Jacques de BeaufortBandas de Holanda
Resulta peculiar que una nación tan pequeña en superficie territorial pueda albergar tanto talento musical como Holanda (PaÃses Bajos). El rock llegó al paÃs flamenco a mediados de la década de los 50's con agrupaciones y solistas como Andy Field, De Jonkers & De Joffers, Cees de Lange, De Spelbrekers, Eddy Christiani, De Drie Kleine Kleuters, entre otros. Posteriormente, en los 60's aparecieron grupos como The Tielman Brothers (Indorock), The Blue Diamonds, Harry Bliek, Hans Boekhout, Erik van Eldik & The Shakin' Hearts, Rob de Nijs, The Lords, Johnny & The Cellar Rockers, Willy & The Giants, etc. En la década de los 70's surgieron buenas bandas como Brainbox, Supersister, Kayak, Alquin, Solution, Groep 1850, etc. A participios de los 80's el hard rock holandés tuvo como principal exponente a Vandenberg y a mediados de la misma década comenzaron a aparecer las bandas de heavy metal, como Pestilence, Asphyx, Consolation, Sinister y Thanatos, entre otros.
En el death metal hay excelentes agrupaciones como Nembrionic, Detonation, Gorefest, Inhume, Cypher, Katafalk, God Dethroned, Creepmime, Altar, Severe Torture, Legion of the Damned, etc. El black metal y doom metal no se quedan atrás y para muestra están Officium Triste, Cirith Gorgor, Countess y Slechtvalk. Ha sido en el metal gótico y sinfónico donde Holanda ha destacado con estupendas bandas como After Forever, Epica, Within Temptation, The Gathering, Stream of Passion, Autumn, Ayreon, Imperia, Delain, Clan of Xymox, Callenish Circle, Blo Torch, Xystus, entre muchas bandas. Vale la pena tomarse un tiempo y disfrutar de la excelente música de las bandas holandesas.
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J. G. Ballard - BBC Profile
...if you watch only one JG Ballard video post of mine this summer...this should be the ONE.
WW II confirmed that the whole of reality was some sort of stage set that could be cleared away at a moments notice. I do tend to write a fiction of extreme situations, there's no point in denying that. But then, life on this planet for the most part is fairly extreme….the life I led during the Second World War was not untypical at all, in fact it was completely typical of the way most people on this planet have lived during the 20th century and in previous centuries…what is the untypical corner of the planet has been the sort of secure suburbia of England, Western Europe, and the United States.
I have a suspicion that some sort of institutionalized violence which we see in the violent contact sports like boxing, American Football, [Soccer Hooliganism] etc, are not "outlets" of violence but rather means of prompting and provoking it because we need to get that sort of violence into our systems because they are energizing and they do have a virtue because they sharpen the moral sense of ourselves….
You could make the point that in a way the great dream of the Enlightenment- of a sane and humane society, where we all respect each other is in a sense hopelessly idealistic and does not accord with our real natures. That we are a race of partly-civilized hunter killers who've adapted loosely to living in large enclaves. If we are going to be truthful about our real natures and that we are rather violent creatures who enjoy violence…it might be necessary to administer small doses of not just violence, but psychopathic behavior.
autobiographical contents
One more institutional affiliation...
ART 383, Life Painting, Cal State Long Beach
My teaching methodology will focus on the material approach favored by Dutch masters like Vermeer, and also include a nod to the more improvisational flourishes of the Italian Tiepolo. Many scholars agree that the European Baroque was a period of intensity, depth and greatness that will remain without equal...this was the high water mark..the medium's one Golden Age. To be fair-we should of course note the 19th century Romantics for the complexity and daring of their vision, and of course the 20th century modernists for pushing the medium to its conceptual limits...but none of these eras could hope to match the supreme level of technical fluency, epic pictorialism, and the breadth of production commonplace during the Baroque. Few artists, if any have approached the mastery, not only of craft, but of the visionary pictorial grandeur that has become so emblematic of artists of the 1600's.
My own representational technique has grown slowly and akwardly, and now employs a liberal use of repeated glazing, semi-wet on semi-wet, and a 4-5 layer process that demands an abundance of patience and studio lingering. This is one of the most difficult things for young painters to grasp..that the process can be tedious and time consuming..that results come slowly, if at all. It's hard to make art with too many distractions. Ask Steve Canaday about that one. I generally disdain canvas surfaces and prefer the smooth panels used by the Northern Europeans and contemporary masters like Glenn Brown. I am not a traditionalist or a "realist" or a Dogmatic Ideologue, nonetheless I recognize the importance of fluency and mastery in this particular lexicon of the visual language-and the reach and breadth that a material craft can bring to the conceptual arsenal an artist employs. Unlike a writer or conceptual artist who may be able to remain distanced behind the slight removal of words and ideas a painter exists immediately and directly within the marks and gestures of their surfaces.
My goal is to paint with great skill if not with complete virtuosity, with an absence of irony-but nonetheless reaching towards a syncretic hybrid form that is at once comfortable with an awareness of the past and the necessity to reconstitute our vision of painting that clearly cannot remain static and entrenched if it wishes to engage in any of the current conversations and remain a relevant cultural form. I see this conversation as a web and a network rather than a Pyramid of Authority rising from the Academic Ocean (see employee id card). There is no Son of Horus, no wrathful Christ as Pantokrator..no God of Judgement...only pockets of value held dearly and with great faith by the members of various scattered communities and hyper specialized sub-cultures. Some of these just happen to have more visibility than others. There are many "artworlds", but the greater entity is a loose and diaphanous communal society, a structure that is constantly morphing and without a center. There are avenues of connectivity but there is no "right" or "wrong". Dollar value is a chimera that occupies the razor thin space between Greed and Fear..."prestige" comes from an obscure Old French word meaning "jugglers tricks". Look it up. In my mind, values and beliefs about art should be mutable..."truth" can be gotten at from many sides. There is no such thing as a correct way of making images, only a plenum of choices. No one is at war in Art, thankfully. As such, an abundance of options will naturally be manifest as an artistic practice with great depth, vision, relevance and agency. Art is both material and immaterial, and I see no problem or contest with these two "oppositional" traits being held by the same artifact concurrently. Both qualities are present within the same object as it passes through our awareness-for this "object" which can be more correctly perceived as a movement of ideas and substances through space, is both infinite and temporal.
Britney Spears (Galeria 2)
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http://www.britneyspears.com/
Otras fotos de Britney Spears:
Britney Spears (Galeria 1)
