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Jan Bergmans's insight:
Kalender > Visa aktivitet
Jan Bergmans Stockholmspärlor2 oktober - 24 oktober
Plats: Galleri Kontrast, Stockholm
Galleri Kontrast i Stockholm visar utställningen 'Jan Bergmans Stockholmspärlor'. Stockholmspärlor är en fängslande resa i ett svunnet Stockholm, en stad där det gamla och nya finns sida vid sida.
Vernissage lördagen den 2 oktober kl 12-16
Intresse - Arkitektur, Intresse - Gatufoto, Intresse - Landskap, Utställning, Vernissage
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Evenemang / Festival Evenemang / Fotoresa Evenemang / Föreläsning Evenemang / Mässa Evenemang / Radio/Teve Evenemang / Tävling Evenemang / Utställning Evenemang / Vernissage Intresse - Action / Äventyr Intresse - Arkitektur Intresse - Barn Intresse - Bröllop Intresse - Digital efterbehandling Intresse - Gatufoto Intresse - Husdjur / Tamdjur Intresse - Konsertfoto Intresse - Konstfoto Intresse - Landskap Intresse - Macro Intresse - Mode Intresse - Mörkrum Intresse - Nattbild Intresse - Natur Intresse - Porträtt Intresse - Posering Intresse - Produkter Intresse - Reportage / Situation Intresse - Resefoto Intresse - Sport / Motorsport Intresse - Studio Intresse - Svart-vitt Intresse - Toycamera Intresse - Undervattensfotografi Intresse - Utrustning Intresse - Vilda djur Intresse - Växter, insekter, naturdetalj
Jan Bergmans's insight:
My name is Tippi. I am African and I was born 10 years ago in Namibia. People who ask me “ Tippi ? Like an indian teepee ? ”, should open their dictionary : mine is spelt with a double P. My parents named me after the american actress Tippi Hendren. She used to play in “ the Birds ”, a frightening Alfred Hitchcock movie.My name is also Okanti, which means “ mongoose ” in the Ovambo language, one of the Namibian tribe. It can seem like a strange idea to call your daughter Mongoose, even if the word “ Okanti ” sounds nice. It is, nevertheless, the beginning of my story……Tippi, Furty‘s godmother :
A startup called Artkick has secured 50,000 digital representations of paintings and photographs from 2,000 museums around the world. It places them on Internet-connected televisions and computer screens.
Jan Bergmans's insight:
Pandora and Spotify are businesses that sort through digital music and figure out your likes. Netflix does the same for movies. There’s even Yelp, doing something like that for food. Meantime, fine art just hangs there on the wall.
Not for much longer, perhaps. A start-up called Artkick has secured 50,000 digital representations of paintings and photographs from 2,000 museums around the world. It places them, via an iOS or Android app, on Internet-connected televisions and computer screens.
The pictures can be switched as often as every minute or as seldom as never. Users can rate what they like, and rotate what’s on the screens based on things like other works by the artist, other paintings from the period or genre, or other offerings from the museum.
“Why not stream images?” said Sheldon Laube, the chief executive of Artkick. “Clothes, music, foods – we change around all sorts of things that give us pleasure. Art has been constrained by being physical.”
These are of course digital representations, not the real thing, but his point that art on your wall not changing is true for the art posters and reproductions in most living rooms. With the ubiquity of digital screens, why shouldn’t they serve a more decorative function?
If nothing else, Artkick illustrates (ahem) a couple of interesting social and business points: For one, we still tend to think TVs should be off when not in use, and computer screens should either be in “sleep” mode, or have a screen saver of some sort. Both of those ideas have to do with extending the lifespan of cathode ray tubes, and today’s digital screens now last longer and use far less energy.”
“It costs about $35 to keep a TV on for a year,” said Mr. Laube, flipping his iPad from Grant Wood’s “American Gothic” to Audobon’s “Birds of America.” A decade ago, he says, “it used to be 10 times that much.”
The other is the plunging costs of devices to make all this work. When, in the 1990s, Bill Gates set to filling his house with digital screens showing art on a rotating basis, the equipment cost more than $100,000, and the art had to be specially photographed.
Now a 32-inch Internet-connected digital TV can be about $350, or what you might pay for the custom framing of an artwork that big. Museums around the world have digitized their collections, and increasingly offer them online. Last year, Amsterdam’s Rijksmuseum began offering what is says will eventually be 150,000 images available for people to download and build their own collections. Printing is also allowed.
Capucine: Snow Angel
‘Capucine’. One word, an icy brand distilled from the warmer ‘Germaine Hélène Irène Lefebvre’. But then her elegance didn’t permit intimacy. And that was her appeal. A snow angel with dazzling detachment.Who would believe such a thing?
Born 1928. A Parisian model at 17, then into films. She was surprisingly adept at comedy, a genre strangely receptive to manic depressives. Without darkness we can’t know light?
“Men look at me,” she opined, “like I'm a suspicious-looking trunk, and they're customs agents.” There’s a difference between beautiful and pretty — and in the face of beauty men grow wary, weakened by exposure to the spiritual, anxious to resume a cosmetic, manufactured appreciation.
slowly, with great art and artifice, seduce yourself, make love to the flesh and fear and forget-me-nots that are you. But therein lays disease and finally, after injecting one too many color chemical emulsions at 1/60th of a second — a kind of walking madness. Narcissus didn’t drown. He couldn’t tolerate the terrible pain of perfection — even his own.
Chamber music courses and festival in Belgium for young talented musicians, violin, viola, cello and piano. International guest artists, Maisky, Vengerov Badura-Skoda
Jan Bergmans's insight:
MUSICA MUNDI is an International chamber music course and Festival for young talents aged 10-18. Now in it's 15th year, it was created in order to help young talents develop their own unique personalities, and to enable them to meet musicians at the top of their profession.
Among those Artists who have participated in the Musica Mundi International chamber music course and Festival, are Maxim Vengerov, Mischa Maisky ,Gidon Kremer, Ivry Gitlis, Katia & Marielle Labèque, Heinrich Schiff, Leif Ove Andsnes, Paul Badura-Skoda, Itamar Golan, King’s Singers, Petersen string quartet, Talich string quartet, St.Petersburg string quartet, to name a few.
Sick of buying 100 channels to get the one you want? Solution: Be Canadian.
Jan Bergmans's insight:
Canada's government may soon require cable and satellite providers to unbundle TV packages, letting customers choose each channel they want individually.
"We don't think it's right for Canadians to have to pay for bundled television channels that they don't watch. We want to unbundle television channels and allow Canadians to pick and pay the specific television channels that they want," Canada Industry Minister James Moore said in a TV appearance, according to Reuters.
Moore is a member of Canada's Parliament and was appointed Minister of Industry in July of this year. In the next parliamentary session, he said the government will consider additional pro-consumer moves such as preventing airline overbooking and lowering the roaming rates charged by cellular providers.
Reuters noted that "[s]ome Canadian cable and satellite television providers have already begun to offer so-called 'a la carte' pricing."
Channel unbundling would be welcome in the US, too, of course. US Sen. John McCain (R-AZ) has been advocating this for years, most recently with the proposed Television Consumer Freedom Act. The bill would not require unbundling, but it would provide incentives that encourage providers to offer channels individually. For now, bundling is what's available to US consumers because it's the system that is most lucrative for TV providers.
Met een knipoog naar een van de meest hardnekkige clichés die over de Nederlandse film bestaat, presenteert het NFF het hoofdprogramma Naakt.
Jan Bergmans's insight:
Met een knipoog naar een van de meest hardnekkige clichés die over de Nederlandse film bestaat, presenteert het Nederlands Film Festival (NFF) het hoofdprogramma Naakt. Van de bevrijdende seksgolf in de jaren zeventig tot de schoonheid en kwetsbaarheid van kunstzinnig naakt. Maar ook de blootgelegde ziel en opgeofferde privacy worden belicht, in woord, inbeeld en in spannende ontmoetingen en evenementen.
Het NFF vertoont vijftien films waar blootgeven in al zijn facetten centraal staat: BEGRIJP JE NU WAAROM IK HUIL? (Louis van Gasteren, 1969), HET DRIELANDENPUNT (Frans Bromet, 1974), SPETTERS (Paul Verhoeven, 1980), VAN DE KOELE MEREN DES DOODS (Nouchka van Brakel, 1982), ROMEO (Rita Horst, 1991), INTERVIEW (Theo van Gogh, 2003), IK EN MIJN OUDERS – MIJN OUDERS EN IK (Gerrit van Elst, 2004), PAPA IS WEG EN IK WILDE NOG WAT VRAGEN (Marijn Frank, 2007), KAN DOOR HUID HEEN (Esther Rots,2009), CONGO BUSINESS CASE (Hans Bouma, 2013), PARTS OF A FAMILY (Diego Gutierrez, 2013), BLOOT (Paul Cohen, 2013), NIEUWE TIETEN (Sascha Polak, 2013)en DEAD BODY WELCOME (Kees Brienen, 2013).
Ode aan Sylvia Kristel
Binnen het hoofdthema brengt het NFF een speciaal programma rond het vorig jaar overleden icoon Sylvia Kristel. Uiteraard met de softerotische klassieker EMMANUELLE, maar ook Wim Verstappens PASTORALE 1943 en Pim de la Parra’s FRANK& EVA; LIVING APART TOGETHER ontbreken niet, evenals beeldende kunst van haar eigen hand. Ook Michiel van Erps documentaire SYLVIA KRISTEL: NU wordt vertoond. Het programma is samengesteld met medewerking van Hans Heesen, Jan Doense, Henriëtte Hoogenboezem en Lex Veerkamp.
Veel van de spraakmakende taboedoorbrekers van vroeger hebben nu een behoorlijke cultfactor. Hoe controversieel zijn ze nog, in het tijdperk van VIJFTIG TINTEN GRIJS en hitsige hiphopclips? Voor, tijdens en na de double bill vertoning van Pim de la Parra’s MIJN NACHTEN MET SUSAN, OLGA, ALBERT, JULIE, PIET & SANDRA (1975) en Cyrus Frisch’ VERGEEF ME (2001) laten experts en ervaringsdeskundigen er – samen met het publiek – hun licht over schijnen.
Davy’s Erotheek is de allerlaatste seksbioscoop van Utrecht en al decennialang een begrip bij de liefhebbers van erotische hoogstandjes. De erotheek opent speciaal voor het NFF de deuren en vertoont voor de gelegenheid niet de gebruikelijke pornofilms,maar een speciaal samengesteld compilatieprogramma waarin de schoonheid en kwetsbaarheid van het naakte lichaam centraal staan.
Chin Up, Head Down
Theatermaker, kostuumontwerper en fotograaf Miek Uittenhout liet twintig Nederlandse acteurs en actrices voor haar camera plaatsnemen. Het leverde twintig dubbelportretten op waarin onder anderen Gouden Kalf-winnaars Sylvia Hoeks, Barry Atsma en Martijn Lakemeier zich van hun sterkste én zwakste kant laten zien. De foto’s worden geëxposeerd tijdens het NFF in galerie KuuB.
Ook een expo van Rob’s Propshop, gespecialiseerd in make-up effects, creature effects, animatronics en special props in het Festivalpaviljoen en het Grote Doen-Alsof-Feest met o.a. de vertoning van THEO EN THEA EN DE ONTMASKERING VAN HET TENENKAASIMPERIUM vallen onder het hoofdthema Naakt.
Lees meer over het hoofdthema in het NFF Magazine.
This year's BAF sees women in animation and gaming as a central theme. We delved into the research to find out if expectations had changed for modern female characters.
Jan Bergmans's insight:
Who leads the way for the modern, adventurous and intelligent female characters?
To kick off this year’s Bradford Animation Festival (17 – 22 November) we asked more than 2,000 people what they thought about female animated characters, as women in animation and gaming is a central theme of this year’s event.
The results revealed that audiences believe female characters in modern animation are more independent, adventurous and intelligent than female characters in the past, whose defining characteristics they described as pretty and romantic.
The top answers for the traditional view of female lead animated characters were: ‘Pretty’ (38%), ‘Romantic’(37%) and ‘Independent’ (33%). The modern view of female characters saw ‘Independent’ top the list (43%), with ‘Adventurous’ (39%) and ‘Intelligent’ (39%) equally matched in second place.
Princess Fiona from Shrek was named as the most popular female character (with 14% of the vote).
The Adventures of Prince Achmed, by Lotte Reiniger
However it came as a surprise to nearly 80% respondents that the oldest-surviving animated feature (The Adventures of Prince Achmed, 1926) was made by a woman, Lotte Reiniger. At this year’s BAF we’re celebrating the creative excellence of Lotte and other female pioneers, such as Joy Batchelor, one of Britain’s foremost female animators and driving force, along with her partner John Hallas, in the creation of Britain’s first animated feature film Animal Farm.
Joy Batchelor, along with partner John Hallas, created the UK’s first animated feature Animal Farm
We’re also looking to the present and future with our lifetime achievement award winner, producer Claire Jennings who has worked on titles such as Coraline and Wallace & Gromit: The Curse of the Were-Rabbit. Elsewhere festival regular Joanna Quinn, acclaimed animator and founder of Beryl Productions, is making a welcome return, and British animator Jo Lawrence has created the animated festival banner.
Claire Jennings (producer of Coraline & Wallace and Gromint: Curse of the Were- Rabbit, among others). BAF 2014 Lifetime Achievement award.
The survey also revealed something we’ve secretly suspected all along, as 80% of those questioned believe that animation is for everyone, not just for children (or bigger kids!). Our programme reflects this entirely, delving into all genres of animation, with documentaries, shorts, music videos, commercials, narrative films and more.
And just to show how popular animation is, from 2,006 people who stated they watch animation, a majority of 46% named animation as their favourite film and television genre, with 46% also watching an animated film or TV programme at least once a week.
Finally, in honour of Academy Award-winning Aardman Animations founder Peter Lord’s visit, and the recent online revival of his creation Morph, we asked which other TV animation the public would like to see make a comeback.
Morph & Chas, who made a comeback this year. Aardman Animations
42% said The Flintstones, 35% would like to see The Wacky Races, and 33% said The Magic Roundabout. We’d love to see them all.
The Bradford Animation Festival is on until Saturday 22 November.
Sublime FM - 90.4 FM Hilversum - listen online, schedule, location, contact, song playlist and broadcast information
Jan Bergmans's insight:
STATION INFORMATIONLocation Hilversum, NetherlandsGenres Jazz, Funk, LoungeLanguage DutchContact PO Box 116 Den Haag
2501 CC+31 30 303 5444
Aesop's Fables or the Aesopica is a collection of fables credited to Aesop, a slave and story-teller believed to have lived in ancient Greece between 620 and 560 BCE. Of diverse origins, the stories associated with Aesop's name have descended to modern times through a number of sources.
Jan Bergmans's insight:
Fable as a genre
Apollonius of Tyana, a 1st-century CE philosopher, is recorded as having said about Aesop:
The Greek historian Herodotus mentioned in passing that "Aesop the fable writer" was a slave who lived in Ancient Greece during the 5th century BCE. Among references in other writers, Aristophanes, in his comedy The Wasps, represented the protagonist Philocleon as having learnt the "absurdities" of Aesop from conversation at banquets; Plato wrote in Phaedo that Socrates whiled away his jail time turning some of Aesop's fables "which he knew" into verses. Nonetheless, for two main reasons – because numerous morals within Aesop's attributed fables contradict each other, and because ancient accounts of Aesop's life contradict each other – the modern view is that Aesop did not solely compose all those fables attributed to him, if he even existed at all. Instead, any fable tended to be ascribed to the name of Aesop if there was no known alternative literary source.
In Classical times there were various theorists who tried to differentiate these fables from other kinds of narration. They had to be short and unaffected; in addition, they are fictitious, useful to life and true to nature. In them could be found talking animals and plants, although humans interacting only with humans figure in a few. Typically they might begin with a contextual introduction, followed by the story, often with the moral underlined at the end. Setting the context was often necessary as a guide to the story's interpretation, as in the case of the political meaning of The Frogs Who Desired a King and The Frogs and the Sun.
Sometimes the titles given later to the fables have become proverbial, as in the case of 'killing the Goose that Laid the Golden Eggs or the Town Mouse and the Country Mouse. In fact some fables, such as The Young Man and the Swallow, appear to have been invented as illustrations of already existing proverbs. One theorist, indeed, went so far as to define fables as extended proverbs. In this they have an aetiological function, the explaining of origins such as, in another context, why the ant is a mean, thieving creature. Other fables, also verging on this function, are outright jokes, as in the case of The Old Woman and the Doctor, aimed at greedy practitioners of medicine.Origins
The contradictions between fables already mentioned and alternative versions of much the same fable - as in the case of The Woodcutter and the Trees, are best explained by the ascription to Aesop of all examples of the genre. Some are demonstrably of West Asian origin, others have analogues even further to the East. Modern scholarship reveals fables and proverbs of Aesopic form existing in both ancient Sumer and Akkad, as early as the third millennium BCE. Aesop's fables and the Indian tradition, as represented by the Buddhist Jataka Tales and the Hindu Panchatantra, share about a dozen tales in common although often widely differing in detail. There is therefore some debate over whether the Greeks learned these fables from Indian storytellers or the other way, or if the influences were mutual. Loeb editor Ben E. Perry took the extreme position in his book Babrius and Phaedrus that
Although Aesop and the Buddha were near contemporaries, the stories of neither were recorded in writing until some centuries after their death and few disinterested scholars would now be prepared to make so absolute a stand about their origin in view of the conflicting and still emerging evidence.Translation and transmissionGreek versionsA Greek manuscript of the fables of Babrius
When and how the fables arrived in and travelled from ancient Greece remains uncertain. Some cannot be dated any earlier than Babrius and Phaedrus, several centuries after Aesop, and yet others even later. The earliest mentioned collection was by Demetrius of Phalerum, an Athenian orator and statesman of the 4th century BCE, who compiled the fables into a set of ten books for the use of orators. A follower of Aristotle, he simply catalogued all the fables that earlier Greek writers had used in isolation as exempla, putting them into prose. At least it was evidence of what was attributed to Aesop by others; but this may have included any ascription to him from the oral tradition in the way of animal fables, fictitious anecdotes, etiological or satirical myths, possibly even any proverb or joke, that these writers transmitted. It is more a proof of the power of Aesop's name to attract such stories to it than evidence of his actual authorship. In any case, although the work of Demetrius was mentioned frequently for the next twelve centuries, and was considered the official Aesop, no copy now survives.
Present day collections evolved from the later Greek version of Babrius, of which there now exists an incomplete manuscript of some 160 fables in choliambic verse. Current opinion is that he lived in the 1st century CE. In the 11th century appear the fables of 'Syntipas', now thought to be the work of the Greek scholar Michael Andreopulos. These are translations of a Syriac version, itself translated from a much earlier Greek collection, and contain some fables unrecorded before. The version of 55 fables in choliambic tetrameters by the 9th century CE Ignatius the Deacon is also worth mentioning for its early inclusion of stories from Oriental sources.
Some light is thrown on the entry of stories from Oriental sources into the Aesopic canon by their appearance in Jewish commentaries on the Talmud and in Midrashic literature from the 1st century CE. Some 30 fables appear there, of which twelve resemble those that are common to both Greek and Indian sources, six are parallel to those only in Indian sources, and six others in Greek only. Where similar fables exist in Greece, India, and in the Talmud, the Talmudic form approaches more nearly the Indian. Thus, the fable "The Wolf and the Crane" is told in India of a lion and another bird. When Joshua ben Hananiah told that fable to the Jews, to prevent their rebelling against Rome and once more putting their heads into the lion's jaws (Gen. R. lxiv.), he shows familiarity with some form derived from India.Latin versions
The first extensive translation of Aesop into Latin iambic trimeters was performed by Phaedrus, a freedman of Augustus in the 1st century CE, although at least one fable had already been translated by the poet Ennius two centuries before, and others are referred to in the work of Horace. The rhetorician Aphthonius of Antioch wrote a technical treatise on, and converted into Latin prose, some forty of these fables in 315. It is notable as illustrating contemporary and later usage of fables in rhetorical practice. Teachers of philosophy and rhetoric often set the fables of Aesop as an exercise for their scholars, inviting them not only to discuss the moral of the tale, but also to practise style and the rules of grammar by making new versions of their own. A little later the poet Ausonius handed down some of these fables in verse, which the writer Julianus Titianus translated into prose, and in the early 5th century Avianus put 42 of these fables into Latin elegiacs.12th century pillar, cloister of the Collegiata di Sant'Orso, Aosta: the Fox and the Stork
The largest, oldest known and most influential of the prose versions of Phaedrus bears the name of an otherwise unknown fabulist named Romulus. It contains 83 fables, dates from the 10th century and seems to have been based on an earlier prose version which, under the name of "Aesop" and addressed to one Rufus, may have been written in the Carolingian period or even earlier. The collection became the source from which, during the second half of the Middle Ages, almost all the collections of Latin fables in prose and verse were wholly or partially drawn. A version of the first three books of Romulus in elegiac verse, possibly made around the 12th century, was one of the most highly influential texts in medieval Europe. Referred to variously (among other titles) as the verse Romulus or elegiac Romulus, it was a common Latin teaching text and was popular well into the Renaissance. Another version of Romulus in Latin elegiacs was made by Alexander Neckam, born at St Albans in 1157.
Interpretive "translations" of the elegiac Romulus were very common in Europe in the Middle Ages. Among the earliest was one in the 11th century by Ademar of Chabannes, which includes some new material. This was followed by a prose collection of parables by the Cistercian preacher Odo of Cheriton around 1200 where the fables (many of which are not Aesopic) are given a strong medieval and clerical tinge. This interpretive tendency, and the inclusion of yet more non-Aesopic material, was to grow as versions in the various European vernaculars began to appear in the following centuries.
With the revival of literary Latin during the Renaissance, authors began compiling collections of fables in which those traditionally by Aesop and those from other sources appeared side by side. One of the earliest was by Lorenzo Bevilaqua, also known as Laurentius Abstemius, who wrote 197 fables, the first hundred of which were published as Hecatomythium in 1495. Little by Aesop was included. At the most, some traditional fables are adapted and reinterpreted: The Lion and the Mouse is continued and given a new ending (fable 52); The Oak and the Reed becomes "The Elm and the Willow" (53); The Ant and the Grasshopper is adapted as "The Gnat and the Bee" (94) with the difference that the gnat offers to teach music to the bee's children. There are also Mediaeval tales such as The Mice in Council (195) and stories created to support popular proverbs such as 'Still Waters Run Deep' (5) and 'A woman, an ass and a walnut tree' (65), where the latter refers back to Aesop's fable of The Walnut Tree. Most of the fables in Hecatomythium were later translated in the second half of Roger L'Estrange's Fables of Aesop and other eminent mythologists (1692); some also appeared among the 102 in H. Clarke's Latin reader, Select fables of Aesop: with an English translation (1787), of which there were both English and American editions.
There were later three notable collections of fables in verse, among which the most influential was Gabriele Faerno's Centum Fabulae (1564). The majority of the hundred fables there are Aesop's but there are also humorous tales such as The drowned woman and her husband (41) and The miller, his son and the donkey (100). In the same year that Faerno was published in Italy, Hieronymus Osius brought out a collection of 294 fables titled Fabulae Aesopi carmine elegiaco redditae in Germany. This too contained some from elsewhere, such as The Dog in the Manger (67). Then in 1604 the Austrian Pantaleon Weiss, known as Pantaleon Candidus, published Centum et Quinquaginta Fabulae. The 152 poems there were grouped by subject, with sometimes more than one devoted to the same fable, although presenting alternative versions of it, as in the case of The Hawk and the Nightingale (133-5). It also includes the earliest instance of The Lion, the Bear and the Fox (60) in a language other than Greek.
Bob Hope comedy with Dorothy Lamour. | You can find more information regarding this film on its IMDb page.
Jan Bergmans's insight:
Bob Hope comedy with Dorothy Lamour. |
Creative Commons license: Public Domain
I am Loud I am loud, Demanding attention. I know when I am being charming Because I try. I put on my impressing face And do my impressing hair And speak my impressing words. I tell you my embarrass...
Jan Bergmans's insight:
I am Loud
I am loud,
I am not good at being quiet
I am the girl who will point out your flaws,
I am the girl who will talk about science,
I am the girl who will make witty references,
I am the girl who will stand on a table,
I am the girl who takes too many shots
I am not a thin silk scarf on the wind.
Rather, I am the bird who flies overhead
I am many things.