Jan Von Holleben

Nothing stops Jan Von Holleben from creating the shot he wants, not budget, not locations, and not gravity. We love his youthful spirit, and that he uses his imagination to create fantastic frozen images of flight from some supplies from the garage, a few neighborhood children, and the end of the street, or the backyard.

http://www.creativetempest.com/photography/jan-von-holleben/

Erich Heckel was born in Döbeln, near Chemnitz, in 1883. During his time at grammar school he made friends with Karl Schmidt-Rottluff. Along with other pupils they gathered at the debating society “Vulkan”, where they discussed anti-bourgeois literature and art theory. Nietzsche and Dostojewski were among their favourite authors and the intellectual appreciation of literature and its later transfer into the vocabulary of fine arts had a lasting impact on Heckel. In 1904 he began to study architecture at the polytechnical University in Dresden. Here he met Ernst Ludwig Kirchner; their discovery of their common goals culminated in the foundation of the artists’ association “Brücke” with Schmidt-Rottluff and Bleyl in 1905. Heckel, who was the most pragmatic character of the group, took over the management and intensively engaged himself in the organisational duties. He discontinued his studies and worked in the architectural office of Wilhelm Kreis. Like the other “Brücke” painters he searched for nature as untouched as possible by civilization and spent the summers of 1907 and 1908 at the North Sea coast in Dangast and of 1909 and 1910 at the Moritzburger Lakes with Kirchner and Pechstein.
In 1911 all members of the “Brücke” moved to Berlin. Heckel reacted to his experience of the metropole in a melancholic way: his colours became more subdued and he added the motive of the melancholic, brooding, thoughtful or ill sufferer in bed. He also increasingly took up illustration of literary works. In 1912 his work reached a peak when he took part in the “Sonderbundausstellung” in Cologne, where he also decorated a chapel with Kirchner. At this time he also met numerous other artists like Wilhelm Lehmbruck, Christian Rolfs, Lyonel Feininger and August Macke. During World War I Heckel served as a medical orderly and was responsible for organizing the return home of wounded soldiers to be brought home. A number of drawings and sketches from this time mirror his experiences and capture impressions of the scenery. It was also possible for him to meet James Ensor who lived in Ostende. In June 1916 Heckel married Hilda Frieda Georgi.
During the 1920s Heckel was politically active as a member of the “Arbeitsrat für Kunst” (artists’ advisory board) and the “Novembergruppe” (November group). During the summer months he traveled throughout Europe. He was mostly fascinated by mountains, such as the Alps around the Bodensee, and in the Black Forest. The severity and monumentality of the mountains therefore entered his landscapes for the first time. In 1922/23 he painted murals for the Anger-Museum in Erfurt.
The rise of the Third Reich resulted in the defamation of Heckel as a “degenerated” artist and during World War II a substantial part of his work was destroyed. In 1944 he moved to Hemmenhofen on the Bodensee. After the war Heckel taught at the Academy of Fine Arts in Karlsruhe. Until his death in 1970 he remained one of Germany’s most important artist as evidenced by his many exhibitions and awards.

Homeostética

A Homeostética ou Movimento Homeostético é um movimento artístico surgido em Lisboa no ínicio dos anos 80 na sequência do movimento neo-canibal e do esforço para criar uma revista com esse nome.

Composto inicialmente por Manuel João Vieira, Pedro Portugal, Ivo, Pedro Proença e Xana, que frequentavam então a escola de Belas Artes de Lisboa, estreou-se em 26 de Maio de 1983 com a 1ª Exposição Homeostética, com um manifesto, um hino, uma banda sonora (Concerto para máquina de lavar a loiça e pandeireta) e a revista/fanzine Filhos de Àtila, da qual saíram durante a exposição dois números.

Homeostética é um termo inventado em 1982 por Pedro Portugal a partir da leitura do primeiro volume do Método de Edgar Morin, em que as ideias sistemicas e cientificas da complexidade são abordadas. A associação a outros termos como homeopatia e homeostase é assim natural, inserindo-se numa bio-lógica de auto-regulação e de interactividade generalizada. A autonomia da arte relativamente à physis (ao perpétuo eclodir) é absurda. Nos primeiros documentos que se destinavam à publicação da revista Homeostética, datados de Fevereiro/Março de 1982 fala-se de "hipercomplexidade", de "artephysis": "A artephysis é uma pretensão genésica, caosgenética e cosmogenética, é a superestrutura que cede o lugar à poliestrutura, é a civilização que passa a focos civilizacionais interactuantes, é a individualização colectiva processada a um nivel multiforme e hiper-complexo, e não a individualização uniformizadora e separadora." (in diário de um neo-canibal). Este contexto é aliado a uma atitude "dadaísta de 5ª geração" (Manuel Vieira), a um "hiperdadaísmo voluntáriamente fracassado" (Pedro Proença) e a um ar do tempo (moda da mudança paradigmas, pós-modernismo, etc.) em que um termo é mais a multiplicidade das suas definições e posições do que um conceito estanque. Ou então é a sua capacidade de suscitar performances, como por exemplo: "festas homeofrenéticas".
Mais recentemente Rodrigo Sousa refere-se ao "homoios" de homeostética como algo de importância capital, porque assim sendo, a homeostética é algo "que se parece com a estética", logo, que se parece com a arte, sendo uma fraude relativamente aos mecanismos de legitimação da arte e da estética. Este pressuposto não só suspende todo o desejo de legitimação como considera hipócrita a Arte nas suas manias legitimizadoras, sobretudo as vindas da Estética ("a estética, bem intencionada, é metafísica do mercado").
A Homeostética não se propõe nem acabar com a arte, nem sabotá-la, nem denunciar algo, mas pura e simplesmente viver a vida conscientemente, no mais nobre e no mais sórdido, praticando algo que é tão baixo ou elevado quanto a arte, confundindo-se por vezes com esta, de forma a poder sobreviver, ou distanciando-se por vezes paródicamente, sabendo que é muito mais importante a participação na artephysis do que art-world.

(http://pt.wikipedia.org/wiki/Homeost%C3%A9tica)

Twinings sells a variety of regional and flavored teas such as Lapsang Souchong, Lady Grey and Darjeeling. It is generally accepted that the company was the first to blend Earl Grey in Britain during the premiership of Charles, 2nd Earl Grey, although this is disputed[2] by rival tea merchants Jacksons of Piccadilly,[3] which is owned by Twinings.
During 2005, Twinings introduced its first generic, non-speciality tea, under the brand 'Everyday Tea'. In 2006 they started producing a tinned luxury chocolate drink, and in 2007 they also launched a selection of tinned luxury coffees onto the market.
The company is a founding member of the Ethical Tea Partnership,[4] a group of tea-packing companies that work for a fair trade policy and monitor the ethical conditions on tea estates.
Twinings owns Nambarrie, a tea company based in Belfast, Northern Ireland, in trade for 140 years. In April 2008 Twinings announced their decision to close the Nambarrie plant[5] with the likely loss of 34 jobs. Twinings said it needed to consolidate its UK manufacturing operations in the face of increasing global competition. Nambarrie Managing Director Brian Davis commented "Our employees have made us a local success and for that we owe them a deep debt of gratitude".

Brian Dettmer- Books

Brian Dettmer (born 1974) is an American contemporary artist. He is noted for his alteration of preexisting media -- such as old books, maps, record albums, and cassette tapes -- to create new, transformed works of visual fine art.

Peter Doig (nascido em Edimburgo, 1959) é um pintor escocês. É considerado um dos mais significativos pintores da sua geração e da actualidade, e é um dos que alcançam preços mais altos no mercado de arte.
Foi viver com a sua família, em 1962, para Trindade e Tobago, e, em 1966, para o Canadá. Regressou ao Reino Unido, em 1979, into estudar para a Wimbledon School of Art, a St Martin's School of Art, e mais tarde para a Chelsea School of Art, onde recebeu um MA. Em 2002, voltou a Trindade, onde abriu um estúdio perto de Port of Spain, e passou a ser professor na Academia de Belas-Artes de Düsseldorf, na Alemanha.
A sua obra consiste, muitas vezes, em paisagens, por vezes, reminiscentes da sua infância e juventude passada no Canadá, e, inspiradas por fotografias, embora sem ser no estilo foto-realista. A sua pintura revela influências de pintores impressionistas, pós-impressionistas e expressionistas, como Claude Monet e Edvard Munch.
O trabalho de Doig captura momentos de tranquilidade, que contrastam com os elementos oníricos. O pintor usa invulgares combinações de cores e apresenta cenas de ângulos inesperados, contribuindo para dar à sua obra um sentimento de realismo mágico. As suas pinturas representam, muitas vezes, lagos com canoas, cabanas perdidas nos bosques, e esquiadores em cenários montanhosos

insect

Cochineal (Dactylopius coccus) is a scale insect in the suborder Sternorrhyncha, from which the crimson-colored dye, carmine, is derived. There are other species in the genus Dactylopius that can be used to produce cochineal extract, but they are extremely difficult to distinguish from D. coccus, even for expert taxonomists, and the latter scientific name (and the use of the term "cochineal insect") is therefore commonly used when one is actually referring to other biological species. The primary biological distinctions between species are minor differences in host plant preferences, in addition to very different geographic distributions. D. coccus itself is native to tropical and subtropical South America and Mexico.