#Toos van Holstein

[toosvanholstein]

De Vrouwelijke Kunstenaars Blijven Oprukken: deel 2

Geen ontkomen aan, de vrouwelijke kunstenaars uit het verre en recente verleden blijven oprukken. Lees hier maar het verhelderende 2e deel van Toos van Holstein haar verhaal daarover in TOOS&ART #art #kunst #expo

Vorige week beloofd, dus ik blijf nog even hak-tak-hak heen en weer springen over ‘de vrouw in de kunst’. Aan de hand van die twee tentoonstellingen ‘De Nieuwe Vrouw’ in museum Singer (Laren)  en ‘Vrouwenpalet 1900-1950’ in de Rotterdamse Kunsthal (tot 10 april) en vanwege die onstuitbare opmars van de vrouwelijke kunstenaars uit het verre en nabije verleden. Waarvan dan weer die twee exposities…

[vetgreys]

Witchfire bog

#WITCHFIRE BOG INSTALL#

Liesl has lived at the Hofburg with Pauline. Von Tegen recieved the blame for all disrespect. The procession to West Bahnhof was a pathetic affair until Karl bolstered it with fifty men of Austria's noble families. Sophie's casket was small, simple, and on a lower dias. In the end, their funeral took place together in the Hofburg Chapel. Archduke Karl, now heir, arranged for their funerals to be as equal as possible despite statesman Prinz Friedrich von Tegen's arrangements for the opposite in the name of the emperor. Their coffins arrived at the Sud Bahnhof in Vienna late July 2nd. However, their carriage was threatened with a thrown bomb-and while on an alternate route, two gunshots killed the married couple. As in the 1910 visit of the emperor, the streets were lined with troops and much of the angry populace was ordered indoors. On June 28th, 1914, Franz Ferdinand and Duchess Sophie visited Sarajevo in Serbia. His uncle, Emperor Franz Josef, furious about the match, allowed it only so long as it was morganatic. Franz Ferdinand von Este, heir to the throne, married Countess Sophie Chotek, the fifth daughter of Count Bohuslav Chotek and a woman socially beneath him. The aide reports that Schlegel's health is failing, and soon returns with news that the emperor is dying.Ī chapter of historical context. After a month in jail, Serevitch is located by one of the emperor's men. Von Tegen orders Sascha's death and Serevitch's arrest. He fails to hunt down the last man's location, and when von Tegen learns that Serevitch is undermining him to save his friend, the two fight and part ways. Serevitch claims that Sascha has knowledge of van Rabenfels' final spy-which will only be revealed when he is released. They fled to Austria together, and now Austria means to sacrifice Sascha as an upstart and murderer to protect von Tegen's plot. When Serevitch returns, he visits Sascha-who was expelled from the Russian Intelligence network alongside him for knowing too much. Van Rabenfel's body is then found and pinned upon Sascha, who is arrested. The next day, a mob inspired by Sascha assembles outside the palace for food Schlegel gives it to them, appeasing them. While he buries the emperor in Schlegel's intended grave, the monk plants van Rabanfels's corpse in the slums to be found. Serevitch soon returns with Schlegel, then departs beside the monk with Franz Josef and van Rabenfels' bodies. While awaiting the spy's return, von Tegen confronts a monk-one of van Rabenfel's group-and converts him to their side. Serevitch convinces the peasant, Hans Schlegal, to imitate the emperor with a fake letter stating that it was Franz Josef's will. Deciding that they have no choice, the pair rushes to prepare the doppelganger. Van Rabenfels draws his sword and dies on von Tegen's. Von Tegen and Serevitch enter to a dead Franz Josef. The seditious Prinz tells Emperor Franz Josef that von Tegen and Serevitch had organized Archduke Franz Ferdinand's death-inadvertently, the emperor suffers a heart attack from shock. They rush to defend the emperor, but von Rabenfels reached the throne sooner. Serevitch poisons and kills the mistress and returns to von Tegen. By pretending to abandon von Tegen for van Rabenfels, Serevitch learns that this other group plans to murder the emperor and usurp the doppelganger plot for control of the empire. She works with Prinz Otto von Rabenfels, a noble with a reputation for greed. Serevitch's gossip-mongering leads him deeper into the French mistresses' organization. The composed Sascha Saragonde assures them that he knows the risk of his beliefs, but he will continue his path where it takes him. Along with her friend, the naive but attentive Leisl von Holstein, she encounters a Marxist speaker condemning the war. Meanwhile, von Tegen's wife Pauline visits the poorer sectors of Vienna to deliver charitable aid. Ever cautious, von Tegen orders Serevitch to spy on her, and a year later, she begins to reveal clues of her involvement with a counter Russian spy ring. After he dismisses her, she swears revenge and leaves. Von Tegen, busy with his duties as a statesman and as one of the emperor's closest aides, is interrupted by his French mistress. Together with a Russian expatriate and spy, Boris Serevitch, he identifies an elderly peasant with identical likeness for the role.

#WITCHFIRE BOG INSTALL#

The coming Great War threatens the surety of the Empire only less than the death of Emperor Franz Josef-and to protect Austria from that inevitable fallout, Prinz Friedrich von Tegen plots to install doppelganger on the empty throne. Following the assassination of Archduke Franz Ferdinand, Austria erupts into political chaos.

[publicdomainbooks]

CHAPTER 5

FIRST LESSONS IN CLIMBING

At Altona, a suburb of Hamburg, is the Chief Station of the Kiel railway, which was to take us to the shores of the Belt. In twenty minutes from the moment of our departure we were in Holstein, and our carriage entered the station. Our heavy luggage was taken out, weighed, labeled, and placed in a huge van. We then took our tickets, and exactly at seven o'clock were seated opposite each other in a firstclass railway carriage.

My uncle said nothing. He was too busy examining his papers, among which of course was the famous parchment, and some letters of introduction from the Danish consul which were to pave the way to an introduction to the Governor of Iceland. My only amusement was looking out of the window. But as we passed through a flat though fertile country, this occupation was slightly monotonous. In three hours we reached Kiel, and our baggage was at once transferred to the steamer.

We had now a day before us, a delay of about ten hours. Which fact put my uncle in a towering passion. We had nothing to do but to walk about the pretty town and bay. At length, however, we went on board, and at half past ten were steaming down the Great Belt. It was a dark night, with a strong breeze and a rough sea, nothing being visible but the occasional fires on shore, with here and there a lighthouse. At seven in the morning we left Korsor, a little town on the western side of Seeland.

Here we took another railway, which in three hours brought us to the capital, Copenhagen, where, scarcely taking time for refreshment, my uncle hurried out to present one of his letters of introduction. It was to the director of the Museum of Antiquities, who, having been informed that we were tourists bound for Iceland, did all he could to assist us. One wretched hope sustained me now. Perhaps no vessel was bound for such distant parts.

Alas! a little Danish schooner, the Valkyrie, was to sail on the second of June for Reykjavik. The captain, M. Bjarne, was on board, and was rather surprised at the energy and cordiality with which his future passenger shook him by the hand. To him a voyage to Iceland was merely a matter of course. My uncle, on the other hand, considered the event of sublime importance. The honest sailor took advantage of the Professor's enthusiasm to double the fare.

"On Tuesday morning at seven o'clock be on board," said M. Bjarne, handing us our receipts.

"Excellent! Capital! Glorious!" remarked my uncle as we sat down to a late breakfast; "refresh yourself, my boy, and we will take a run through the town."

Our meal concluded, we went to the Kongens-Nye-Torw; to the king's magnificent palace; to the beautiful bridge over the canal near the Museum; to the immense cenotaph of Thorwaldsen with its hideous naval groups; to the castle of Rosenberg; and to all the other lions of the place-none of which my uncle even saw, so absorbed was he in his anticipated triumphs.

But one thing struck his fancy, and that was a certain singular steeple situated on the Island of Amak, which is the southeast quarter of the city of Copenhagen. My uncle at once ordered me to turn my steps that way, and accordingly we went on board the steam ferry boat which does duty on the canal, and very soon reached the noted dockyard quay.

In the first instance we crossed some narrow streets, where we met numerous groups of galley slaves, with particolored trousers, grey and yellow, working under the orders and the sticks of severe taskmasters, and finally reached the Vor-Frelser's-Kirk.

This church exhibited nothing remarkable in itself; in fact, the worthy Professor had only been attracted to it by one circumstance, which was, that its rather elevated steeple started from a circular platform, after which there was an exterior staircase, which wound round to the very summit.

"Let us ascend," said my uncle.

"But I never could climb church towers," I cried, "I am subject to dizziness in my head."

"The very reason why you should go up. I want to cure you of a bad habit."

"But, my good sir—"

"I tell you to come. What is the use of wasting so much valuable time?"

It was impossible to dispute the dictatorial commands of my uncle. I yielded with a groan. On payment of a fee, a verger gave us the key. He, for one, was not partial to the ascent. My uncle at once showed me the way, running up the steps like a schoolboy. I followed as well as I could, though no sooner was I outside the tower, than my head began to swim. There was nothing of the eagle about me. The earth was enough for me, and no ambitious desire to soar ever entered my mind. Still things did not go badly until I had ascended 150 steps, and was near the platform, when I began to feel the rush of cold air. I could scarcely stand, when clutching the railings, I looked upwards. The railing was frail enough, but nothing to those which skirted the terrible winding staircase, that appeared, from where I stood, to ascend to the skies.

"Now then, Henry."

"I can't do it!" I cried, in accents of despair.

"Are you, after all, a coward, sir?" said my uncle in a pitiless tone. "Go up, I say!"

To this there was no reply possible. And yet the keen air acted violently on my nervous system; sky, earth, all seemed to swim round, while the steeple rocked like a ship. My legs gave way like those of a drunken man. I crawled upon my hands and knees; I hauled myself up slowly, crawling like a snake. Presently I closed my eyes, and allowed myself to be dragged upwards.

"Look around you," said my uncle in a stern voice, "heaven knows what profound abysses you may have to look down. This is excellent practice."

Slowly, and shivering all the while with cold, I opened my eyes. What then did I see? My first glance was upwards at the cold fleecy clouds, which as by some optical delusion appeared to stand still, while the steeple, the weathercock, and our two selves were carried swiftly along. Far away on one side could be seen the grassy plain, while on the other lay the sea bathed in translucent light. The Sund, or Sound as we call it, could be discovered beyond the point of Elsinore, crowded with white sails, which, at that distance looked like the wings of seagulls; while to the east could be made out the far-off coast of Sweden. The whole appeared a magic panorama.

But faint and bewildered as I was, there was no remedy for it. Rise and stand up I must. Despite my protestations my first lesson lasted quite an hour. When, nearly two hours later, I reached the bosom of mother earth, I was like a rheumatic old man bent double with pain.

"Enough for one day," said my uncle, rubbing his hands, "we will begin again tomorrow."

There was no remedy. My lessons lasted five days, and at the end of that period, I ascended blithely enough, and found myself able to look down into the depths below without even winking, and with some degree of pleasure.

[nordleuchten]

Hey, I was just wondering if you knew anything about where Lafayette lived throughout his life? Such as the different châteaus? Thanks :)

Hello Anon, The Marquis de La Fayette lived at many addresses during his live. I have tried to comply them here as neatly as possible. He was born in the Château Chavaniac in the Auvergne on September 6, 1757 and he lived there until his mother took him with her to Paris. In Paris he first lived with his mother and her family in the Palais de Luxembourg before moving into the Collège du Plessis to receive an education. He attended the College for two years. Afterwards he moved in with his future family-in-law, the Noailles family, in the Hôtel de Noailles in the Rue St. Honoré 135. He stayed there when he was not away with the army to train in the city of Metz. Even after the marriage La Fayette and his young wife Adrienne did not quit the Hôtel de Noailles – in fact staying with the Noailles family for some time was a part of their wedding-contract. Whenever La Fayette joined the French Court at Versailles he would either stay in the apartments that his maternal family had there in Versailles. Later, after the death of his mother and grand-father and his subsequent moving-in with the Noailles family he stayed at their apartment in Versailles. The only exceptions were the times La Fayette stayed in Versailles for a military matter with his regiment. La Fayette departed France in order to sail to America on March 25, 1777. In America his living arrangements were mostly dependent upon the movements of the army. He lived and travelled with the army, as it was to be expected from a General, and his places of residence were far too many as to list them all here in this context. Rather notable is thought, that he spend the winter 1777/1778 encamped with the army in Valley Forge. He also spent a rather “long” time at the house of the Van Brinckerhoff family in Fishkill to recuperate from a high fever that even threatened his life during certain episodes. This illness also delayed his return to France. (Fun Fact: the house of the Brinckerhoff family is today a luxurious Bed and Breakfast and the room that La Fayette (allegedly) stayed in more than 200 years ago can be booked). Upon his return he lived again with his in-laws. Back home in France and after the war the bought a house in the Rue de Bourbon 81. That was his address while in Paris but he also delighted in staying at the Château La Grange in the country side. He still used the de Noailles apartment when at Versailles. As the years went by and the French Revolution caught on speed, he also spend more and more time away with the army. Then on August 19, 1792 he and a few friends and fellow officers tried to travel to America to escape the growing madness and violence brought on by the French Revolution. He was arrested by Austrian-Flemish troops in the city of Rochefort in the Auberge du Pélican, an inn at number 87, rue Jacquet. For the next five years he was a prisoner of war. He was first brought to Namur and from there to a prison in Wesel where he stayed from September 19, 1792 to December 22. He then was taken to the prison in Magdeburg. There he stayed from January 4 1793 until January 4, 1794 before again being relocated, this time to Neisse. La Fayette stayed in Neisse from January 16, 1794 until May 17. On May 18 he arrived at his final prison, then infamous prison in Olmütz. There he stayed before being freed on the morning of September 19, 1797. He travelled from Olmütz to Brünn to Prague to Peterswalde and from there to Dresden and Hamburg. In Hamburg, La Fayette was handed over to the U.S consul John Parish. The reason behind that was somewhat funny. General Napoléon Bonaparte (yes, that Napoléon) secured La Fayette’s release from prison after he utterly defeated the Austrian Army. The Austrians insisted afterwards that they released La Fayette as a “diplomatic token” towards America – that sounded just way nicer than admitting defeat. From Hamburg he went into exile in Danish-Holstein (modern-day Germany), more precisely in the small villages of Lehmkuhlen and Wittmoldt (first Lehmkuhlen and then to Wittmoldt before going back to Lehmkuhlen). From

Danish-Holstein he went to Utrecht in modern-day Holland before returning to France in 1799. His wife Adrienne went ahead and tried to re-gain the ownership of some of the families properties  – with great success. La Fayette and his family retired to La Grange. La Fayette left the public stage for some time (this was in parts voluntary, in parts forced). When he returned to the public stage he also took up residence in Paris again. Prior to 1827 he stayed in number 35, rue d’Anjou. In 1827 he moved into number 6, rue d’Anjou (today number 8) where he also died. I can not safely say that he stayed at no other address prior to his home at number 35. In 1824/25 La Fayette returned once again to his beloved America where he toured all states and stayed at different (private) establishments. These is a short collection of La Fayette’s most important official addresses. I am currently working on a list, detailing every day in La Fayette’s life (at least as far as that is possible). Something similar has already been undertaken by @thelafayettetrail. I really do recommend their project.

I hope I could help you with your question. Have a nice day/evening! :-)

[princessvictoriamelita]

Ernst Gunther, Duke of Schleswig-Holstein with his teen bride, Princess Dorothea of Saxe-Coburg and Gotha in 1898.

Do you know anything about Princess Dorothea of Saxe-Coburg and Gotha? Forgotten in Belgium, better known across the Rhine - at least until the 1960s -, granddaughter of King Leopold II of Belgium married to a brother-in-law of Kaiser Wilhelm II, she is certainly not one of the influential or romantic figures in history, those coveted by biographers and television producers. Erased and uneducated young girl, submissive and futile wife, widow who had to fight alone to defend her interests, she had no impact on the conduct of the world, did not play a cultural or scientific role and did also not collected lovers. Difficult, therefore, to weigh against her mother, Louise of Belgium, who caused a scandal across Europe, squandered her husband's fortune with a Croatian officer, and was declared mad.

© H. HAERTBURG, PRIVATE COLLECTION

However, after having recounted, a dozen years ago, the tumultuous life of Louise, eldest daughter of the second king of the Belgians, Olivier Defrance and Joseph van Loon "attacked" her daughter, believing that she deserved, too, a detailed biography (La Fortune de Dora, which comes out these days at Racine). "Dora and her mother are two women who oppose everything, recognizes Defrance, author of several works on the Coburg clan. As Louise is elegant and spendthrift, her daughter is poorly dressed and stingy. Dora is nevertheless an emblematic figure of an era troubled, that of the end of the privileges of the Old Regime throughout Middle Europe. "

Source: Le vif

[wevortex]

By Toos van Holstein

[toosvanholstein]

Dood of Levend, de Vrouwelijke Kunstenaars Rukken Op

De vrouwen rukken op in de kunst. Dood of levend, je kunt in de museale wereld echt niet meer om ze heen. Eindelijk, eindelijk. Bewijzen te over, zoals Toos van Holstein aantoont in deze aflevering van haar blog TOOS&ART #kunst #art #expo #vrouwindekunst

Het een roept het ander op. Eerst het een. ‘t Was even goed plannen maar het lukte, twee bezoeken vlak na elkaar aan twee tentoonstellingen over en van vrouwen.’De Nieuwe Vrouw’ in het Singer in Laren en ‘Vrouwenpalet 1900-1950’ in de Rotterdamse Kunsthal . ‘De Nieuwe Vrouw’ in museum Singer (nu al wel voorbij) ‘Vrouwenpalet 1900-1950’ in de Kunsthal in Rotterdam Overigens maar twee van alle…

[lucywalsh13]

EXTRA/ORDINARY: Craft and Contemporary Art - Maria Elena Buszek

I managed to get my hands on the book Extra/Ordinary written by Maria Elena Buszek. This was so insightful and I found it so informative, I learnt things that I previously was not aware of. In this anthology, it is split in to two sections “Redefining Craft: New Theory” and “Craft Show: In The Realm of “Fine Art””. I read through both of these sections and the individual chapters in each section too. Not all of this book is relevant to me so I have picked out the areas that I have found particularly useful and bits that have influenced me and given me information which benefits my studio work and wider knowledge.

I found that the Studio Craft movement, also known as, the Arts & Craft movement rose in the wake of the Industrial Revolution and was widely referred to as ‘honest’ and ‘transparent’. However, some were “led to a view that craft media are simply among many that may or may not serve any artist’s purpose in our contemporary art world”. It made reference to Craftivism which was a term coined to describe craft activism. 

In the chapter, ‘How the Ordinary becomes Extraordinary: the modern eye and the quilt as art form’, it talks about the growth of seeing quilting as an art. Quilts were thought of as ordinary, everyday bedcovers that were pieced together by women in order to make warmth for their families, as well as make fabric last longer. Johnathan Holstein and Gail van der Hoof sparked a cultural understanding of quilts and began a radical transformation in the Summer of 1971 when they persuaded the Whitney Museum of American Art in NYC to display their quilt collection. This was significant because prior, quilting was never seen as a form of art, it was merely a hobby or a domestic job for women in the home. Over time, quilts transformed into autonomous artistic creations and were seen as being detached from traditional contexts and because of this art connoisseurs did not take them seriously as being a form of art. Holstein was very careful when planning his exhibition, he made sure his quilts resembled the same style as the paintings and were appropriate for a modern art museum. Over the years, as quilting became widely recognised, they were made not just for the decoration of a bed but also hung up on walls or had three-dimensional sculptural components.

In addition, they challenge the devaluation of women by a male dominant art world, using traditionally female media such as textiles. Artists like Judy Chicago, Faith Ringgold and Miriam Schapiro are examples of this. Faith Ringgold tells stories in her quilts which called attention to the ways in which the art world has excluded women and African Americans from the art world. They portray stories of the artist or messaged they want to convey. Feminist artists like herself use quilts to evoke women’s heritage and critique the dominant white male art world. 

As well as quilting, it also talks about knitting. Artist Betsy Greer was a knitter and her work powerfully conveyed her anger and her thoughts surrounding poverty, welfare and, immigration and racism - without raising a single voice. This is significant because it highlighted how women used the form of craftivism to express their anger in a peaceful manner. It was her form of protest without yelling, she said that “in a heated debate, it is easy to be drowned out among the many voices”. Betsy Greer also created cross stitch pieces that were based on anti-war iconography, some people called it anti-war graffiti. This has given me ideas for my own work because I like the idea of being able to portray a powerful message in a peaceful way but gets the message across. 

The chapter ‘Rebellious Doilies and Subversive Stitches’ makes reference to Rozsika Parker’s Subversive Stitch. Parker fought to get embroidery recognised as an important art form but was banished from the canon due to her gender. However, Parker was part of the 1970s and early 1980s feminist reclamation of craft as a liberating pass time but also, more importantly, a high art form. In the art world, artists such as Judy Chicago and Magdalena Abakanowicz broke down some of the barriers and in turn brought textile work into authoritative galleries and museums of North America and Europe. The “feminine qualities that were used to dismiss textiles as art forms were ironically reversed to demonstrate the peaceful nature of the protests versus the brutality of (masculine) police oppression and the wider politics that had brought the threat of nuclear war”. Feminist artists used their skills and created in groups to form bonds that challenged the destruction of their communities under contemporary capitalism. When groups of women got together to knit, their peaceful acts were used to highlight the violence of other activists and how they only took part in non-violent protests using their arts to shout their messages. 

Marianne Jorgenson is a Danish artist who created the Pink Tank project. She collaborated this project with the Cast Off Knitters group and several knitters from around the world. For this project, they knitted over 4000 tiny squares which were then sewed together to cover this large tank. It was basically a huge tank blanket to portray the idea that when it is covered, it is seen as unarmed. The use of pink is significant because it is considered to be a feminine colour and not as threatening and the blanket gives the tank a physical presence, rather than a purely significant one. “The tank is a symbol of stepping over other people’s borders. When it is covered in pink, it becomes completely unarmed and it loses its authority.” This has given me ideas to play with my own work and context, how could I change the sense particularly violent objects are known to be? For example, I could change the way a knife is seen, if I cover it in a feminine fabric, would this remove the violence or fear?

[painterlegendx]

The Latest Trend In Water Painting Flowers Pictures - Water Painting Flowers Pictures

In Seebüll, in the northernmost German accompaniment of Schleswig-Holstein, not far from the Danish border, the wind ruffles the reeds of the beneath marshes reclaimed from the sea. The copse angle on the bound like abject animals. A low autumnal sun gleams over barrel-shaped red barns. All is quiet.

Abstract Watercolor Painting Red Hibiscus Flower On Blue .. | water painting flowers pictures In 1927, the expressionist artisan Emil Nolde and his wife, Ada, were walking in these alien genitalia and fell in adulation with the landscape. They congenital a house, a angrily modernist agglomeration of architecture, all brick-faced, small-windowed severity on a hillock. And beneath it they ancient the best admirable garden, advised in the entwined appearance of their brand and abounding with vividly coloured flowers.It was adamantine work. The acreage is beneath sea level, the clay is brackish, the acclimate fierce. But they admired and accomplished the space, wrapping it annular with a apartment assize of reeds, employing a agriculturalist to advice them bulb the beds with an ever-changing carpeting of blooms. In autumn, they are ablaze with backward roses, chicken rudbeckia, jewel-like geums and dahlias, with their pin-cushioned active in affluent reds, ablaze pinks and balmy oranges.His garden was consistently an afflatus to Nolde; his acknowledgment to it badly adapted the way he painted. In 1908, he wrote of his aboriginal garden on the island of Als in the Baltic Sea: “They are such calm and admirable hours aback one sits or moves about amid the ambrosial and blossom flowers. I absolutely ambition to accord my pictures article of this beauty.”So he did, bushing canvas afterwards canvas with the flowers that can be apparent in Seebüll today. These splashes of able colour in oils and in watercolours are berserk alive of able emotions. You can see the colours he used, preserved in stripes on the column of the little thatched summer abode area he sat to assignment and area his abettor bankrupt his brushes: cyclamen, abysmal brown, azure and green.Nolde is aloof one of 42 artists represented in Painting the Beat Garden: Monet to Matisse, a above new exhibition aperture at the Royal Academy on 30 January. Spanning the years from the aboriginal 1860s to the 1920s, the appearance reveals aloof how abounding painters were austere gardeners – Monet pre‑eminent amid them, but additionally Caillebotte, Pissarro, Matisse, Joaquín Sorolla, Kandinsky and Klee. Van Gogh is additionally included because he admired gardens, admitting his action was never acclimatized abundant for him to bulb one.

Flowers Over Water - water painting flowers pictures | water painting flowers pictures Each artisan was aggressive by their garden in hardly altered ways, and their tastes in plants were as altered as their painting styles. All were fatigued to the aesthetic attributes of agronomical activity, however, abstraction a clandestine apple of adorableness that was added fashionable at the time. “Gardening, as a accepted following that takes abode in the aback yard, starts in the mid 19th aeon with the acceleration of bourgeoise society,” says Royal Academy babysitter Ann Dumas. “The exhibition links what is accident in association with what is accident in gardening.”The alteration from academic accessible parks and area to small, affectionate spaces coincided with developments in botany. As co-curator William Robinson, from the Cleveland Museum of Art, addendum in the catalogue: “The aperture of abroad bread-and-butter markets and added affluence of biking brought a flood of new bulb breed , alien from the Americas, Africa and Asia. This importation, accumulated with advances in botanical science, led to the automated assembly of a all-inclusive arrangement of new amalgam flowers with added assorted shapes, sizes and colours.”As a agog horticulturalist, Monet not alone ordered the latest plants from mail adjustment catalogues but additionally buried the abundant drifts of colour in the borders of his garden at Giverny. He was afflicted by English garden writers such as William Robinson (author of The Agrarian Garden and no affiliation to the curator) and Gertrude Jekyll. Aback you attending at the paintings he fabricated of his iris border, with its accurate arrangement of purples and mauves, you can see a august blow of aesthetic and agronomical theory, a about-face from academic to the breezy garden, from classical to beat design.The garden, already planted, became an alfresco studio. “It was a beheld ambiance over which they had complete control,” says Dumas. “Monet admired this. Rumour has it that he acclimated to go annular Giverny with pots of acrylic so he was absolutely designing the colour arrangement to the burying as he would a canvas.“His garden is actual anxiously planned, so he has connected motifs to paint. There is a funny adventure about him painting copse in the autumn and aback some leaves fell off, he had them ashore aback on again. He may be a attributes painter but he is actual abundant in ascendancy of nature.”

Wedding Invitation Watercolor Painting Flower Floral - Water .. | water painting flowers pictures The German amateur Max Liebermann additionally drew afflatus from his garden. In his heyday, from about 1879 until the 1930s, he was one of the best acclaimed artists of his time; a admiral of the Prussian academy, his assignment was so big-ticket and approved afterwards that he alone bare to advertise three paintings a year to accumulate himself in style. In 1909, at the age of 62, he bought a artifice of acreage on the bank of Lake Wannsee and congenital a alcazar and garden there. Increasingly, as the aboriginal apple war prevented him from travelling, the garden became his subject.Today, afterwards years of neglect, it has been adequate as an haven of calm and colour, active bottomward to the baptize area leisure boats float silently by. On one ancillary of the biscuit bean abode advised on classical lines, there is an English-style garden, with pumpkins analytical out amid the red dahlias and amethyst anemones. On the other, a swath of grass, burst by colourful buried beds. A besom bracken break the academism at one border; opposite, a alternation of belted gardens, anniversary demography on its own character. A accumulation of red lilies backlit by the sun gives the awesome consequence that you accept absolved into one of his best accepted paintings.Liebermann alleged these his “green rooms”, and for him – as for abounding of the added artists in the exhibition – the garden represented a clandestine space, aggregate with abutting accompany and family. Sometimes they became a sanctuary. In his final years, Liebermann was fatigued by the acceleration of the Nazis, and it is adamantine to airing about the garden today afterwards cerebration of this already expansive, able man demography ambush in the amplitude larboard to him. He died in 1935 at the age of 88, acrimonious and ostracised; his wife, Martha, bedfast with a stroke, dead herself in 1943 afterwards she accustomed an adjustment ambitious her displacement to Theresienstadt absorption camp.The acceleration of the beat burghal prompted artists to retreat to attributes and to accomplish their own capsules of accord and beautyShadows adhere over Nolde’s garden, too. His aboriginal abutment for National Socialism did annihilation to assure him aback he was declared a base artisan and banned from painting alike in private. The tiny Unpainted Pictures he produced in affront are amid his best addictive works; conspicuously they accommodate none of the flowers with which he was still amidst and to which he alternate afterwards his postwar rehabilitation.

Bouquet Of Flowers Drawing png download - 8*8 - Free .. | water painting flowers pictures From Giverny, Monet could apprehend the accoutrements of the aboriginal apple war as he painted. He conceived his aerial alternation of about abstruse baptize lilies canvases as his acknowledgment to the carnage. “Yesterday I resumed work,” he wrote in December 1914. “It’s the best way to abstain cerebration of these sad times. All the same, I feel abashed to anticipate about my little researches into anatomy and colour while so abounding bodies are adversity and dying for us.” Explains Dumas: “Monet saw painting about as a war effort, his claimed affectionate gesture.”But it is not alone war that peeps into these garden canvases. In the works of the Spanish painter Santiago Rusiñol, who was additionally alive about the aforementioned time, the adumbration belongs to crumbling, alone area of the Spanish aristocracy. Beat painters such as Kandinsky and Klee apply on the animation of the apple itself. “They assume to draw sustenance from the adorning ability of attributes and gardening,” says Dumas.This faculty of area accepting a acceptation above themselves is allotment of what makes the Royal Academy exhibition so intriguing. Anyone who has hoed a baby application of land, or struggled to breed a seed, will apperceive that the act of agronomical is a moral action – an attack to accompany adjustment and accord to a anarchic and disrupted world.This was accurate for these artists. As Dumas says: “In this aeon you get the acceleration of the beat burghal and industrialisation, which in about-face activate a admiration to retreat to nature, and to accomplish your own abridged of accord and tranquillity and beauty.”So Pierre Bonnard, addition agog agriculturalist who acclimated to altercate burying affairs with his acquaintance Monet in Giverny, able a wild, awkward garden and, in his paintings, angry it into a paradise. Dumas explains: “There is a actual black activity about his garden paintings; he is beat to this aureate apple of classical art. The abstracts generally accept the poses of classical carve because he is actual afflicted by an abstraction of aggravating to anamnesis a absent Arcadia.”

Watercolour painting - floral water pink flowers - water painting flowers pictures | water painting flowers pictures Bonnard appears in two panels by Édouard Vuillard that are adopted from a clandestine accumulating and accept not been apparent before. Corrective in 1898, they appearance the garden in Burgundy acceptance to Thadée Natanson, co-editor of the affecting beat annual La Revue Blanche, and his wife, Misia. In one, Misia is apparent collapsed on a bench; in the other, Bonnard aeroembolism bottomward in the foreground, acclamation a cat while the amateur Marthe Mellot reads a bi-weekly beside him. It is a arena fatigued from life. But on the agilely blooming panels, brindle with flowers, overhung with trees, there are no shadows. This is a dream of a garden – an affirmation of adorableness and tranquillity in a afflicted world.• Painting the Beat Garden: Monet to Matisse is at the Royal Academy, London W1J, from 30 January to 20 April. royalacademy.org.uk. The Latest Trend In Water Painting Flowers Pictures - Water Painting Flowers Pictures - water painting flowers pictures | Encouraged to help the blog, with this occasion I'm going to demonstrate about keyword. Now, this is the 1st image:

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[olivereliott]

Fast Family: A WR400 from a father-and-son team

At its heart, motorcycling is a solitary pursuit. But it also brings people together, sharing their enthusiasm and skills when the hand is not on the throttle.

We love stories about kindred souls working together, especially when they involve families—because too often, family anecdotes dwell on parents being unhappy with their offspring heading out on two wheels.

That doesn’t apply to the German father-and-son team Michael and Allen Posenauer, who are based in Offenbach and run AMP Motorcycles. They’ve just finished this very cool Yamaha WR400 F Enduro conversion, and their enthusiasm is infectious.

“We’re doing this as a hobby—as our ‘father/son’ thing,” says Allen.

“Nothing professional, just for fun. We’ve got a workshop in an old office building, and we work on our bikes after hours or on the weekends. It is great to spend time together with my dad.”

The WR400 was launched in the late 1990s, and was replaced after just two years. That’s despite rave reviews, with magazine road testers lauding it as ‘bike of the year’ and even ‘Bike of the Century.’

That makes it the ideal candidate for a flat track conversion. At around 270 pounds fully fueled, and with plenty of tractable, low-end power, the WR should be a strong contender on the dirt.

“It’s our first ‘real’ flat tracker build,” says Allen. “We’ve already built a tracker based on a Honda FT500, but that was for the street.”

Michael and Allen got bitten by the flat track bug last year, when they crossed the border to visit Lelystad—a 300-meter Dutch track with a fine, soft red gravel surface, similar to loamy ‘cushion’ tracks in the US, such as Lima.

Their friend Uwe of Hombrese Bikes located a 1999 WR400, and suddenly AMP was in business. They stripped off all unnecessary components, including those that made the Yamaha road legal, and all the plastic bodywork.

The KYB forks were shortened a tad to level out the stance—and with almost twelve inches of travel, there was plenty of room for adjustment. Moose Racing rims—19 inches front and back—were laced to the stock hubs.

The rubber is Mitas’ H-18 flat track pattern (which incidentally, is also available in a road legal version).

The stock WR400 has a lot of overhang over the back wheel, so AMP have trimmed the rear frame—and got the visual proportions spot on in the process.

The new bodywork is simple, angular and functional, and crafted out of 2mm aluminum. “It’s built freehand,” says Allen, “using bits of cardboard as templates. It’s super fast to dismantle. The front and side plates are also self made, using aluminum.”

The seat pad is equally simple, and covered in a synthetic leather by local saddler Klaus T.

Peaky, unmanageable power is more of a hindrance than an asset in flat track, so AMP have left the WR400’s liquid cooled single cylinder motor alone. They’ve built a new stainless steel exhaust system though, terminated with a home-built muffler. And there’s a new radiator from the German aftermarket specialist Motea, as an insurance policy.

The cockpit follows the ‘less is more’ principle, with virtually naked LSL bars hosting a ProTaper clutch lever and Vans grips (“because they are cool”). And the stripy, monochrome paint is a bare minimum job too.

“The paint job was done by us,” says Allen. You can tell his priorities were elsewhere. “It’s not A+, but it’s good enough for track use.” Mechanically, just about everything else was replaced with new OEM parts, or restored to original condition.

This weekend, Michael and Allen will be returning to Lelystad, and running the WR400 in anger for the first time. Viel Glück, guys!

AMP Motorcycles Instagram | Images by (and with thanks to) Marc Holstein and Christine Gabler

[limejuicer1862]

Wombwell Rainbow Interviews

I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger.

The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.

Gabriel Rosenstock,

according to Wikipedia,

 (born 1949) is an Irish writer who works chiefly in the Irish language. A member of Aosdána, he is poet, playwright, haikuist, tankaist, essayist, and author/translator of over 180 books, mostly in Irish. Born in Kilfinane, County Limerick, he currently resides in Dublin.      

Rosenstock’s father George was a doctor and writer from Schleswig-Holstein, Germany, who served as a German army doctor in World War II. His mother was a nurse from County Galway. Gabriel was the third of six children and the first born in Ireland. He was educated locally in Kilfinane, then in Mount Sackville, Co Dublin; exhibiting an early interest in anarchism he was expelled from Gormanston College, Co. Meath and exiled to Rockwell College, Co. Tipperary; then on to University College Cork.

His son Tristan Rosenstock is a member of the traditional Irish quintet Téada, and impressionist/actor Mario Rosenstock is his nephew.

Rosenstock worked for some time on the television series Anois is Arís on RTÉ, then on the weekly newspaper Anois. Until his retirement he worked with An Gúm, the publications branch of Foras na Gaeilge, the North-South body which promotes the Irish language.

Although he has worked in prose, drama and translation, Rosenstock is primarily known as a poet. He has written or translated over 180 books.

He has edited and contributed to books of haiku in Irish, English, Scots and Japanese. He is a prolific translator into Irish of international poetry (among others Ko Un, Seamus Heaney, K. Satchidanandan, Rabindranath Tagore, Muhammad Iqbal, Hilde Domin, Peter Huchel), plays (Beckett, Frisch, Yeats) and songs (Bob Dylan, Kate Bush, The Pogues, Leonard Cohen, Bob Marley, Van Morrison, Joni Mitchell). He also has singable Irish translations of Lieder and other art songs.[1]

He appears in the anthology Best European Fiction 2012, edited by Aleksandar Hemon, with a preface by Nicole Krauss (Dalkey Archive Press).[2] He gave the keynote address to Haiku Canada in 2015.

His being named as Lineage Holder of Celtic Buddhism inspired the latest title in a rich output of haiku collections: Antlered Stag of Dawn (Onslaught Press, Oxford, 2015), haiku in Irish and English with translations into Japanese and Scots Lallans.

He also writes for children, in prose and verse. Haiku Más É Do Thoil É! (An Gúm) won the Children’s Books Judges’ Special Prize in 2015.

Links:

  https://en.wikipedia.org/wiki/Gabriel_Rosenstock#Biography

http://roghaghabriel.blogspot.ie/ http://www.amazon.co.uk/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=gabriel+rosenstock

The Interview

Q. 1. When and why did you start writing poetry?

I think the Muse came a-courting a long, long time ago, in an age before Gutenberg, an age before papyrus, when the poet was what he always is – though the role is suppressed today – a shaman.

She keeps coming – trying to possess me fully – but she knows I’m elusive, elusive as she is. We are both Spirit, pretending to be flesh, to be real. It’s a divine play, a sport, a leela as they say in India. I also write and translate for children – mainly in Irish, or Gaelic, and this is also leelai, pure and simple!

Ireland and India have so much in common. The writings of Myles Dillon and Michael Dames are good starting points for anyone interested in exploring that connection.

Ireland herself takes her name from a tripartite goddess and I dedicated a year to her in a bilingual book inspired by the devotional poetry of India, bhakti:

https://www.overdrive.com/media/796797/bliain-an-bhande-year-of-the-goddess

I mentioned the poet-shaman. There are very few courses in Creative Writing today that teach you how to be a shaman: it can’t be taught! So they teach form iinstead, how to write a sonnet or a villanelle – five tercets and a quatrain, is it? Enjambment anybody? Poets daringly continue a phrase after a line break and expect applause.

Irish poets learn your trade, sing whatever is well made. Yeats (whom I love) has a lot to answer for. Learn your trade! Poets today are tradeswomen and tradesmen for the most part. All form, no spirit, no melody that breaks the heart.

No heart. So, the great challenge today, in my book, is to reconnect with Spirit. Otherwise, forget it.

The only way to write is to write – and read, of course. Trust the inner ear – not what the manuals tell you – trust the heart, trust language. It’s not a lifeless tool in your hands, you silly tradesman. It’s alive, it’s divine. May your poetry be a sacrifice to her!

Having said all that, I occasionally teach haiku. The way I teach haiku is simply to present the works of the grandmasters of haiku, hoping that their spirit will ”catch’ and inflame the acolyte. Many believe that Basho was the grandmaster of haibun – prose speckled with haiku – and that the greatest of the haiku masters was Buson. I cobbled together new versions of Buson, in Irish and English, a volume which also contains versions in Scots by John McDonald:

https://www.amazon.com/Moon-Over-Tagoto-Selected-Haiku-ebook/dp/B00WUXQZ54 

We need more multilingual books of poetry, tanka and haiku. We need to free ourselves from the dying clutches of the Anglosphere and listen to real poetry in languages which still cherish the divine music of the spheres: one can hear that sacred music in the voice of Scots-Gaelic poet Sorley MacLean, even when he reads his masterpiece Hallaig in English translation:

https://www.youtube.com/watch?v=VzewXmgVzL4

***            ***

Haiku Enlightenment and Haiku, the Gentle Art of Disappearing are two introductions to haiku and I hope that their titles reflect the spiritual basis of haiku, something which many haikuists ignore at their peril, I regret to say;  for young readers (say, 8-12 years) there’s a book called Fluttering their Way into My Head:

https://www.amazon.com/exec/obidos/ASIN/1782010882/evertype-20

True haiku – Zen-haiku – is egoless and spontaneous and allows for ambiguity – the reader must make sense of it by drawing on her own experiences, dreams, memories and so on –  and yet it’s happening in the  Now (if there’s such a thing as the Now).. I’m fully aware of promoting a book such as Fluttering their Way into My Head and speaking at the same time about ego-lessness! But, you see, I don’t identify with ‘my’ books as ‘mine’. They are about as ‘mine’ as is the moon over Tagoto.

Q. 2.Ted Hughes would be glad you extol the shamanic. Who introduced you to the shamanic in poetry?

Does one need an introduction? I hold shamanism to be a vital part of my literary and cultural heritage.

http://www.sacred-texts.com/neu/celt/cg1/index.htm

I can identify with the world of Carmina Gadelica whilst the world of Philp Larkin is alien to me.

Interesting that you should mention Hughes. I advise aspiring poets to wean themselves from the dominance of English-language literature, especially when it expresses itself in WASPish terms. I know many American poets, some of whom I’ve met at literary festivals, others  with whom I have a friendly e-mail acquaintance. Many of them seem straitjacketed by the White Anglo-Saxon Protestant way of walking, talking, eating, drinking, dressing – and writing! I translated a volume of poems, Cuerpo en llamas, by the late Chicano poet Francisco X. Alarcon into Irish and invited him to Ireland for the launch. He turned  out to be a shaman-poet. The genuine article. We recorded the book on a cassette (built-in obsolescence?) and the opening invocation was in Nahuatl, the language of the Aztecs, the language of his grandmother. I had come across Aztec poetry before, via anthologies by the likes of Jerome Rothenberg, but didn’t realize until then that Nahuatl was a living language.

During his brief stay in Ireland, Francisco gave me an Aztec name, Xolotl. I wrote a long poem of that title –  in a kind of shamanic frenzy – and put it away, out of sight. Years later I looked at it again and it’s the longest poem in my selected poems translated from the Irish, The Flea Market in Valparaiso.  Here’s a link to the book and a review:

https://www.cic.ie/en/books/published-books/margadh-na-miol-in-valparaiso

I’ll let the review speak for itself. Expounding further on the role of the shaman poet is best left to others. But, I’ll say this much, Paul: artificial intelligence or AI has ‘advanced’ to such an extent that robots are now writing poetry – it would almost make you join the Luddites or inspire you to form your local branch of Anarcho-Primitivists!. I think we should be reading more of John Zerzan and Paul Cudenec to fully realize what kind of world we are creating for our grandchildren. Everybody says we can’t go back, we can’t stop the march of progress. Rubbish! Of course we can go back; I don’t like military metaphors but surely a wise general knows when to retreat?

Do we want poetry written by robots? Maybe it’s just science imitating life – so much poetry, especially in English, is artificial anyway. Futurologists talk of various possible disasters down the line – caused by our relentless ‘advancement’ such as shortage of energy supplies, of food and water, melting icecaps and so on and so forth. Overfishing will result in a shortage of fish. Nobody speaks of a shortage of poetry – it wouldn’t be disastrous enough, seemingly, nor would it bother mankind very much if we speeded up the death of languages, currently estimated at one language disappearing every fortnight. It’s the survival of the fittest, isn’t it?! Is it? Is that who we are, what we are?

So what if Irish dies, if Scottish Gaelic or Nahuatl dies, if Welsh dies, if Manx dies – again! If Beauty dies, so what? Who dreamed that beauty passes like a dream? Well, some of us are not willing to accept such a fatalistic scenario. The World Poetry Movement, for one, has sounded the alarm. Poets are not ‘joiners’ by nature but when the future of civilization is at stake, perhaps it’s time for all poets to become focused. Jack Hirschman, poet and social activist, describes the vision of the World Poetry Movement thus:

https://www.wpm2011.org/

‘an end to war world-wide, and the creation of a world government that shares and distributes the  wealth of the world generously and sensitively in the process of creating an equality that is nothing but the word Love in the eyes of everyone because it also recognizes E V E RY human being as a brother or sister. With no need of any wall separating an ‘I’ from a ‘You’, a ‘He’ from a ‘She’ …

This is a wise vision. Quixotic? Utopian? So what. We need to rekindle hope, we as citizens, we as poets.

I was fortunate enough in this my 69th year on earth, fortunate indeed to have a near-death  experience. After recovering from multi-organ failure, I became conscious of the love that poured in streams at my bedside from my wife Eithne, my daughters Heilean, Saffron and Eabha, my son Tristan and conscious, as well, of the wave of reciprocated love that streamed from me to them. I was conscious, too, of the love and concern that came from friends, relations and fellow scribes.

Hirschman, above, is speaking of Love, the ultimate reality. Left-wing theorists should speak more often to us of love; it would help their cause. The author of The Wretched of the Earth tells us that his criticism of the colonizer is inspired by love, not hate.

For a long while I could not read or write. Then I asked one of my daughters would she kindly order me a copy of Palgrave’s Treasury: you see, English-language poetry was my first love, before I ‘discovered’ Irish and its potential,just as the author of Decolonising the Mind decided that African literature need not be in the language of the colonizer, French, English or Portuguese. His own  outlawed language, Gikuyu, was best suited to express what he wanted to reveal. I also asked my daughter to bring me anything by my favourite author, Isaac Bashevis Singer? So, Mr Rosenstock, are you Jewish then? I used to think that my empathy for Singer’s work meant exactly that, but no, I’m not Jewish. It is the ancient art of storytelling, brought to perfection in his short stories, that makes me alive not to Jewishness as such but to humanity, in all its guises. And what of my attraction to Irish culture and to Indian philosophies, particularly Advaita and bhakti? Well, I once heard Ganesh playing Napoleon Crossing the Rhine on the uilleann pipes:

http://forums.chiffandfipple.com/viewtopic.php?t=44223

I jest. But I did have an out-of-body experience listening to piper Eoin Duignan in a pub in Dingle. Look, I don’t feel particularly Indian, German, Irish or Jewish – live Irish music and the ancient sounds of the Irish language can lift one and link one deeply to the universal spirit, the rich complexity that is the world of the senses, too; a deepening of a sense of place; a feeling for history. English carries imperial baggage with it. The scales fell from my eyes once I understood that through Irish, the literary medium of my choice, I could see and experience the world differently. Lucky Poet is a memoir by Scottish poet Hugh Mac Diarmid. It touches on some of these issues.

A year or so ago I came across an editorial in Poetry Ireland Review that mentioned at least half a dozen English poets.(I couldn’t figure out why. Was this a special edition of the review dedicated to new voices in English poetry? No.) We are still ‘looking across the pond’, i.e. to England. There is ample evidence, if you look for it, that many Anglophone Irish writers are suffering from a kind of literary Stockholm syndrome, that phenomenon described in 1973 as an extraordinary love and regard of the captured for the captor.

As an Anarchist, as an Advaitist and as an Irish-language poet, I value freedom and independence. It is the life blood of art. It may set you on a collision course against the Establishment but unless you are a Daoist poet content with herb-picking on a mountain, such a collision seems inevitable.

Q. 3. What is your daily writing routine?

I write or translate from about 10.a.m until 8pm. I suppose, ‘poet-shaman-translator’ is an accurate enough label to describe my activity. I don’t distinguish between so-called original writing, such as poetry, and translation (which I prefer to call ‘transcreation’). I see the practice of these arts as coming from the same pool of universal creative intelligence. John Minford, Emeritus Professor of Chinese, Australian National University, said something that caught my attention in Words Without Borders (Dec 7, 2018): ‘Hermits of ancient days practiced Taoist yodeling, a form of music that emulated the music of the spheres. Translation itself, the transformation of ideas and words, whereby self and the other merge into one, can be a form of Taoist practice . . .’ So, others may have ‘a daily writing routine’ as you call it I have something resembling a Taoist or Zen-Buddhist practice… maybe ‘practice’ is enough; it’s a more honest description than defining it as Taoist or Zen. It would be slightly ridiculous to call me a Taoist or anything else. I’ve admitted to being both an Anarchist and an Advaitist but really, all labels are rubbish. To paraphrase the essence of the Tao in The Taoist Way, a beautiful lecture by Alan Watts, ‘The Tao that can be labelled is not the Tao.

I translate a vast array of material for a multicultural blog: http://roghaghabriel.blogspot.ie/ I’m something of a technical dodo and must thank Aonghus O hAlmhain, blogmeister, for his work and patience. In recent years, my ‘practice’ has focused quite a lot on ekphrastic tanka and photo-haiku. The Culturium is a blog which is devoted to the arts as ‘practice’ in the meditative sense of the word: https://www.theculturium.com/?s=gabriel+rosenstock I have unsubscribed to various sites recently but two that remain are The Culturium and Poetry Chaikhana. A poet-friend, Cathal O Searcaigh, who writes mainly in Irish, gave me a volume of poems by a shaman-Taoist poet of the late Tan’g Dynasty, Li He. I began to write Taoist-flavoured poems in Irish and English, Conversations with Li He. When I get out of hospital (I’ve been hospitalized since September 2018) I’d love to continue with this project. I see a fellow-shaman in O Searcaigh and have translated him into English quite often over the years, most recently in a book called Out of the Wilderness: https://www.amazon.com/Out-Wilderness-Cathal-Searcaigh/dp/0995622523 It is not easy – in fact it is impossible – to convey the shamanic power of MacLean and O Searcaigh in English:

He is a lovely, lively conversationalist, as you can hear above. He and MacLean recite their poetry as though conscious of the fact that poetry was originally chant, the ecstatic chant – the trance – of the shaman. Alan Titley, in a discussion following the interview, joined by Frank Sewell and Art Hughes, speaks of Cathal’s work as an ‘act of reclamation’. Poetry lost its heart when it ditched chant, when the poet could no longer perform the role of shaman. Can we reclaim poetry? In the discussion, academic Art Hughes also talks about the disaster of the ‘printed page.’ Frank Sewell finds ‘strange echoes of home’ in Cathal’s references to the East. And Hughes talks about synthesis and the vision of Unity known to mystic of all traditions. It’s what Jack Hirschman alluded to previously when we touched on the World Poetry Movement. Is Jack a mystic?! We’re all closeted mystics if you ask me . . .

Q. 4. How do the writers you read when you were young influence you today?

What’s young?! I was in my late teens when I read Speaking of Shiva, an anthology of bhakti verse edited by AK Ramanujan. I haven’t properly revisited the  titles that ravished my youth. That bhakti anthology opened my heart to the Universe.

I longed to write something in the bhakti or neo-bhakti style and when the conditions were right, it turned out to be a volume in English, Uttering Her Name, addressed to a Muse-Goddess directly: my first faltering attempts at using e-mail. English was the only language we had in common. She was a poet from Venezuela whom I met at a Kurt Schwitters festival in Germany. She was on her way to have darshan of Mother Meera. I didn’t formerly ask her, ‘Excuse me, I wonder would you kindly play the role of Muse-Goddess as I have some urgent bhakti poems to compose.’ I just went ahead and wrote them, 200 in all, eventually whittled down to half that size. It took a long time to find a publisher:

https://www.amazon.com/Uttering-Her-Name-Gabriel-Rosenstock/dp/190705619X

I don’t think Uttering Her Name would have come about without the influence of the Ramanujan anthology.

Was it he who said that he inhabited that no-man’s-land which is the hyphen in ‘Anglo-Indian!’? He wrote a very poignant poem about revisiting his home and calling out ‘Mother’ but, of course, she wasn’t there. I would have liked to have known him. Very much. He was a distinguished folklorist, among other things  and  also wrote in Kannada, one of India’s important literary languages.

I was fortunate to hear songs in Irish as a child – not at home, mind you – and the best of them are unforgettable. One could call the best of our songs folk poetry of the highest order, superior in texture and melody to much of the poetry of our time:

https://www.youtube.com/watch? behv=8JjiLoD0ldc

Muireann Nic Amhlaoibh’s voice in the opening track is very expressive, very tender and yet there’s a glorious defiance as an undercurrent to the song that says, ‘Try out your ethnic cleansing on us, again and again, your genocidal madness; we are a people of poetry and song, imperishable song.’

The second track is in Scottish Gaelic. The songs of Gaeldom are a link to a people’s struggle, songs of love (‘profane’ and divine), exile, loneliness, companionship, laments and lullabies, songs that sing the thirst for freedom. The words are music in themselves – when sung, they wrench the heart.

Q. 5. Who of today’s writers do you admire the most and why?

The most intimate form of reading is that which one does as a poet-translator. I have translated or transcreated many poets from India and all of them speak very highly of K. Satchidanandan from Kerala. He is closely involved in many festivals and last year, in Calicut, the theme was ‘No Democracy without Dissent’

https://issuu.com/gabrielrosenstock/docs/satchi_rich_text.rtf

The poet-shaman-translator in me experienced various degrees of ecstasy when transcreating the poems of the Korean genius Ko Un:

https://www.amazon.com/Ko-Rogha-Dánta-Gabriel-Rosenstock-ebook/dp/B01FRAYDX2

My love for Cathal O Searcaigh and his poetry is well known. All three are outside of the Anglosphere, if such a thing is possible. Apart from those three, the site Words without Borders can be interesting. I’m grateful to English as a global language which introduces literature in translation to us all. I like ‘aboriginal’ poetry – the more aboriginal the better.The late Michael Davitt, with whom I co-founded the journal INNTI, has a line which says, ‘Ma bheireann carbhat orm, tachtfaidh se me’ – ‘if a cravat (or tie) catches hold of me, it will choke me.’ This is Irish aboriginalism alive and kicking! It says NO to the WASP and again NO. No thanks.

Q. 6. What would you say to who asked you “How do you become a writer?”

Write

Q. 7. Tell me about any writing projects you’re involved in at the moment.

Current writing projects: some writers are superstitious about current projects, as though they can only breathe a sigh of relief when the book is actually printed and published. Others like to trumpet their work in progress or publish extracts here and there.

Insanely prolific as I am, I usually have a number of irons in the fire. Do you know the origin of the phrase? It alludes to a blacksmith working on several pieces of iron at the same time. I remember being in a blacksmith’s forge as a child. A magical place. Lots of superstitions associated with iron, nails, horseshoes and so on. In Tibet they speak of ‘sky iron’ and I wrote a poem once inspired by that lore when I discovered that certain Tibetan singing bowls contain material from this ‘sky iron’:

https://www.youtube.com/watch?v=kbFmtpeh9so

I posted the poem on a few YouTube sites that featured singing bowls. Scroll down a bit and you’ll find it, in Irish and English. That’s a rather roundabout way of saying I’m not going to reveal current projects. To be frank, I have a number of completed projects and I’d much prefer to see them published before embarking on fresh material, such as a volume of bilingual poems, in Irish and English, already mentioned, poems addressed to the Daoist poet-shaman Li He.

  Wombwell Rainbow Interviews: Gabriel Rosenstock Wombwell Rainbow Interviews I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me.

[growlink]

NEXT GENERATION OF BIOTECH FOOD HEADING FOR GROCERY STORES IN THE UNITED STATES

The Associated Press Health & Science Department receives support from the Howard Hughes Medical Institute's Department of Science Education. The AP is solely responsible for all content in this story . — The next generation of biotech food is headed for the grocery aisles, & first up may be salad dressings or granola bars made with soybean oil genetically tweaked to be good for your heart. By early next year, the first foods from plants or animals that had their DNA "edited" are expected to begin selling. It's a different technology than today's controversial "genetically modified" foods, more like faster breeding that promises to boost nutrition, spur crop growth, & make farm animals hardier & fruits & vegetables last longer. The U.S. National Academy of Sciences has declared gene editing one of the breakthroughs needed to improve food production so the world can feed billions more people amid a changing climate. Yet governments are wrestling with how to regulate this powerful new tool. After years of confusion & rancor, will shoppers accept gene-edited foods or view them as GMOs in disguise? "If the consumer sees the benefit, I think they'll embrace the products & worry less about the technology," said Dan Voytas, a University of Minnesota professor & chief science officer for Calyxt Inc., which edited soybeans to make the oil heart-healthy. Researchers are pursuing more ambitious changes: Wheat with triple the usual fiber, or that's low in gluten. Mushrooms that don't brown, & better-producing tomatoes. Drought-tolerant corn, & rice that no longer absorbs soil pollution as it grows. Dairy cows that don't need to undergo painful de-horning, & pigs immune to a dangerous virus that can sweep through herds. Scientists even hope gene editing eventually could save species from being wiped out by devastating diseases like citrus greening, a so far unstoppable infection that's destroying Florida's famed oranges. First they must find genes that could make a new generation of trees immune. "If we can go in & edit the gene, change the DNA sequence ever so slightly by one or two letters, potentially we'd have a way to defeat this disease," said Fred Gmitter, a geneticist at the University of Florida Citrus Research & Education Center, as he examined diseased trees in a grove near Fort Meade. GENETICALLY MODIFIED OR EDITED, WHAT'S THE DIFFERENCE? Farmers have long genetically manipulated crops & animals by selectively breeding to get offspring with certain traits. It's time-consuming & can bring trade-offs. Modern tomatoes, for example, are larger than their pea-sized wild ancestor, but the generations of cross-breeding made them more fragile & altered their nutrients. GMOs, or genetically modified organisms, are plants or animals that were mixed with another species' DNA to introduce a specific trait — meaning they're "transgenic." Best known are corn & soybeans mixed with bacterial genes for built-in resistance to pests or weed killers. Despite international scientific consensus that GMOs are safe to eat, some people remain wary & there is concern they could spur herbicide-resistant weeds. Now gene-editing tools, with names like CRISPR and TALENs, promise to alter foods more precisely, & at less cost, without necessarily adding foreign DNA. Instead, they act like molecular scissors to alter the letters of an organism's own genetic alphabet. The technology can insert new DNA, but most products in development so far switch off a gene, according to University of Missouri professor Nicholas Kalaitzandonakes. Those new Calyxt soybeans? Voytas' team inactivated two genes so the beans produce oil with no heart-damaging trans fat & that shares the famed health profile of olive oil without its distinct taste. The hornless calves? Most dairy Holsteins grow horns that are removed for the safety of farmers & other cows. Recombinetics Inc. swapped part of the gene that makes dairy cows grow horns with the DNA instructions from naturally hornless Angus beef cattle. "Precision breeding," is how animal geneticist Alison Van Eenennaam of the University of California, Davis, explains it. "This isn't going to replace traditional breeding," but make it easier to add one more trait. RULES AREN'T CLEAR The Agriculture Department says extra rules aren't needed for "plants that could otherwise have been developed through traditional breeding," clearing the way for development of about two dozen gene-edited crops so far. In contrast, the Food & Drug Administration in 2017 proposed tighter, drug-like restrictions on gene-edited animals. It promises guidance sometime next year on exactly how it will proceed. Because of trade, international regulations are "the most important factor in whether genome editing technologies are commercialized," USDA's Paul Spencer told a meeting of agriculture economists. Europe's highest court ruled last summer that existing European curbs on the sale of transgenic GMOs should apply to gene-edited foods, too. But at the World Trade Organization this month, the U.S. joined 12 nations including Australia, Canada, Argentina & Brazil in urging other countries to adopt internationally consistent, science-based rules for gene-edited agriculture. ARE THESE FOODS SAFE? The biggest concern is what are called off-target edits, unintended changes to DNA that could affect a crop's nutritional value or an animal's health, said Jennifer Kuzma of the Genetic Engineering & Society Center at North Carolina State University. Scientists are looking for any signs of problems. Take the hornless calves munching in a UC-Davis field. One is female & once it begins producing milk, Van Eenennaam will test how similar that milk's fat & protein composition is to milk from unaltered cows. "We're kind of being overly cautious," she said, noting that if eating beef from naturally hornless Angus cattle is fine, milk from edited Holsteins should be, too. But to Kuzma, companies will have to be up-front about how these new foods were made & the evidence that they're healthy. She wants regulators to decide case-by-case which changes are no big deal, & which might need more scrutiny. "Most gene-edited plants & animals are probably going to be just fine to eat. But you're only going to do yourself a disservice in the long run if you hide behind the terminology," Kuzma said. AVOIDING A BACKLASH Uncertainty about regulatory & consumer reaction is creating some strange bedfellows. An industry-backed group of food makers & farmers asked university researchers & consumer advocates to help craft guidelines for "responsible use" of gene editing in the food supply. "Clearly this coalition is in existence because of some of the battle scars from the GMO debates, there's no question about that," said Greg Jaffe of the food-safety watchdog Center for Science in the Public Interest, who agreed to join the Center for Food Integrity's guidelines group. "There's clearly going to be questions raised about this technology." SUSTAINABILITY OR HYPE? Gene-editing can't do everything, cautioned Calyxt's Voytas. There are limitations to how much foods could be changed. Sure, scientists made wheat containing less gluten, but it's unlikely to ever be totally gluten-free for people who can't digest that protein, for example — or to make, say, allergy-free peanuts. Nor is it clear how easily companies will be able to edit different kinds of food, key to their profit. Despite her concerns about adequate regulation, Kuzma expects about 20 gene-edited crops to hit the U.S. market over five years — & she notes that scientists also are exploring changes to crops, like cassava, that are important in the poorest countries. "We think it's going to really revolutionize the industry," she said.

[kansascityhappenings]

Next generation of biotech food heading for grocery stores

WASHINGTON — The next generation of biotech food is headed for the grocery aisles, and first up may be salad dressings or granola bars made with soybean oil genetically tweaked to be good for your heart.

By early next year, the first foods from plants or animals that had their DNA “edited” are expected to begin selling. It’s a different technology than today’s controversial “genetically modified” foods, more like faster breeding that promises to boost nutrition, spur crop growth, and make farm animals hardier and fruits and vegetables last longer.

The U.S. National Academy of Sciences has declared gene editing one of the breakthroughs needed to improve food production so the world can feed billions more people amid a changing climate. Yet governments are wrestling with how to regulate this powerful new tool. And after years of confusion and rancor, will shoppers accept gene-edited foods or view them as GMOs in disguise?

“If the consumer sees the benefit, I think they’ll embrace the products and worry less about the technology,” said Dan Voytas, a University of Minnesota professor and chief science officer for Calyxt Inc., which edited soybeans to make the oil heart-healthy.

Researchers are pursuing more ambitious changes: Wheat with triple the usual fiber, or that’s low in gluten. Mushrooms that don’t brown, and better-producing tomatoes. Drought-tolerant corn, and rice that no longer absorbs soil pollution as it grows. Dairy cows that don’t need to undergo painful de-horning, and pigs immune to a dangerous virus that can sweep through herds.

Scientists even hope gene editing eventually could save species from being wiped out by devastating diseases like citrus greening, a so far unstoppable infection that’s destroying Florida’s famed oranges.

First they must find genes that could make a new generation of trees immune.

“If we can go in and edit the gene, change the DNA sequence ever so slightly by one or two letters, potentially we’d have a way to defeat this disease,” said Fred Gmitter, a geneticist at the University of Florida Citrus Research and Education Center, as he examined diseased trees in a grove near Fort Meade.

GENETICALLY MODIFIED OR EDITED, WHAT’S THE DIFFERENCE?

Farmers have long genetically manipulated crops and animals by selectively breeding to get offspring with certain traits. It’s time-consuming and can bring trade-offs. Modern tomatoes, for example, are larger than their pea-sized wild ancestor, but the generations of cross-breeding made them more fragile and altered their nutrients.

GMOs, or genetically modified organisms, are plants or animals that were mixed with another species’ DNA to introduce a specific trait — meaning they’re “transgenic.” Best known are corn and soybeans mixed with bacterial genes for built-in resistance to pests or weed killers.

Despite international scientific consensus that GMOs are safe to eat, some people remain wary and there is concern they could spur herbicide-resistant weeds.

Now gene-editing tools, with names like CRISPR and TALENs, promise to alter foods more precisely, and at less cost, without necessarily adding foreign DNA. Instead, they act like molecular scissors to alter the letters of an organism’s own genetic alphabet.

The technology can insert new DNA, but most products in development so far switch off a gene, according to University of Missouri professor Nicholas Kalaitzandonakes.

Those new Calyxt soybeans? Voytas’ team inactivated two genes so the beans produce oil with no heart-damaging trans fat and that shares the famed health profile of olive oil without its distinct taste.

The hornless calves? Most dairy Holsteins grow horns that are removed for the safety of farmers and other cows. Recombinetics Inc. swapped part of the gene that makes dairy cows grow horns with the DNA instructions from naturally hornless Angus beef cattle.

“Precision breeding,” is how animal geneticist Alison Van Eenennaam of the University of California, Davis, explains it. “This isn’t going to replace traditional breeding,” but make it easier to add one more trait.

RULES AREN’T CLEAR

The Agriculture Department says extra rules aren’t needed for “plants that could otherwise have been developed through traditional breeding,” clearing the way for development of about two dozen gene-edited crops so far.

In contrast, the Food and Drug Administration in 2017 proposed tighter, drug-like restrictions on gene-edited animals. It promises guidance sometime next year on exactly how it will proceed.

Because of trade, international regulations are “the most important factor in whether genome editing technologies are commercialized,” USDA’s Paul Spencer told a meeting of agriculture economists.

Europe’s highest court ruled last summer that existing European curbs on the sale of transgenic GMOs should apply to gene-edited foods, too.

But at the World Trade Organization this month, the U.S. joined 12 nations including Australia, Canada, Argentina and Brazil in urging other countries to adopt internationally consistent, science-based rules for gene-edited agriculture.

ARE THESE FOODS SAFE?

The biggest concern is what are called off-target edits, unintended changes to DNA that could affect a crop’s nutritional value or an animal’s health, said Jennifer Kuzma of the Genetic Engineering and Society Center at North Carolina State University.

Scientists are looking for any signs of problems. Take the hornless calves munching in a UC-Davis field. One is female and once it begins producing milk, Van Eenennaam will test how similar that milk’s fat and protein composition is to milk from unaltered cows.

“We’re kind of being overly cautious,” she said, noting that if eating beef from naturally hornless Angus cattle is fine, milk from edited Holsteins should be, too.

But to Kuzma, companies will have to be up-front about how these new foods were made and the evidence that they’re healthy. She wants regulators to decide case-by-case which changes are no big deal, and which might need more scrutiny.

“Most gene-edited plants and animals are probably going to be just fine to eat. But you’re only going to do yourself a disservice in the long run if you hide behind the terminology,” Kuzma said.

AVOIDING A BACKLASH

Uncertainty about regulatory and consumer reaction is creating some strange bedfellows. An industry-backed group of food makers and farmers asked university researchers and consumer advocates to help craft guidelines for “responsible use” of gene editing in the food supply.

“Clearly this coalition is in existence because of some of the battle scars from the GMO debates, there’s no question about that,” said Greg Jaffe of the food-safety watchdog Center for Science in the Public Interest, who agreed to join the Center for Food Integrity’s guidelines group. “There’s clearly going to be questions raised about this technology.”

SUSTAINABILITY OR HYPE?

Gene-editing can’t do everything, cautioned Calyxt’s Voytas. There are limitations to how much foods could be changed. Sure, scientists made wheat containing less gluten, but it’s unlikely to ever be totally gluten-free for people who can’t digest that protein, for example — or to make, say, allergy-free peanuts.

Nor is it clear how easily companies will be able to edit different kinds of food, key to their profit.

Despite her concerns about adequate regulation, Kuzma expects about 20 gene-edited crops to hit the U.S. market over five years — and she notes that scientists also are exploring changes to crops, like cassava, that are important in the poorest countries.

“We think it’s going to really revolutionize the industry,” she said.

from FOX 4 Kansas City WDAF-TV | News, Weather, Sports https://fox4kc.com/2018/11/14/next-generation-of-biotech-food-heading-for-grocery-stores/

from Kansas City Happenings https://kansascityhappenings.wordpress.com/2018/11/14/next-generation-of-biotech-food-heading-for-grocery-stores/

[pe-pijn123-blog]

Hierboven zie je een schilderij van de schilder Toos van Holstein, als je goed kijkt zie je 3 muzikanten in het schilderij verwerkt. Ik heb voor dit schilderij gekozen omdat ik het knap vind hoe je de kleuren zo gelijk en onopvallend mooi kan laten overgaan tot muzikanten. 

Categorie A

11/11/18

[toosvanholstein]

Wat zijn die Surrealistische Vrouwen Hot!

Een mannen en kunstverslindster met als gevolg een prachtige expo van surrealistische vrouwen en mannen in het Palazzo Infinito, het onaffe paleis, in Venetië. Het museum van de Peggy Guggenheim Collection. Geniet samen met Toos van Holstein in TOOS&ART.

Peggy Guggenheim op het boventerras haar palazzo aan het Canal Grande Peggy Guggenheim lustte er wel pap van. Van zowel mannen, zo ongeveer duizend volgens haar eigen zeggen, als van kunst, ook zo’n duizend schilderijen en beelden. Dat liep dus aardig gelijk op met elkaar. Maar daardoor liep ik vorige maand in Venetië wel over min of meer heilige kunstgrond. In het palazzo non finito, het niet…