrins de paredes, tectos, pavimentos, colunas, fontes, piscinas e mesas.
O processo de fabrico de azulejo implica a utilização de uma argila homogénea, que após uma primeira cozedura é coberta com um líquido para se obter o vidrado.

As cores do vidrado obtêm-se a partir de óxidos metálicos _ o azul através do cobalto, o verde através do cobre, o castanho e o preto através do manganésio, o amarelo através do cádmio, o vermelho através do ferro, o branco através do estanho.

Tendo em conta que os Muçulmanos não utilizam elementos figurativos, os painéis são concebidos com motivos geométricos, muitos deles de grande complexidade.

A esta complexidade da geometria dos paineis de azulejos Andaluses não é estranho o grande contributo que os Árabes deram ao desenvolvimento da astronomia e da matemática, e que se encontra patente em muitos deles.

Após o corte das peças, as mesmas são dispostas com a face vidrada voltada para baixo, seguindo o padrão pré-definido para o painel.
Posteriormente são integradas numa argamassa à base de cal e areia fina ou gesso, a qual é derramada na sua superfície, processo esse que constitui o já referido “embrechamento”, termo proveniente da rocha clástica sedimentar chamada brecha.
A técnica do azulejo “alicatado”, muito em voga entre os séculos XII e XIV, evoluiu a partir do século XVI para a criação de peças quadradas com cerca de 14 centímetros de lado, policromadas, que utilizaram o método da “corda seca” e da “aresta”, como forma de evitar a mistura das várias cores durante a cozedura.
Posteriormente generaliza-se o azulejo monocromático, evitando este problema.
Hoje em dia o azulejo policromado é estampado.

A evolução que o azulejo Andalus sofreu quando se transformou em módulos quadrados perdeu toda a riqueza da textura que os painéis “embrechados” apresentam.

In his work Mysterium Cosmographicum ('the cosmic mystery'), published in 1596, Johannes Kepler, “speculated that one of the five (platonic) solids could be inserted between each concentric planetary sphere. This seemed to explain why there were just six planets (Mercury, Venus, Earth, Mars, Jupiter, Saturn) with five intervals separating them, and why the intervals were so irregular. Convinced that he had discovered a subtle geometric relationship between the diameters of the planetary orbits and their distances from the Sun. The scheme worked reasonably well with the planetary distances then accepted, but even Kepler could see that it wasn't perfect. Assuming that better data on planetary orbits would bear out his theory, he devoted the rest of his life to justifying his vision through scientific observation and hard mathematical proofs.” David Plant in “Kepler and the Music of the Spheres”

On his First Law of Planetary Motion, Kepler states that the planets move in ellipses and that the Sun is not to be found at the exact centre of their orbits, each planet moving between a perihelion point (nearest the Sun) and an aphelion point (furthest away from the Sun). On his Second Law he goes on to state that the planets move faster at perihelion than at aphelion. After having measured the angular velocities of the planets at these extremes (the traveled distance in 24 hours, in minutes and seconds of arc as viewed from the Sun) he expressed the ratio as a musical interval. He then found that the angular velocities of all the planets closely correspond to musical intervals. By comparing the extremes for combined pairs of planets, the results produced the intervals of a complete scale.

Furthermore, David Plant states:

“Thus, the ratio between Jupiter's maximum and Mars' minimum speed corresponds, to a minor third; the interval between Earth and Venus to a minor sixth. Rather than the fixed-tone planetary scales of earlier schemes, Kepler's measurements revealed ever-changing polyphonic chords and harmonies as the planets move between perihelion and aphelion. Furthermore, he had shifted the focus of celestial harmony from the Earth to the Sun: "Henceforth it is no longer a harmony made for the benefit of our planet, but the song which the cosmos sings to its lord and centre, the Solar Logos"

“The Kepler scholar Francis Warrain extended Kepler's researches and found that the angular velocities of Uranus, Neptune and Pluto, which were unknown during Kepler's lifetime, also correspond to harmonic ratios. The music of the spheres is more than a beautiful poetic intuition. The dynamics of the solar system, first laid bare by Kepler's mathematical genius, are directly analogous to the laws of musical harmony.” (6)

Let’s dance … these Cosmic Vibes!

With music, symbols are used to translate expressions of sound, silence, vibration and its plural relationships. Astrology also uses symbols and archetypes to translate the expressions of the planetary bodies and the interactions between them, the flow of their vibrations projected towards mother Earth.

By reading a music notation, a musician can easily listen in his own mind to the effects of those symbols at play. By reading an astrological chart, an astrologer can easily see the ultimate expression of the cosmic dance being reflected, and acted upon, by an individual, a country, or even a chosen moment in time.

It is this world, and language, of Astrology that we are going to explore in upcoming articles, while approaching the many creative possibilities of a constructive use of the cosmic energy.

Have a wonderful dance! … and enjoy the Cosmic Vibes!

Crumb (1994) is a documentary about an underground adult comic artist from the 60s who loves to draw strong shapely women in perverse situations. Robert Crumb is a well-known underground artist who has achieved a mainstream following since this film exposed him as a major talent. This is an insightful documentary because it goes deeply into Crumb’s personal life and exposes the dark psychological side of the creative process.

Rivers and Tides: Andy Goldsworthy Working with Time (2001) is a riveting documentary that will make you stare in awe at how stunning art can be created spontaneously using only what is found around you in nature. An inspired artist wanders around in the woods, stumbling upon a creek, he uses the leaves, twigs and stones around him, and with some patience and persistence, creates jaw dropping, natural art. This film shows the uniqueness and beauty of not only the art but also the inventive method by which it’s created. This one is not to be missed. If you want to see a creative mind in action, you have to see it to believe it.

Tintin et Moi (Tintin and I) (2003) is a detailed in-depth documentary about Hergé, the Belgian creator of the popular children’s comic book series The Adventures of Tintin and the circumstances under which he was sometimes forced to work when the company he worked for came under Nazi control during W.W. II. Never having traveled to any of the placed that he so accurately depicts in his hero’s adventures, he meticulously researched all the locations in books, newspapers and from people who had been there. This documentary is even more interesting because it’s all based on an interview he did for a young student, years before, that he felt he could open up to and talk intimately about his personal life and his creations.

Ryan (2004) is a fascinating documentary about a brilliant young Canadian artist, Ryan Larkin, who was a gifted animator in the 60s and 70s but now lives on the streets as an alcoholic vagrant. The film itself is created using a unique style of animation and shows a broken, homeless artist wandering the streets of Montreal, rummaging through garbage and reflecting back on his promising early career with the NFB 30 years before as the creator of some of the most influential animated films. It shows how even the most promising and talented people are vulnerable to life’s worst fates.

The Life and Times of Frida Kahlo (2005) is a PBS documentary and a great companion piece to the movie Frida (2002) about the life of the brilliant Mexican artist Frida Khalo and her battle with her broken body while creating some of the most unique and powerful images of her time. It exposes the pain and agony of an artist and how she channeled this misery to create striking pieces of art.

Sketches of Frank Gehry (2005) is about a creative architect who uses unconventional methods to inspire him when creating a new building. Using crumpled paper and doodles renowned architect Frank Gehry is able to come up with some very unusual ideas for building structures. We are shown some of Frank’s most famous buildings around the world and then through a conversation with his good friend, film director Sydney Pollack, he takes us through the creative process that resulted in these unique architectural pieces of art.

The Cats of Mirikitani (2006) is a touching human story about an 80 year old Japanese-American painter living on the streets of Soho, New York just blocks away from the twin towers. Interned by the American government during W.W. II when he was twenty five years old and still traumatized by the experience, he paints pictures of the internment camp where thousands of his Japanese family and friends died and their citizenship was revoked. Befriended and taken in by the film maker of this documentary during the chaos of the 911 attacks, she begins to investigate the artist’s history while sharing her apartment with him. While taking care of him she discovers the shocking history of this unknown artist.

Exit through the Gift Shop (2010) is a unique documentary about the beginnings of the street art movement and an obsessive compulsive amateur videographer and vintage clothing retailer with a knack for making old things cool for a new generation. Inspired by street artists and with a deep admiration for their work, Theirry Guetta, captures everything he sees on video tape while following and helping famous graffiti artists secretly putting up their work in public spaces around the city of Los Angeles. Telling everyone that he plans to make a documentary one day with the footage he collects, he instead decides to use what he has learned to become a street artist himself. The ending can be read in two different ways; if you’re a cynic, you will think that he uses his new artist friends to dupe the art world into thinking he is the next big name in modern art. If you’re more forgiving, you will believe as he does, being the optimist that he is, that he really is a great artist who was driven by admiration for his graffiti art friends to find his true calling in life.

Marwencol (2010) is an astonishing documentary about a man who was beaten, while drunk one night, into a coma. When he comes out of it and his wounds have healed, he has no memory of the traumatic event and to deal with this he starts creating, in great detail, a miniature W.W. II town out of action figures so realistic, that the pictures he takes of it become the subject of a bold new art exhibit. I like this doc because it shows how the creative impulse of the mind is so strong that it remains our biggest asset. Not to be missed.

MicMacs (2010) is highly inventive and imaginative. The story is about Bazil (Dany Boon) whose life is changed irreparably in two separate incidents that leave him orphaned in one instance and homeless and brain damaged in another, both due to products manufactured by large weapons corporations. When one day he discovers the headquarters of these two corporations across the street from each other in a neighborhood of Paris, he decides to exact revenge in the style that Amélie Poulain would have been proud of. The soundtrack to this film is just as creative and inventive as the movie and makes for a wonderful listening experience.

(see my full review at http://my-filmjournal.blogspot.com/2011/07/normal-0-false-false-false-en-us-x-none_12.html)

JP