[KLB SC #2780] The Flexican

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Op zaterdag 5 juni 2010 00:12 schreef wolvendagen het volgende:
http://www.dumpert.nl/med(...)japanse_fontein.html


dit is sick

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Op zaterdag 5 juni 2010 00:11 schreef Maisnon het volgende:
The Knife
Radiohead
St.Vincent
Bat for Lashes
David Bowie
Beirut
Bonobo
The Smiths
Gang Gang Dance
Maccabees
Phoenix
Vampire Weekend


En nog een hele shitload anderen maar 'doe mai die ma' dan als top nu

Ja ik snap je punt. Maar ik heb ook heel veel bands die ik een tijd lang veel draai en daarna ook vrijwel niet meer. Phoenix vond (en vind ook nog wel) ik ook heel tof, maar die zou nooit in mijn all time favourites staan. Net als al die andere bandjes als BBC, TDCC, Friendly Fires, etc. Goede lijst verder wel.

Ja mijn essay is af! nu nog de spellingsfouten eruit halen. Bragiiiiiiiiiiiiii

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Op zaterdag 5 juni 2010 00:16 schreef Breathtaking het volgende:

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Dat hangt er vanaf wat je erin gaat zetten natuurlijk. Als het is: 'En toen werd mijn kale kutje nat van het glinsterende kutvocht..' dan hoeft het niet.

Een halve pornostory met een gigantische anti-climax op het einde.

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Op zaterdag 5 juni 2010 00:14 schreef Japsnars het volgende:

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Post boven je.

Daar zou je internet echt niet voor op willen geven hoor.

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Op zaterdag 5 juni 2010 00:12 schreef Maisnon het volgende:

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Naar de kelder mensen

Die is leuk op gitaar.

Ik heb bijna alleen maar naar undercover martyn geluisterd

To the basement peopleeeeeeeee, to the basement!

Ja das ook mijn favo. maar alle nummers zijn leuk en aanstekelijk.

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Op zaterdag 5 juni 2010 00:15 schreef Smart_ass het volgende:

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Ja ik snap je punt. Maar ik heb ook heel veel bands die ik een tijd lang veel draai en daarna ook vrijwel niet meer. Phoenix vond (en vind ook nog wel) ik ook heel tof, maar die zou nooit in mijn all time favourites staan. Net als al die andere bandjes als BBC, TDCC, Friendly Fires, etc. Goede lijst verder wel.

Ja ik zat er ook nog veel over te twijfelen maar ik weet dat als ik al die dingen terug ga luisteren dat ik er meteen weer 'verliefd' op kan worden en daarom moest ie erbij. Ik heb ook muziek die ik veel geluisterd heb waarvan ik nu denk okay, dat was leuk maar ik heb er nu echt totaal niks mee.

Acda en de Munnik ofzo

of de Red Hot Chili Peppers.

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Op zaterdag 5 juni 2010 00:17 schreef Japsnars het volgende:

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Die komt alleen als Bt hem roept.

Of als ynuhh een tvp maakt.

En dan heb ik het niet eens over alle jazz en hiphop gehad want dat is bijna weer een ander verhaal haha

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Op zaterdag 5 juni 2010 00:19 schreef Japsnars het volgende:

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Dan ken je mij nog niet Ik word er helemaal gek van op dit moment

En op internet doe ik nu ook niet veel meer dan een beetje emailen, FOK!en en msn'en

Hoe kun je nou gek worden van het feit dat je geen vriendin hebt? Dat je gek wordt van je vriendin oke, maar dat je gek wordt van vrijgezel zijn?

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Op zaterdag 5 juni 2010 00:17 schreef Maisnon het volgende:
Ja mijn essay is af! nu nog de spellingsfouten eruit halen. Bragiiiiiiiiiiiiii

Ik wil het wel doen.

de deadline was 4 juni trouwens maar had die man iets voor 12 een mailtje gestuurd met: ik moet nog een paar kleine dingetjes. Ik wil het goed afhebben. Nog een half uurtje?

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Op zaterdag 5 juni 2010 00:19 schreef Maisnon het volgende:
En dan heb ik het niet eens over alle jazz en hiphop gehad want dat is bijna weer een ander verhaal haha

Dit is mijn guilty hip hop pleasure.

http://www.dumpert.nl/med(...)ired_by_iceland.html

IJSLAND. Been there done that.

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Op zaterdag 5 juni 2010 00:20 schreef Breathtaking het volgende:

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Hmm, je mag 'm wel schrijven en dan zie ik wel of ik 'm post !
[..]

BRAGI!

`
Ik wil guarantees, anders is het verspilde moeite. Kies maar, anders veel plezier met schrijven .

Innovation. In today’s world, the word can often be found in advertising or slogans. Innovative design, innovative thinking, innovative business strategies; The marketing appeal of the word seems to have outgrown its true meaning. But how far ahead are these self proclaimed innovative thinkers?

The word innovation is derived directly from the Latin word ‘innovatio’, meaning ‘to renew’. The true innovator uses new ideas, works in a different direction, opens up new perspectives and finds a new mindset to work in. In modern times, this new mindset is often a profitable one, both in the field of art and design. Freedom of speech is one of the highest priorities in today’s society, and more and more restrictions seem to dissapear. Both as a designer and an artists, we have a lot of freedom to express ourselves.

But is true innovation still happening? Are there still artists and designers working on something so different, that it is able to shock a society, to shake an entire world and make way for a new era? Throughout history, such innovation has happened. Somewhere along the road, the focus on innovation seems to have shifted towards a more marketing based innovation. What happened to innovation in the shape of subject, creativity, and invention? Already we find innovation to be hard to define, and that might have to do with the many ways innovation is found throughout history up until this very moment. In this essay, I hope to explore the boundaries of what true innovation is, in both the field of art and design.

Likely, the two fields have a different way of approaching innovation, because of the different rules they set for creation. Some works of art might be less bound to rules than products are. What caused innovation to happen throughout the history of design and art, and what are the similarities between the events in both of these fields?

Some of the innovative artworks and designs I know feel like they were created in a moment of brilliancy: a sudden insight that helped spawn something entirely new. Or was it something different, and if so, can it be used in future designs?
“Great things are not done by impulse, but by a series of small things brought together.”

Vincent van Gogh

If innovation throughout the history of art can be considered as breaths of fresh air, the 20th century is a true tornado. The rapid succesion of new movements and styles came to a peak in the first half of the twentieth century, with the face of art to come changed forever. How sudden did this change happen, and what events led to the start of modern art?

In the nineteenth century already, two events occured that, in my opinion, sparked one of the first signs of a new era. One had to do with a technological breakthrough, and the other one with a nude woman having a picnic.

‘Le dejeuner sur l’herbe’ by Édouard Manet depicts a naked woman sitting amongst two clothed men, with a woman bathing in the background. While nude women were generally accepted in historical and mythological works of art, the simple display of nudity without such a context, and the way it was painted with rough strokes in a way not flattering, caused a shock among the public.

Indeed, the piece was not even meant to be shown to public at first. Manet submitted it to the anual art show, Salon de Paris, where it was rejected. Current artists were still painting in a realist way, using a modest palette of colours. The rejection caused a riot among Manet and his fellow befriended artists. Napoleon eventually granted the rejected works to be displayed by the public themselves, and so the Salon des Refusés came to be.

The general public seemed to come to this exhibition for laughs; but a large group of artists seem to come because they were interested in this stir in the art concensus. A growing group of likeminded artists, decided to take matters into their own hands, and from then on, expose their works themselves.

At the same time, photography was becoming more and more of an accesible technique. Photography allowed the perfect capture of scenes: in an instance, the most realistic portrayal of any person or landscape could be made.

This stimulated artists to further stray away from the realistic standard, and find a new way to express themselves. Metal tubes for oil paints allowed painters to work in the open air, outside, more easily.

These new paintings did not capture what the world looked like, but how the world was seen. Monet painted “Impression, soleil levant” and through a mocking review by critic Louis Leroy, the impressionist movement recieved its label and became a defined new art style.

Art was stuck in repeat. There were rules to follow, there was a public and even political opinion to what it should look like, and how it should be made. Suddenly, a lot of events came together that sparked the creation of something entirely new.

And while hints of impressionism and its qualities were apparent before Monet’s famous paintings, never did they all came together at the right time and the right place. Through a few small steps, room was made for innovation to happen: the rejection of Manet’s work, the reaction of other artists, and the invention of technology that not only made innovation possible (the metal tubes of paint for example) but also forced and almost worked as a catalyst for innovation (photography). Innovation apparently, needed space to happen, and under the right conditions, was able to occur.

Impressionism was only one of the first steps. Perhaps, the next big step, has a comparable context? Was the next big step in the way to modern art a cataclysm of events as well, or a decision out of the blue?

“Bad artists copy. Good artists steal.”
Picasso

Up until the beginning of the twentieth century, Picasso was a rather realistic painter in an academy trained way. And although he started experimenting with symbolism and a more modern style of painting, influenced by the likes of Munch and El Greco many centuries before him, Picasso still painted in a rather conservative style.

After going through a period of a rather depressed series of paintings in sombre and blue colors, Picasso turned towards a more cheerful approach in what is considered his Rose period. Using more vibrant colors like orange and reds, Picasso still used recognisable figures, like harlequins, portraying the scenes and people in his own style of modern painting.

Ask anyone about Picasso, and they are likely to mention the distorted faces, the cubist forms and the jagged figures. How did Picasso transition from his Rose Period to the well-known cubist painter he came to be? Was it a decision Picasso made out of the blue?
It was during the year of 1907, that everything changed. Not just for Picasso, but in retrospect, for generations of artists to come. During the time, Picasso had made quite a name for himself, but the most reknown artist of Paris was the fauvist Henri Matisse.

The academically Matisse painted from reality, but had a unique use of color; the Fauves in general disregarded the subjects natural color palette, and instead used different colors as a way to express emotions. Facing harsh criticism at first, Matisse responded by diving even deeper into his fauvist way of painting, and eventually displayed ‘Le bonheur de vivre’ in an exhibition he partially organised, called Salon d’Automne. Like the impressionist movement did before them, Salon d’Automne started as a response to the conservative Salon de Paris.

Reactions were divided still, but most undoubtedly invoked joy and laughter. Le bonheur de vivre expressed itself through vivid complementary colors, while still having a realistic structure underneath.

At this point, competition between Picasso and Matisse was still going strong. Even though the two were friends, Picasso had to accept the older Matisse as the through master of his time. His own paintings could even be considered rather boring, when compared to the wild expressive paintings Matisse made.

Realising he couldn’t beat Matisse at his own game, Picasso knew he had to create something drastic to set himself apart as the better artist. Something that was not seen before, something that would cause a shock and forever change the way Picasso painted.

At the time, a lot of artwork from Africa was imported into France, often ending up in stacks in tribal musea throughout Paris. Musée d’Ethnographie du Trocadéro was one of them, and during Picasso’s studies for his groundbreaking work, it was here he found his most important inspiration. The masks and statues displayed, added up to the influence of Spanish and Iberian art, and together with influences of Cezanne and El Greco, collided together in Picasso’s mind.


It was from those studies, ‘Les Demoiselles d’Avignon’ was given life. A painting so strange and ungraspable, with such disregard for what were considered common rules in art, that it blew everyone away and caused a huge uprising. Suddenly, Matisse was not that innovative anymore. All the time, Matisse was still working on a foundation of what Post Impressionist painters had done.

Picasso totally steered away from this. And even though he borrowed an enormous amount of details, techniques, colors and compositions from artists before him, it was the way these were all brought together that was never before seen.

I feel like this is where Picasso set himself apart from other ‘innovators’. He managed to partially reinvent the way artwork was looked at, like the impressionists did when the camera had risen to popularity. One can step away from what is currently being done and improve on it, but to take a step beyond that and almost travel in completely uncharted territory, is a true path to renewal.