Friday, 8 July 2011
A special Breakfast for special people :)
As I couldn't sleep for the whole night, and perents have been at work.. thought a little surprise would be nice after they'll get back home ;) Just so they'll smile for the rest of the day! Hopefully... ;)
Tuesday, 7 June 2011
Monday, 6 June 2011
Sunday, 5 June 2011
Monday, 23 May 2011
Book Review.
"Ancient Marks" - Chris Rainier
The sacred origins of tatttoos and body marking.
One had said that when we lose our tattoos, we lose our culture. Wade Davis has the concerned on the origins of tattoos and 'exotic' cultures as well as the mopdern, rebelious views and subcultures of today's society when working with Chris Rainier on this project.
Tattoos they all began with pigments extracted from the ground, the designs sketched upon skin expressed not onlu the values of particular culture, but also fidelity to them and thus, stood as expressions of solidity. The motifs used became definitions of culture, symbols of inclusion and iconic representations that carried not only discrete meanings, but multiple meanings, deep connotations that could only be understood and recognised by those born to the particular cultural reality the forms celebrated.
After centuries the patterns and ideas of tattoo textued skin transformed into European minds and lands. The British were both attracted and repulsed they saw in the faces of the dead the very designs that they advesaries carved into wood war clubs, canoes, and long houses, The body was just another surface upon which mythological beings might be brought into the world. Here for the English, themselves a tough Island people, was a new definition of commitment.The Birtish ambiualence towards this sacred art had found its perfect match. Its very powr lay in its deviance, and in time the truly criminal adopted the stigma of grace and inclusion.
Today, the art of bodily decoration had emerged less as a protest than a keen desire to reestablish a connection to those primordial impulses that have driven human societies throughout history
The celebration of the primitive is not a cheap impulse but reflects a hunger to find meaning and association in the modern world where the individual has been cast adrift from community, and where science - as Saul Bellow wrote: has made a housecleaning of belief.
To contemplate and summarise the images in the book; whether the living faces of Polynesia, the raised flesh of Africa, or erotic tensions of reinvention celebrated at America's own Burning Manis to remember why all people through whatever the impediments, to mark their bodies, seek and to celebrate a transformation of the human spirit.
Widely exhibited, Chris Rainier is one of the World's leading documentary photographers. He has journeyed to every continent, including an expedition to the North Pole and seven to Antarctica. As a photographer for "Time" and many other outlets, he has covered conflicts in Bosnia, Somalia, Ethiopia, Cambodia and Iraq.
Chris is a contributing photographer for National Geographic Adventure and contributing correspondent for NPR's, "Day to Day". Rainier continues to focus on documenting endangered tribal cultures, and also serves as the co-director of the National Geographic Society's Ethnosphere Cultures Program.
Tatooed hands: LA, California.
Co-opting the language of retail commerce, this defiant young mads to a hard edge to the words "Cash only" that are tattooed his hands.
"Gang member", LA, California
Turf is paramout to street gangs, and tattoos clearly link the individual to a single group and place, identyfing the gang, the members, status within it and sometimes whether he or she has killed in street warfare.
The sacred origins of tatttoos and body marking.
One had said that when we lose our tattoos, we lose our culture. Wade Davis has the concerned on the origins of tattoos and 'exotic' cultures as well as the mopdern, rebelious views and subcultures of today's society when working with Chris Rainier on this project.
Tattoos they all began with pigments extracted from the ground, the designs sketched upon skin expressed not onlu the values of particular culture, but also fidelity to them and thus, stood as expressions of solidity. The motifs used became definitions of culture, symbols of inclusion and iconic representations that carried not only discrete meanings, but multiple meanings, deep connotations that could only be understood and recognised by those born to the particular cultural reality the forms celebrated.
After centuries the patterns and ideas of tattoo textued skin transformed into European minds and lands. The British were both attracted and repulsed they saw in the faces of the dead the very designs that they advesaries carved into wood war clubs, canoes, and long houses, The body was just another surface upon which mythological beings might be brought into the world. Here for the English, themselves a tough Island people, was a new definition of commitment.The Birtish ambiualence towards this sacred art had found its perfect match. Its very powr lay in its deviance, and in time the truly criminal adopted the stigma of grace and inclusion.
Today, the art of bodily decoration had emerged less as a protest than a keen desire to reestablish a connection to those primordial impulses that have driven human societies throughout history
The celebration of the primitive is not a cheap impulse but reflects a hunger to find meaning and association in the modern world where the individual has been cast adrift from community, and where science - as Saul Bellow wrote: has made a housecleaning of belief.
To contemplate and summarise the images in the book; whether the living faces of Polynesia, the raised flesh of Africa, or erotic tensions of reinvention celebrated at America's own Burning Manis to remember why all people through whatever the impediments, to mark their bodies, seek and to celebrate a transformation of the human spirit.
Widely exhibited, Chris Rainier is one of the World's leading documentary photographers. He has journeyed to every continent, including an expedition to the North Pole and seven to Antarctica. As a photographer for "Time" and many other outlets, he has covered conflicts in Bosnia, Somalia, Ethiopia, Cambodia and Iraq.
Chris is a contributing photographer for National Geographic Adventure and contributing correspondent for NPR's, "Day to Day". Rainier continues to focus on documenting endangered tribal cultures, and also serves as the co-director of the National Geographic Society's Ethnosphere Cultures Program.
Tatooed hands: LA, California.
"Bar code", Santa Fe, New Mexico
Labeled with ironic innvendo, this artist's body markings include a date of birth bar code a ubiqutous faceless numbered sequence crucial to contemprorary commerce.
Turf is paramout to street gangs, and tattoos clearly link the individual to a single group and place, identyfing the gang, the members, status within it and sometimes whether he or she has killed in street warfare.
"Tattooed lovers", Nevada
Coopting the concept of the biblical flood, these men have used burned-out computers and televisions to construct their very own and personal "Noah's Ark" in which to be saved.
Design classics - Jonathan Ive&iPod
London born designer Jonathan Ive is the senior Vice president of Industrial design at Apple, reposrting directly to the CEO. Since 1996 he has been responsible for leading a design team widely regarded as the world's best.
Recognised with numerous design awards, Apple products are featured in the permanent collections of museums worldwide including MOMA in New York and the Pompidou in Paris.
Ice hols a Badulor and a honorary doctorate from Newcastle Polythechnic in 2003, he was named the Designer of the Year by Design Museum London and awarded tthe title Royal Designer for Industry by the Royal Society of Arts.
Source: http://www.apple.com/
Ive's team at Apple isn't the usual design ghetto of creativity that exists inside most corporations. They work closely and intensely with engineers, marketers, and even outside manufacturing conctractors in Asia, who actually build the products. Rather than being simple stylists, they're leading to innovators in i the ise of new materials and production processes. The design groupd was able to figure out how to put a layer of clear plastic onto the white or blac k one of an iPod, giving it a tremendous depth of texture, and still be able to build each unit in just few seconds.
Yet most big corporations have neither the focus, the skills nor the abilities for risk to build mass-produced products that feel as of they were made by high-priced boutiques in New York or London. While companies have focudes on pinching pennies these past few decades, Apple has been perfectong its design game. The fact that rivals are now talking about design is not proof they're catching up - but of how far they have to go.
Ive had his own ideas from the beginning. Being raised in a middle-class London Neighberhood, he was consumed with the mystery of how things are made by his early teenage years. By the time he graduated Ive was already considered as kind of British design legend.
In October 2001 Apple unvelled the iPod, which immediatelly set the standard for cool in digital music players; not only because of iPod itself but as well as it worked seamlesssly with Apple's software - iTunes jukebox and on-online store.
Thinking about "design" as simply style or fashions missed the point so that integration of design is a major part of Apple's design "magic". The original iMacs were clearly retrospective roots to the Jetsons school of design. The white, "clean" look of the oPod is 'very derivative of central European design from the late 60s and early 70s" says New Deal Design Amit. He compares Apples products to the work of Dieter Rums; the chier designer at Braun and describes it as being almost "verbatim"
What really sets the Apple's products on this (high) position and apart is the fit and finish, the ultimate impression that results from thousounds of little decisions that go into a products development. It is known to be part science, part art, and a lot of trial, errors and mistakes.
Of course, everyone makes them, so does Apple, the company faces many lawsuits about scratching of the iPod Nano, white iBook, and the Power Book were considered as creative design triumphs, the company had to recall about 1.8million units that had the battery potentially faulty.
Image source: http://vocearancio.ingdirect.it/wp-content/uploads/2010/02/ipod-nano.jpg
Recognised with numerous design awards, Apple products are featured in the permanent collections of museums worldwide including MOMA in New York and the Pompidou in Paris.
Ice hols a Badulor and a honorary doctorate from Newcastle Polythechnic in 2003, he was named the Designer of the Year by Design Museum London and awarded tthe title Royal Designer for Industry by the Royal Society of Arts.
Source: http://www.apple.com/
Ive's team at Apple isn't the usual design ghetto of creativity that exists inside most corporations. They work closely and intensely with engineers, marketers, and even outside manufacturing conctractors in Asia, who actually build the products. Rather than being simple stylists, they're leading to innovators in i the ise of new materials and production processes. The design groupd was able to figure out how to put a layer of clear plastic onto the white or blac k one of an iPod, giving it a tremendous depth of texture, and still be able to build each unit in just few seconds.
Yet most big corporations have neither the focus, the skills nor the abilities for risk to build mass-produced products that feel as of they were made by high-priced boutiques in New York or London. While companies have focudes on pinching pennies these past few decades, Apple has been perfectong its design game. The fact that rivals are now talking about design is not proof they're catching up - but of how far they have to go.
Ive had his own ideas from the beginning. Being raised in a middle-class London Neighberhood, he was consumed with the mystery of how things are made by his early teenage years. By the time he graduated Ive was already considered as kind of British design legend.
In October 2001 Apple unvelled the iPod, which immediatelly set the standard for cool in digital music players; not only because of iPod itself but as well as it worked seamlesssly with Apple's software - iTunes jukebox and on-online store.
Thinking about "design" as simply style or fashions missed the point so that integration of design is a major part of Apple's design "magic". The original iMacs were clearly retrospective roots to the Jetsons school of design. The white, "clean" look of the oPod is 'very derivative of central European design from the late 60s and early 70s" says New Deal Design Amit. He compares Apples products to the work of Dieter Rums; the chier designer at Braun and describes it as being almost "verbatim"
What really sets the Apple's products on this (high) position and apart is the fit and finish, the ultimate impression that results from thousounds of little decisions that go into a products development. It is known to be part science, part art, and a lot of trial, errors and mistakes.
Of course, everyone makes them, so does Apple, the company faces many lawsuits about scratching of the iPod Nano, white iBook, and the Power Book were considered as creative design triumphs, the company had to recall about 1.8million units that had the battery potentially faulty.
Emotions.
They're all in us, around us. Everyone expresses themselves in some kind of way, we all feel and show it, animals do so as well, we show the emotions through our bodies, items, music or art in general.
Thursday, 19 May 2011
The Genius of Photography Review.
“The Genius Of Photography” is a series of BBC’s films showing and exploring its most broad look at one of the world’s most prestigious and honoured art forms investigating every aspect and detail of photography Featuring some of the superior photographs - photographs ever taken and the photographers who took them. This six-part series looks at the history of photography, from Man Ray and Walker Evans to more modern geniuses such as Richard Avedon, Sally Mann and Martin Parr.
In the period,of time following the WWI, photography was the central content of the age. “Anyone who fails to understand photography will be one of the illiterates of the future .” said the Hungarian artist and photographer Lazlo Moholy-Nagy. Punctilious, neutral, lucid and considered as machine-like, it was used to encourage the radical utopia of the Soviet Union and to bring order and lucidity to the pandemonium of Weimar Germany. But while some awarded photography for its ability to objective representations, others were using it to look into the illogical, the subjective and the unreal, photography natural language. “The Genius of Photography” – Documents for Artists examines in detail the work of some of the greatest and most influential modern photographers.
The episode featured one of my most favourite Photographers of that time - Rodchenko. As i have found out Rodchenko studied at an art school since 1910 and for another four years, he became a part of the modernism that was developed all over and across Europe. By 1913 he started to call himself a Cubo-Futurist. Through the time of revolutions in 1917 Rodchenko and his wife Stepanova - who was an artist herself, were a part of a vocal and determined avant-garde that stood in an opposition to the academy and the official art of the Tsarist autocracy.
Their artwork was created by experimenting in the confines of the studio, and along with other artists of all sorts they were trying to discover the language of art that would emerge from the horrors of WWI. The revolution of 02.1917 swept away the Tsar, and in October later on that year the Bolshevik revolution swept all the workers to power. Most of the artists, who in a myriad of ways were entwined with the old order, left Russia or waited for the storm to finally pass. The artists of the avant-garde, including Rodchenko, welcomed October and began to try and take art into life.
Since the revolutions Rodchenko took image and ideas of constructivism into design, theatre, typography all into his work, along with photography. His early photographic work was to create montages, usually for Mayakovsky’s long love poem"About That".
As well as he took his camera out onto the streets of Russia to record the optimism of the new society that was raising, to show that future liberation was possible through industry. There is a group of photographs taken in a factory that was producing electric light bulbs and it recalls Lenin’s slogan that socialism was electricity and the Soviet power.
Rodchenko died in Moscow (Russia) in 12.1956, only and just 3 years after Stalin and at a point, after the Hungarian Revolution of that year, when there was to be a resurgence of a socialist left, and a new generation of revolutionaries were to come under the influences and ideas of his work that was continued by them later on in their own, personal way.
Monday, 9 May 2011
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