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[/vc_column_text][vc_column_text el_class=”artical-caption-wrapper”]Jaypur India, Jan 12, 2022,
Photograph by Guy Le Querrec/Magnum[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text el_class=”artical-text”]
Kinnaird College Lahore, Bachelor of Arts in European History and International Affairs. Formal Training in South Asian Classical Music, Kheyal gaiyki.
WAF-Listed ‘WAF’s Tribute to the Multifaceted Talent of the Women of Pakistan ‘Slideshow.
Seina-be-seina, is a traditional method of transference of knowledge under a mentor’s (Ustaad’s) strict guidance; imparted to the disciple (Shagird) & sustained over years of discipline, rigorous training & toil.
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text el_class=”artical-text”]The kind of perfection I’ve got in mind is specific to the art: as I noted on Twitter last week, these tracks convey a sense of retrospective inevitability, or, as Jean-Luc Godard said of his 1962 film “Vivre Sa Vie,” of being “the definitive by chance.” In other words, my perfect recordings seem to possess an inner necessity, an idea that translates into an altogether different necessity: they’re necessary to me, personally.
In his list, Frere-Jones explains that his perfect recordings “had to have had an acute and lasting effect on the community of musicians.” Mine had a lasting effect on me alone. But criticism, like art, depends on the notion that even the most subjective and individual experience can connect with that of others in different places, times, and circumstances, and there are several general principles at work in the impulses that motivate my choices.
[/vc_column_text][/vc_column][/vc_row][/vc_section][vc_section el_class=”blog-detailpage-artical-2″][vc_row][vc_column][vc_raw_html]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[/vc_raw_html][vc_column_text el_class=”artical-text”]
In other words, my perfect recordings seem to possess an inner necessity, an idea that translates into an altogether different necessity: they’re necessary to me, personally. In his list, Frere-Jones explains that his perfect recordings “had to have had an acute and lasting effect on the community of musicians.” Mine had a lasting effect on me alone.
[/vc_column_text][vc_raw_html]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[/vc_raw_html][/vc_column][/vc_row][/vc_section][vc_section el_class=”blog-detailpage-artical-3″][vc_row][vc_column][vc_column_text el_class=”artical-text”]The kind of perfection I’ve got in mind is specific to the art: as I noted on Twitter last week, these tracks convey a sense of retrospective inevitability, or, as Jean-Luc Godard said of his 1962 film “Vivre Sa Vie,” of being “the definitive by chance.” In other words, my perfect recordings seem to possess an inner necessity, an idea that translates into an altogether different necessity: they’re necessary to me, personally.
In his list, Frere-Jones explains that his perfect recordings “had to have had an acute and lasting effect on the community of musicians.” Mine had a lasting effect on me alone. But criticism, like art, depends on the notion that even the most subjective and individual experience can connect with that of others in different places, times, and circumstances, and there are several general principles at work in the impulses that motivate my choices.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text el_class=”artical-text”]
The kind of perfection I’ve got in mind is specific to the art: as I noted on Twitter last week, these tracks convey a sense of retrospective inevitability, or, as Jean-Luc Godard said of his 1962 film “Vivre Sa Vie,” of being “the definitive by chance.” In other words, my perfect recordings seem to possess an inner necessity, an idea that translates into an altogether different necessity: they’re necessary to me, personally.
In his list, Frere-Jones explains that his perfect recordings “had to have had an acute and lasting effect on the community of musicians.” Mine had a lasting effect on me alone. But criticism, like art, depends on the notion that even the most subjective and individual experience can connect with that of others in different places, times, and circumstances, and there are several general principles at work in the impulses that motivate my choices.
[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_column_text][/vc_column_text][vc_column_text el_class=”artical-caption-wrapper”]Jaypur India, Jan 12, 2022,
Photograph by Guy Le Querrec/Magnum[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_column_text el_class=”artical-text”]retrospective inevitability, or, as Jean-Luc Godard said of his 1962 film “Vivre Sa Vie,” of being “the definitive by chance.” In other words, my perfect recordings seem to possess an inner necessity, an idea that translates into an altogether different necessity: they’re necessary to me, personally.[/vc_column_text][/vc_column][/vc_row][/vc_section][vc_section el_class=”blog-detailpage-artical-2″][vc_row][vc_column][vc_raw_html]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[/vc_raw_html][vc_column_text el_class=”artical-text”]
In other words, my perfect recordings seem to possess an inner necessity, an idea that translates into an altogether different necessity: they’re necessary to me, personally. In his list, Frere-Jones explains that his perfect recordings “had to have had an acute and lasting effect on the community of musicians.” Mine had a lasting effect on me alone.
[/vc_column_text][vc_raw_html]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[/vc_raw_html][/vc_column][/vc_row][vc_row][vc_column][vc_column_text el_class=”artical-text”]The kind of perfection I’ve got in mind is specific to the art: as I noted on Twitter last week, these tracks convey a sense of retrospective inevitability, or, as Jean-Luc Godard said of his 1962 film “Vivre Sa Vie,” of being “the definitive by chance.” In other words, my perfect recordings seem to possess an inner necessity, an idea that translates into an altogether different necessity: they’re necessary to me, personally.
In his list, Frere-Jones explains that his perfect recordings “had to have had an acute and lasting effect on the community of musicians.” Mine had a lasting effect on me alone. But criticism, like art, depends on the notion that even the most subjective and individual experience can connect with that of others in different places, times, and circumstances, and there are several general principles at work in the impulses that motivate my choices.
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