#gijs wanders

[jackfrostsander]

Happy 21:21 and happy third anniversary to gij en ik... 100% voor altijd... in elk universum! 

Such an amazing and emotional scene! When Sander said those words he really was speaking from the bottom of his heart. 💖 And look at his face! 🥺🥺🥺 Robbe is his everything...   

And the choice for such a perfect song: Wandering Romance by Lie Ning! 

When Sander is in view: “No one knows the pain“. Alluding to his mental illness.

Then the camera switches to Robbe and the song goes: “No one sees what I see in you”

Sobbe’s love is so beautiful and special! May we all find a love like that! ❤️🧡💛💚💙💜

Image credit: @annadriesen2121​

[pyotan]

Menyou and Hebhis

Menyou Kazuma (めん羊 応真) was once Hebhis. (Heb-hees)

Heb = へび his = from the word Ophis which means the serpent 

So this is really just a lot I know. But it’s weirdly become it’s own thing in my head and I hope I can word it out decent enough

So yeah, Menyou is a dead constellation. The reason he is actually so cold to touch and everything rots isn’t simply because he’s dead, it’s because dead stars are cold. And I think it’s like things can’t survive in space or being touched by a star? It’s also why he doesn’t need ot really eat (but i mean he’s raised human so he’s conditioned to it).

So what’s a dead constellation??? A cluster of dead stars that once formed a constellation. This is where it’s like AU shit, it’s literally an entirely other galaxy of life and shit. I can do that ok….

But anyways, long long long ago Menyou had been the Serpens constellation.

Literally just post the wiki paragraph this is the vibe:

In Greek mythology, Serpens represents a snake held by the healer Asclepius. Represented in the sky by the constellation Ophiuchus, Asclepius once killed a snake, but the animal was subsequently resurrected after a second snake placed a revival herb on it before its death.  As snakes shed their skin every year, they were known as the symbol of rebirth in ancient Greek society, and legend says Asclepius would revive dead humans using the same technique he witnessed. Although this is likely the logic for Serpens' presence with Ophiuchus, the true reason is still not fully known. Sometimes, Serpens was depicted as coiling around Ophiuchus, but the majority of atlases showed Serpens passing either behind Ophiuchus' body or between his legs

This is why Menyou’s scales heal oiwjf ;__; 

As a constellation, he was a healer deity that was prayed to often. In this AU, it’s constellations are deities. The sun and moon are an entirely different thing, more like GOD i guess. Lmfao and yeah you know what Ive been slowly thinking about in that regard. /vomits gijs.

Anyways. Deities are allowed interactions but only to a certain extent, it can’t go beyond offering guidance. Well, Hebhis fell in love with one of his diviners and broke that sacred vow to /not/ go beyond. 

It’s all secret at first but that certainly does not last long and as punishment, the diviner is killed. 

But Hebhis does not take this well and kills one of the Sun’s and Moon’s precious stars (LMFAO) and uses that light and his scales to bring the diviner back to life.

Furious, he is completely snuffed out by the Sun’s rage… or so he THOUGHT.  because the Sun was so angered, it was forgotten that this is a deity of reincarnation.. So with that 1% of scale and soul left, a minuscule star had been formed to protect what little is left. Over time, it grows as memories and soul reincarnate anew. 

A weird thing I guess, but I think that this process is a bit of a struggle. It just takes a really long time and a bit of soul seeps out which is how it goes wandering off.. Then it gets pulled in by a mother’s magic and prayers and thus Menyou Kazuma is born anew.

In the time span that Menyou is struggling and suffering, growing and all that, the star that is mostly him is now on the search for what little oozed out… and eventually the last piece of soul is just Menyou himself. But it’s complicated now that he has a body and emotions so the rest of Hebhis takes shape as a star-shaped minion/doll. Menyou had just woken up one day with this thing and since it hovers about, it’s not left his side.

But there is no genuine interaction with it. You can be mean to it, poke or stab it. You could speak to it, embrace it. But nothing will make it react. And it is not like it protects Menyou from anything, it literally just follows him like a shadow. Waiting. 

Menyou was taken in by Ramm at this point when the Star appeared, so it was just accepted. But if it had shown up much earlier, it would have probably gotten Menyou in a lot of trouble. Luckily, Ramm had grown calmer about ridiculous things considering his life choices so.. ‘Cool, a thing follows you whatever. I’ve had a haunted boy that i’m still in love with.. ANYWAYS.’

Uhmmm! I did consider making Naoh the diviner reincarnate but eh I think that might be a little too much?? At least for it to be naoh so i think he just has a lot of similar traits to them. Which is why Menyou is so enamored but SHRUG.

As for whatever triggers all of this to go to shit and have Menyou become Hebhis as a primal again well… I don’t quite know. I think it really really will have to do with Ramm though, I think it will be a like closing chapter on Ramm. maybe he possesses Menyou since he’s stronger, but Hebhis is finally triggered into opening himself to gather what last percent of soul there is so tht Ramm can’t take it.. And maybe that just brings forth a lot of weird shit with dead spirits and stars and like vengeance.. 

Before all that though I really want Menyou to have like memories with others. He really just needs a /strong/ will to fight Ramm at all and just that’s his character to be moments and memories. 

I really really appreciate if you read this far, I do apologize if this makes no sense LOL but I really wanted it typed out o_O

[jurjenkvanderhoek]

GEZICHTEN VAN DEMENTIE, EEN BOEK VOL ONTROERING

De schilder kan door de mens kijken om het portret te maken. Dat wil zeggen hij ziet achter het gezicht het gevoel van de geportretteerde. Achter de mimiek de emotie. Dat is het verschil met de fotografie. De fotograaf krijgt de buitenkant voor de lens, maar zal nooit de binnenkant kunnen laten zien. Deze doorgronding kan hij alleen krijgen met het toevoegen van symbolen of het bijplaatsen van zaken en materialen die bij de geportretteerde mens passen, het figuur tot persoon maakt. Maar de schilder kan in zijn verfstreken het wezen van de mens weergeven. De impressie achter de expressie tot uitdrukking brengen. Herman van Hoogdalem vindt het de kwaliteit van een schilder, dat hij meer aan de buitenkant kan zien dan iemand die niet schildert. “Ik maak een portret via mijn ogen. Als je scherp observeert dan kun je zoveel lezen aan de buitenkant.” De mensen gaan in zijn hoofd zitten, de uitdrukkingen op hun gezicht, de blikken in hun ogen.

Van Hoogdalem portretteerde mensen die lijden aan de ziekte van Alzheimer voor de tentoonstelling “Gezichten van dementie”. Met teksten van journalist en schrijver Gijs Wanders is dat een boek geworden. Beide heren zijn ervaringsdeskundige, want hadden een ouder die leed aan dementie en maakten het hele proces daardoor aan den lijve mee. Daarom is de uitgave “Gezichten van dementie” een boek vol ontroering geworden. Van Hoogdalem beeldde de mensen in potlood en verf, Wanders verwoordde het verdriet van familieleden die de mens in al zijn of haar machteloosheid in het leven te zien verdwalen. Al wat niet in woorden te vangen is staat opgetekend in de schilderijen – de wanhoop, het lijden, de pijn, de onzekerheid, de leegte, de onthechting, de berusting. De geportretteerden gaan door al die fasen van dementie heen, totdat er niets meer is dan enkel het sterven. Ze kunnen nauwelijks meer in hun eigen schaduw van wie ze vroeger waren staan. Maar proberen in hun onbeholpen wezen nog wel die iemand te zijn, hoewel er nauwelijks meer sprake is van decorum.  Naast deze portretten zijn de teksten, interviews met partners en kinderen waarbij de relatie tussen familie en degene met dementie centraal staat, een representatie van deze mensen.

In eerste instantie heb ik dat niet zo door, want de tentoonstelling heb ik niet kunnen zien destijds, maar de portretten zijn menshoog. Dat realiseer ik me pas wanneer ik ergens in het boek de foto van de schilder in zijn atelier zie, werkend aan de portretten. Ik kan me voorstellen dat dit formaat voor de bezoekers tijdens de tentoonstelling erg confronterend moet zijn geweest. Menshoge gezichten. Met priemende ogen, maar geen felle blikken. Ernstig en ingetogen, strakke trekken om de mond. De blik is lijdzaam en berustend, voor dat ogenblik dat ze ongedwongen model staan. Of althans door de schilder met de ogen worden gevolgd, zodat hij diverse schetsen van houding en uitdrukking kan maken. Die schetsen met uitgeschreven bevindingen op het moment zijn grond voor de uitwerking in het atelier.

Kijken ogen niet over of langs mij heen in het niets, dan zien ze mij recht aan maar kijken dwars door me heen. De blik is niet leeg, maar loopt vol van vragen over wat, wie, waarom, waar, wanneer. Te veel vragen om nog zelf te kunnen beantwoorden, want die antwoorden zijn zoek en niet meer te vinden. Dat maakt ze hulpeloos en machteloos vooral. Ik zie weemoed in de blikken, voor zover deze mensen die emotie nog kunnen bevatten. Er is verbazing, want ze begrijpen niet meer waar ze zijn en waarom ze hier zijn. Eigenlijk valt alle herkenning weg en kunnen ze alleen leven in een tijd voor deze tijd, van toen en vroeger. Alles van nu en gister is als het ware uitgegumd – moet nog komen, het moment van vorige week werd opnieuw getekend. Op deze plek willen ze niet meer zijn, niet in dit heden leven, want het is en blijft vreemd. Die verwarring is gevat in het portret. Het straalt ze uit de ogen. “Ik blijf het verdrietig vinden, maar probeer toch wel te kijken hoe hij nu leeft in dat hele kleine wereldje. Ik kijk niet naar wat hij allemaal niet meer kan, want ja, dan maak ik het voor mijzelf heel moeilijk.”

Uit de interviews van Gijs Wanders met de familie blijkt vooral dat het zwaar is degene waarvan ze houden te zien wegdrijven van het leven. Zonder dat ze een helpende hand kunnen bieden of een reddingsboei kunnen toegooien. Ze kunnen er alleen maar zijn, begrijpend naast hen staan. Ze lijden mee en zijn bezorgd. “…dat ik niet meer weet of ze mij nog als echtgenoot herkent. Ik kan ook wel de mijnheer zijn die geregeld langskomt…” “…ik heb het idee dat ze mij eerder ziet als broer en mijn zoon als haar zoon…” “Ik zie mijzelf vooral als zijn verzorgende, iemand die het voor hem zo goed mogelijk wil maken. Ik probeer te leven bij de dag…” “…op een gegeven moment is het wel weg, dan is het je moeder niet meer.” “Ik geniet van de dingen die er zijn, maar ben toch wel een groot deel van mijn vader kwijt.” “Ik ben dankbaar dat we het zo fijn hebben gehad, het waren mooie jaren. En ja, nu moet ik hem afstaan.”

Wat zo typerend is in de portretten zijn toch wel de wezenloze, ontdane en machteloze blikken. De oogopslag maakt geen contact. Alsof in zichzelf gericht. Zich voortdurend afvragen wie die ander is en wat deze komt doen. Na de gesprekken met familie, de portretten van hun geliefden en locatieportretten van mensen die door het verzorgend personeel zijn gekozen, is er een gesprek van auteur met kunstenaar – Gijs met Herman: “Ik heb dementie in het gezicht gekeken”. Eigenlijk zegt de blik van de schilder meer dan dat de familie door de schrijver over de persoon laat weten. Uit die interviews leer ik hoe iemand was en op welke manier zij omgaan met hoe de persoon nu is. De kunstenaar kijkt objectief naar de actuele situatie, maakt contact voor zover dit mogelijk is en kijkt vooral door de mens heen, door de pijn en het verdriet en probeert het geluk dat er ooit was in beeld vast te grijpen. “Ik heb een samenvattend portret proberen te maken waarin je veel van die emoties en uitdrukkingen tegenkomt. Haar mond strak en streng, haar ogen zacht en verdrietig.” “Ik kan me voorstellen dat het voor dierbaren heel moeilijk is om je man of je moeder zo te zien, stilgezet in de tijd, de leegte in de ogen, het verdriet op het gezicht.”

Gezichten van dementie. Beeld Herman van Hoogdalem, tekst Gijs Wanders. Uitgave WBOOKS, 5e druk 2017.

https://wbooks.com/winkel/kunst/hedendaagse-kunst/gezichten-dementie-5e-druk/

[birthdaysentiment]

The music in wtFOCK season 3 - Masterlist

A masterlist with all the posts (analyses) I've written about some of the songs wtFOCK used in season 3. I might post and add some extra analysis with some of the songs, that I didn’t include in the first place, so the masterlist will be updated along the way.

Once again, I just want to say thank you to everyone who took the time to read my posts, react or comment on them, it meant (and still means) the absolute world to me. You’re all a true blessing and I’m sending you all my love!

Episode 1 - Gij zou u niet laten pijpen door haar?

Zaterdag 23.11 // "Fall" - The Bug feat. Copeland

Woensdag 10.13 // "K" - Cigarettes After Sex

Vrijdag 20.54 // "Stars" - VIZE feat. Laniia

Episode 2 - Playing hard to get.

Zondag 19.50 // "Get You the Moon" - Kina

Episode 3 - Wat heb ik te verliezen?

Zaterdag 08.44 // "Rebel, Rebel" - David Bowie

Zaterdag 13.13 // "Under Pressure" - Queen feat. David Bowie

Maandag 15.12 // "Alibi" - Mansionair

Donderdag 21.12 // "Trick R Treat" - Josh A. & Iamjakehill

Donderdag 21.12 // "Life Like This" - AK

Vrijdag 08.43 // "Unspoken" - Aaron Smith

Episode 4 - Ik twijfel een beetje.

Zaterdag 09.53 // "It's You" - Ali Gatie

Zondag 17.32 // "Soul Searching" - Bazzi

Woensdag 17.35 // "Space Oddity" - David Bowie

Woensdag 17.35 // "Shout" - Malia J

Woensdag 19.21 // "A Moment Apart" - ODESZA

Woensdag 21.21 // "Wildfire" - SYML (Part One)

Woensdag 21.21 // "Wildfire" - SYML (Part Two)

Donderdag 07.46 // "Space Oddity" - Passenger

Episode 5 - Het ligt toch niet aan mij?

Zaterdag 21.43 // "Life on Mars?" - David Bowie

Zaterdag 21.52 // "Wicked Game" - Mcevoy

Woensdag 16.36 // "Ocean Eyes" - Billie Eilish

Vrijdag 22.53 // "Jet Black" - Anderson.Paak

Vrijdag 22.53 // "Two Men in Love" - The Irrepressibles

Episode 6 - Het ging allemaal focking snel.

Zaterdag 21.35 // "Hurt" - 2WEI

Woensdag 16.17 // "Die Alone" - FINNEAS

Episode 7 - Ik heb het verpest. Ik weet het.

Zaterdag 15.02 // "Glass House" - Machine Gun Kelly feat. Naomi Wild

Dinsdag 21.41 // "Life is Beautiful" - Lil Peep

Vrijdag 21.21 // "Wandering Romance" - Lie Ning (Part One)

Vrijdag 21.21 // "Wandering Romance" - Lie Ning (Part Two)

Episode 8 - Zo rap ben je van mij nog niet af.

Zaterdag 09.41 // "Past Lives" - BØRNS

Vrijdag 22.21 // "Rescue My Heart" - Liz Longley

Vrijdag 22.52 // "Heroes" - David Bowie

Episode 9 - Je bent gewoon zijn volgende obsessie.

Dinsdag 12.12 // "Young Gods" - Gabriel Rios

Vrijdag 19.25 // "Deliverance" - RY X

Episode 10 - Ander onderwerp. Oké?

Zondag 15.12 // "I Found” - Amber Run

Maandag 11.03 // "Wildfire" - SYML (Part One)

Maandag 11.03 // "Wildfire" - SYML (Part Two)

Dinsdag 07.27 // "You're the One That I Want" - Angus and Julia Stone

Vrijdag 21.03 // "Dance Monkey" - Tones And I

Vrijdag 21.03 // "In My Mind" - Dynoro & Gigi D'Agostino

Bonus Songs from wtFOCK season 3

Dinsdag 16.19 // “Beat of My Heart” - Lost Frequencies

Dinsdag 16.31 // "Collide" - Tiana Major9 & EARTHGANG

Zaterdag 10.32 // "Unfair" - 6LACK & Love Renaissance

Zaterdag 00.57 // “Grave” - George Ogilvie

Zondag 14.08 // "Lullaby" - The Slow Show

[doxiedreg]

A tribute to my dogs

This piece depicts our first dog Spock guiding Zorro (who passed away yesterday) to the afterlife

Me and my family like to think Spock helped us find Zorro in the first place when he saw how sad we were without him. Spock had been there for me since I was born and I was absolutely inconsolable when he passed. He was the first death I had to cope with and I was like 13 when he passed (spock was 16.5 when he died). His death was traumatic as he had a really bad seizure (he had epilepsy and had dementia as well as a bad back) before my dad and sister rushed him to the vet while me and my mom stayed home. The vet decided to put him down then and there, it should have happened years ago but I was so attached to him, as was my dad, and we didnt want to let go. So my dad and sister returned home without a dog..I had been unable to say goodbye to him. I have felt bad for a long time once i realized how long he had been suffering and i hadnt let go. But in the end I forgave myself because I was a vulnerable lonely kid back then and I didnt want to lose my biggest support

In 2012 (I think?) we adopted zorro from his old owner we found through a dutch online marketplace (We often joked he was a second hand dog). She loved him a lot but she didnt have time for him anymore due to her job and she wanted him to go to a loving home. His old name was Gijs but one of my highschool bullies was called Gijs and we also didnt think the name suited him. So after some brainstorming we decided on the name Zorro (because he was fast and his black fur made me think of the masked hero). He was nervous and sad the first few days and didnt want to be touched but slowly but surely he warmed up to us and he soon felt right at home. He had sooooo much energy. He was super playful, was obsessed with tennis balls and he wanted to be friends with everyone, including cats though they didnt like him. He loved laying on your lap, laying on the couch or accompanying you upstairs. His presence and support has helped me through my horrible time at high school, my burn out and depression, my anxiety. He helped me go outside. He made me smile and laugh with his curious and funny behaviour. He followed me between my parent’s houses when they divorced, and when I went to live in a clinic for people with autism to stabilize for 7 months, he was always overjoyed when I came to visit home every two weeks. A few years ago though, health problems started to arise. First it was a sudden onset of back pain which was really scary. He was treated and after a long recovery he seemed to be okay. Then he started to get restless at night, crying and whining and wandering around. During the day he was fine and he was still able to be happy and cuddly. Slowly his health got worse. We found out he had kidney stones and a vet advised us to get it removed. We agreed with the surgery, though we were nervous due to his age. The vet cut him open, took an xray to see where he had to cut and then didnt see the kidney stone so he closed him up without removing anything. So my poor elderly dog went through surgery without being helped by it. My dad is still really mad about it and i am too but not much you can do about it. The vet said it wasnt his fault. We left that vet. We had moved to that vet because a. This vet was super close to our house and b. My dad was unhappy with our previous vet because they couldnt find out what was wrong with zorro or how to help him. In the end we ended up with the vet that helped him during the backpain emergency and taken great care of him. But his health just kept getting worse, he started to lose his mind, he started to be unable to be left alone or he would howl. He then didn’t want to be picked up anymore and the last few months he got more and more aggressive and he just wasnt there anymore. He would wander around the house, lost and confused. His tail was always between his legs. His back was bent. He walked strained. My dad denied it for a long time because he loved zorro so much he didnt want to let go..but me, my mom and my sisters didnt want Zorro to suffer like Spock had. We were finally able to convince him to make an appointment for the vet to come to our house to put him down. He made the appointment monday. We gave Zorro lots of snacks. My mom came to visit Tuesday to spend time with him and us..and she came again on Wednesday to be there with us. When the vet came, zorro was in his basket. So my dad got him out of there and held him in his arms on the couch. As usual Zorro growled and barked and snarled. The vet put the first injection in his bum and though he first still growled a bit he quickly went under. He was even snoring and his tongue was hanging out of his mouth. Then my mom took him on her lap so she could hold him for the final injection. I still sort of expected him to wake up snarling when my dad handed him over but he continued to sleep and was all floppy. Once in my moms arms and after the second injection, he took a few quick breaths and then he was gone..I cant continue typing because I will hit the text limit but im just happy I was able to properly say goodbye this time..

[whatadaze]

you brought up the church and now I’m hurting because there is a possibility it would happen and i’m getting emotional just by thinking about it. Would you consider writing something involving the church (the scene you think we’ll get tomorrow or if that’s too sad maybe something happy instead) you’ll have my eternal gratitude

for the first time in a long time, my writing juices are flowing 

noah wasn’t at school yesterday, and he didn’t show up today. liv would know because she waited outside his last class and gijs told her he hadn’t seen him all day.

she hated the lingering glance gijs sent her way,

almost like he knew,

and she especially hated the sinking feeling in her chest when she thought about noah all alone, isolating himself just like before.

but this time, she doesn’t want to go to his place. she doesn’t know what she’d do if she was faced with morris again. she lost the courage she had when she confronted him on saturday but all she wants to do in this moment is to see noah.

and then the conversation pops up in her head.

“i used to come here a lot when i was a kid. to be alone.” 

and she might be wrong. 

he might be home, or wandering the streets. 

but if there’s even a slight chance he’s there, liv is willing to check. 

*****

liv doesn’t get there until a little past seven, but she can make out the light shining underneath the church doors. 

she takes a deep breath before slowly pushing open the door, and her heart jumps when she sees him.

noah, sitting on the church pew, his head bowed, almost like he’s in prayer.

but as liv approaches him, she realizes he’s not praying, and instead sketching—his notebook on his lap and his hand moving feverishly over the page. 

and as her footsteps grow louder, his hand stills. 

for a second, liv stops breathing,

frozen in place as she watches him. 

“what are you doing here?” he finally asks, his voice dry and void of emotion.

“we need to talk,” she says. “and you weren’t at school. i thought you’d be here.” 

liv takes a hesitant seat beside him, leaving a good bit of room between them. 

“so talk.” 

“i don’t know what your brother told you, and i know you’re mad-”

“i’m not mad, liv,” he says, finally facing her. 

and his eyes tell her that his words are true.

he’s not mad.

she doesn’t see any trace of anger in his blue, blue eyes. 

but she does see sadness, frustration, and confusion,.

“noah,” she says, her voice cracking. 

and it’s noah that scoots a little closer, setting his notebook to the side and waiting for her to continue. 

she grips the edge of the pew, her knuckles turning white. 

that’s what she focuses on—

her white knuckles,

the way her ring shines under the dim light,

and her steady breaths—

as the story of what happened finally unfolds.

*****

it takes noah a few minutes before he finally responds.

“i’m sorry,” he says softly, his voice shaking. 

he can’t seem to look at her anymore, his brows furrowed as he stares at the ground. 

liv finally closes the small distance that’s left between them and hesitantly places her hand on top of his. 

he doesn’t move it away, and she can feel his body relax slightly under her touch. 

“it’s my fault,” he says, anger now laced in his voice. “i should’ve been there. i should’ve-”

“noah, stop,” she cuts in, using her other hand to turn his face. 

liv locks her eyes with his. 

“do you want me to blame myself for what happened?” she asks.

he immediately shakes his head, confusion and anger returning in his eyes. 

“of course not, liv.” 

“then don’t blame yourself, either. alright?” 

her lips form a sad smile as she begins to stroke his hand with her thumb.

“what happened happened,” she tells him. “and it fucking sucked, and it will suck for a while. but it’s not my fault, and it’s not your fault. it’s your brother’s. he…what he did is a crime that is punishable by law.” 

she lets out a bitter laugh. 

“and he was fucking dumb enough to leave evidence,” she tells him. “but i’ve talked to ralph, esra, and the girls. i’m going to the police, noah. i know he’s your brother but-”

“i want you to go,” he says. “what he did…i don’t want him to do that to someone else, liv.” 

she nods in agreement. 

“and if anything, the only thing i’m sorry for is not trusting you,” she says. “because i should have that night. i trusted morris’s words over yours, and that’s the only thing i regret.” 

noah sighs and runs a hand through his hair. “no, liv. i…i didn’t prove myself to be trustworthy. i didn’t deserve your trust so don’t ever apologize for that, okay? please.” 

she bites her lip, watching noah lose himself in his own thoughts. she wonders what he’s thinking about, but remains silent.

“i came here because i didn’t know where else to go,” he finally says, breaking the silence. “i didn’t want to be at home with…”

he shakes his head.

“and then i thought of this place.”

he looks up at the tall ceiling. 

“it’s funny,” he says softly. “i’ve been coming here since i was little, but now when i’m here, all i think about is you.” 

her heart leaps at his words, and all she can seem to do is scoot even closer, letting her arm brush against his. 

“we’ll be okay, right?” he asks, his voice almost a whisper. 

liv smiles, a real smile, and rests her head on his shoulder.

“yes,” she says. “we will be.” 

***

*CUE SUFJAN*

i added all my fics to ao3 and you can find this one here!

[wdka2018]

                                                        DROOG

This is the name of a group of designers, who have started a new wave of design projects dating from the early 90’s that has been influential for what’s to be called Dutch design.

The group itself seems to be very open in terms of number of members, it is perhaps more a name to create work under, that is uniting people with similar visions and backgrounds.

It is known that the founding members are Renny Ramakers and Gijs Bakker and they have had their first major impact on the world design scene in Milan, during the 90’s. Their work is characterised by one term and it is called “anti glamour”. Way too many times as people hear the word design, they get scared of what the final result and price would be like. In a way they have provided a funny, out of the box way of creating objects, which sometimes were on the border with art, but some of them have proven during the years to be a very successful designs.

It is typical that in their projects, one could see how they would take a set of objects/materials that are not necessarily connected in the minds of the wide audience and make a series of experimentation which are by themselves either something like the “Nod chair” by Marcel Wanders, or the “Chest of drawers” by Tejo Remy.

This pieces have often times been seen more as art pieces, but they are so important for the design world in my opinion, because they are setting up some serious questions for all of us - the other designers. With these two pieces Droog has shown that the role of the designer in the society is an educational one too and we should not only make beautiful objects for the same of the beauty, neither these objects should be made of entirely new materials. I think these two examples provoke questions like “This is a set of drawers, it works as such, but is nothing like a normal one we know, does that make it less pretty, functional or valuable?” in the heads of many as it does in mine. Clearly in the example of Tejo Remy, the central focus is not on the designer itself, how important his talent in creating beautiful objects is, neither on how good of a craftsman he is. This for a change is a major difference compared to most of things we call design and it has started a movement, which now more than ever is turning into a global trend. Designers are no more people who hide behind their screens and spit sometimes very nice stuff, but are shifting towards something new. The new role of the designer nowadays seems to be a mixture between many things, a designer could be a half scientist, half engineer/inventor and at the same time environmentally conscious person who through his work is being a bright example of how to be the change in the world around you.

With the years Droog design has grown up to something like the Bauhaus - a school of thought, now called Droog Lab, which stands out as a platform for spotting new global design trends, and making predictions for things that will become important. Often times they would not only tackle the question of what’s really valuable for design, is it worth producing a certain object, but also the cultural aspect behind the creation and re-creation or adaptation of design.

The exhibition in Het Nieuwe Instituut, called Speculative design archive, shows the work of DROOG along with many other important Dutch designers. As 2018 was the year in which the design group has donated their archive to the Netherlands Institute of Art History, their work in a similar manner is getting presented as a collection of unfinished, never went into production pieces. This makes me think that the abstract way of thinking that Droog has brought to the world has become so widespread (in the Netherlands), that the RKD, themselves are acting in a very similar manner by curating the objects from the droog archive in such a way.

Is this a situation in which the phrase “One man’s trash is another man’s gold” is valid?

I think yes.

[asessay-blog]

Social Cognitive Actor

以下是由Asessay给大家提供的一篇Esaay范文,虽然有过很多讨论，关于功能结构和社会结构,甚至认为低层次的复杂世界,这对我来说也是一个挑战，是一种可行的模式。许多人在这篇论文发表上发挥了重要作用，感谢他们的富有成果的讨论。

Preface  The dissertation that is in your hands is the fruit of the last four years of research done in the eld of Multi-Agent Systems, Articial Intelligence, Informatics, Cognitive Science, Social Science and Organisation Studies. Bringing together different disciplines has been a challenging and a complex task. The outcome, put together in a simulation model, will hopefully help others discover new ways of practising the art of cognitive and social modelling. My background as a mechanical engineer may not seem to be in line with the research that I am currently involved in. Indeed, constructs of the philosophy of the mind, social construction, multi-actor software programs, and social behaviour seem to differ, in essence, from mechanical engineering.  However, this dissertation focuses on the process of construction as in mechanics. Only this time, the focus is on social construction. It is probably the topic of social construction that (re-)constructed my thoughts about the (social) world we live in. I want to thank my promoters Prof. Henk Gazendam and Prof. Rene Jorna ´ for this change in looking at the world around me.  Although the many discussions I had about the functional structure of the mind and how social constructs, shared by people, inuence behaviour even at the lower level of thinking that complicated my vision of the world, they also challenged me to the extent of developing a workable model. The role of a PhD candidate is a social construction in its own right, created by a mutual agreement between the University of Groningen, the SOM research school, my promoters and I. I want to thank the University of Groningen, SOM and my promoters for giving me the opportunity to engage in this social construction.  Many people played an important role in contributing to the work delivered in this dissertation. In the early phase of my PhD, I worked together with Diederik Kraaikamp, Luit Gazendam, Rene Jorna, Tomas Klos, Jos Schreine- ´ makers and Bart Nooteboom on Agent-Based Computational Transaction Cost Economics. I thank all of them for the fruitful discussions I had with them that delivered new ideas and experience of how a cognitive (social) actor should be modelled (see Kraaikamp, 2003).  The software programming consumed many hours of dedication not only by me but also Gijs Roest. Our joined efforts resulted in the RBot-Project (see Roest, 2004) in which Gijs concentrated at creating a new memory model that incorporated the ACT-R model successfully. Gijs, thank you for being such a critical and inventive colleague. The people who probably understand my work the best are Henk Gazendam and Rene Jorna. Henk Gazendam is to be admired, because he not ´ only reviewed my theoretical work, but also my software by transforming his SmallTalk skills into JAVA. He is to be complimented on assimilating many classes and lines of software code. Henk was a constructive reviewer. He not only provided comments like 'onzin' (nonsense) on my work, but also shared ideas and gave detailed arguments that helped improve my work tremendously. Henk, thank you very much for your detailed feedback.  My second supervisor Rene is an intelligent and very active researcher who ´ is interested in the cognitive actor; according to Rene, an actor is ´ not an (economic) agent. As a researcher and a cognitive psychologist, he managed to open up the world of cognition to me. As a managerial actor, Rene always tried to nd ´ a way to make things possible, be it for research purposes or others, and I have to admit, he always found a way. Rene, thank you for sharing your cognitive ´ skills and your passion for research with me. I also want to thank my promotion committee: Prof. Kecheng Liu as an organisational semiotician and applied informatics expert, Prof. Arndt Sorge as an organisational sociologist and Prof. Ron Sun as a cognitive scientist and cognitive multi-agent modeller.  I am grateful to them for their suggestions, time and the careful reading of my manuscript. I also would like to thank Prof. John Michon who as a cognitive scientist and Prof. Ron Stamper who as an expert in organisational semiotics provided valuable insights. Furthermore, I want to thank all the PhD students and people with whom I shared experiences, ofce space and the complex of WSN and DRS building during my PhD years: Niels, Kristian, Nanda, Marloes, Gerben, Laura, Joost, Larissa, Ruben, Jan, Filippo, Jacques, Thomas, Bert, Herman, Simon, Hans, Hans, Gert, Gijs, Nick, Mark, Petra, Xander, Sonja, Wander, Kees, Frank, Johanna, Roger, Jan, Willem, Derk-Jan, Marjolein, Wim, Marina and of course the secretaries Sonja, Hennie, Monique, Tanja, Annet and Durkje. A special thank you goes out to Niels, one of my paranimfen, who always was in for discussions, solved programme puzzles and was a great support throughout my PhD years.  Next, I want to thank my friends in Utrecht and Heerenveen, as well as my family. In particular, I want to dedicate this work to my uncle, a pure scientist (a physicist), who loved academic work as much as I do. I would also like to thank my mother Jannie, Jans, Hanita, Rolf, Mark and Frank who had to bear the burden of listening to many stories about the challenges of doing a PhD. Besides that I want to thank my family in law Polat, Gulten, Banu, Alper, Ilay, ¨ C¸ igdem and Ali. And nally, I want to thank my wife Ays¸e. Ays¸e gave me so much, not only her love and care, but also academic support and the consistency of her bright mind.

以上Esaay范文由Asessay所发，未经许可谢绝转载,违者必究。essay代写,paper代写，report代写等各方面课业问题可直接联系相关客服，客服QQ:1635676033

[ba3bryanwalkerresearch]

The Predicaments Of Defining Glitch Art Artists often find themselves on a frontline, reflecting on the cultures, politics and technologies of their time. Over the last decades, audiovisual media and computers have gradually gained more and more importance in an art field that is still fundamentally ruled by classical media forms and genres. Noise itself is of course not new; similarly, contemporary glitch art relates to a long history of noise art and artists battling in different ways against media forms and their flows and conventions, including especially what I have outlined as the convention of transparent immediacy. While not being new, noise art arises unpredictably in new forms across different technologies and cultural scenes. Over time, noise artists have migrated from exploring the grain, the scratching and burning of celluloid (for example, a colour box by Len Lye, 1937) to the magnetic distortion and scanning lines of the cathode ray tube (a significant work being Nam June Paik in magnetTV in 1965). Subsequently, glitch artists wandered the planes of phosphor burn-in, as Cory Arcangel did in panasonic TH-42PWD8UK plasma screen burn, in 2007. With the arrival of LCD (liquid crystal display) technologies, dead pixels were rubbed, bugs were trapped between liquid crystals or plastic displays and violent screen cracking LCD performances took place (of which my favorite is %SCR2, by Jodi, under the Pseudonym webcrash2800 in 2009). To some artists, myself included, it has become a personal matter to break the assured informatic flows of media. While normally, transparent media screens generate conventional impressions of immediacy, there is a desire to force the viewer to think beyond his comfort zones. Glitch artists make use of the accident to ‘disfigure’ flow, image and information, or they exploit the void – a lack of information that creates space for deciphering or interpreting the process of creating (new kinds of) meaning. Through these tactics, glitch artists reveal the machine’s techné and enable critical sensory experience to take place around materials, ideologies and (aesthetic) structures. Their destructive or disfiguring processes have no technological name, definition or explanation (yet). For this reason, it is necessary to not only define and categorize glitch at technological levels, but also to look closely at how specific media are exploited on a more complex techno-cultural level. The artists I discuss here include Ant Scott, 5VOLTCORE Gijs Gieskes and Jodi. Of course many other artists whose practices are invested in the moment(um) or culture of glitch could have been included here. An actual historiography would for instance also include signal processing artists like Karl Klomp, Lovid, Morgan Higby-Flowers and Max Capacity, aesthetic glitch-tricksters like Jon Satrom, jonCates, fabric artist Melissa Baron, and databend generative artists such as stAllio!, glitch-irion Pixelnoizz and Hellocatfood. This historiography is still unwritten (partly because it is still in progress). As is clear by now, the inherent openness of glitch as a concept makes glitch art difficult, if not impossible, to define. Although a glitch can take place strictly within the computational system, the majority of artifacts that are called or referred to as glitches within glitch art are not purely informational, but make sense only through a synthesis of agents and contexts involved. Glitch is post-procedural (a break from a procedural flow) and so, dialectically connects to, while departing from, a linear and informational model of media communication (‘information source-> encoder-> channel-> decoder-> destination’), while also incorporating contextual and social processes of interpretation and making meaning. Furthermore, it is necessary to recall that the word ‘glitch’ in ‘glitch art’ is often used as a metaphorical concept, even by glitch artists, and therefore varies from the standalone technical or informational term ‘glitch’. Ant Scott. SUQQE. Digital screenshot. 2002. The complexities that must be faced by a theorist or researcher when trying to define or demarcate some kind of ‘essence of glitch art’ (if this is even possible) come to the foreground upon close engagement with Ant Scott’s (Beflix) work. For years, Ant Scott has been a leading figure in the realm of glitch art. From 2001 until 2005 he published hundreds of glitch images – static and animated – on his blog, appearing here as the first glitch artist actually using the term ‘glitch art’ for his work. These images don’t have a common source; further, some of them are ‘found’ glitch artifacts turned into or framed as art, while others are intentionally made from scratch by the artist. Ant Scott describes his series glitch (2007), a collection of 25 ‘works’ (small digital renders of lo-fi captured glitches) accessible via his home page, as the best of his ‘pure glitch’ phase. The images, which at first might appear bewildering, are actually created from computer crashes, software errors, hacked games, and megabytes of raw data turned into colored pixels.02 They originate or are con- 02 | Ant Scott, GLITCH #12, GLITCH ART, 2007, http://www.Ant Scott.com/works/glitch.php id=12. structed from thorough trial and error processes,to which Scott carefully reassigns colours, and crops select areas of interest. The result is the works that make up the glitch series. Ant Scott’s working process presents all kinds of dilemmas in the quest for a definition and categorisation of glitch art. What kind of ‘glitch’ is this ‘glitch art’ exploring? How can the glitch be explained as an unexpected, abnormal mode of operation, when the artist’s working process and what he aims for are these abnormalities to begin with? Can the intended error be really described as erroneous? On the other hand, Scott’s wide-ranging interrogation of glitch aligns with other aspects of glitch that I have outlined. A glitch can indeed exist within and across different systems, for instance the system of production and the system of reception. Similarly, a glitch can depend on different actors within these systems; not just the technological elements that Shannon described, but also the ideological and cultural contexts of the technology, which brings aspects of time, place and structure (aesthetics) into the art work, all of which differ between different publics, involved in the process of making meaning. Despite glitch art having no solid, or single definition through time and place, just as Virilio argued that it is helpful to describe a difference between non-figurative and disfigured art, I believe it is useful to make a similar distinction between different dimensions of ‘glitch’ in ‘glitch art’. Glitch art then potentially incorporates a range of works that are post-procedural, deconstructive, accidental and so on, alongside works more focussed on a final end-product, aesthetic or design.

THE GLITCH MOMENT(UM) By Rose Menkman (2011) (Pg 33-35)

[jackfrostsander]

I was tagged several days go (by @pamouche and @sandersdocs). Sorry that it took me this long... But here are my answers. It was a real struggle to make choices and so, sometimes I cheated by giving two answers… haha   

 fav wtfock s3 things

Their infinite love for each other is definitely the most beautiful thing about S03. It's so pure. The fact that at the start of the season Sander says, when he's putting out the glass with Robbe, that he's afraid that he will never find someone. At least not someone who loves him. And then at the end of the season he realizes he has finally found that. Someone who completely loves him. Someone who is not scared away by his MI and who also (unlike Britt) does not see his MI in everything he says or does. 

I also cannot believe how perfect the acting of the two Willem's was throughout the season! Their chemistry feel so real. It's a testament of the absolute mind-blowing talent that these two young actors have. I am sure we're going to see a lot more from them in the future!

Also the attention for detail was amazing. The perfect choice of music (e.g. as I write below when Wandering Romance is playing during Friday 21:21 and they film Sander when the song goes “No one knows the pain”. Then the camera switches to Robbe as the song continues: “No one sees what I see in you”. To give just one example of the well thought out choices that the production team made.

Can I mention the real life mural here! OMG, such a masterpiece in the centre of Antwerp. This brings us to the amazing aesthetic of Sander. And his bleached hair! His bleached hair! He looked like a Greek God! Apollo has descended from mount Olympus!  

 fav clip

Friday 21:21 but as I am already answering that to other questions below let me add Wednesday 16:36. No better cuddle clip than Wednesday 16:36. How they couldn’t stop touching each other. Here Robbe earned the nickname koala Robbe as he clang to Sander when Sander got up to check his phone… Also the moment where Sander says another iconic line: “I immediately knew, he’s the one”. Sander truly is the king of one-liners…  

 fav scene 

Monday 11:03 because up to that point Sander thought that his happiness with Robbe would end when Robbe sees his bipolar side. He even pushes Robbe away because he thinks he's toxic and Robbe deserves someone better than him. But then Robbe makes it clear to him how much Sander means to him and how Sander's illness is no obstruction in their relationship. Can you imagine the relief this must have brought to Sander???   

 fav shot

Again a hard choice... I like when Sander is playing with Robbe's angel necklace in Friday 22:21. Als the next clip Friday 22:52 is amazing as they are still in the same position in bed. Just in each other's arms, completely happy. 

 fav kiss that robbe initiates

Monday 11:03: "The next minute we are going to kiss", "That's chill" 

This kiss is the confirmation that Sander needed to understand that Robbe was completely honest when he told Sander that he wanted him. This kiss caused such emotion that Sander started to cry and collapsed. 

Second place would go to Tuesday 7:27 for the same reason. Nothing is more beautiful than when Robbe uses his kisses to comfort Sander. Because that's what true love means, being there for the other when they need you the most... And omg, seeing how Sander relaxed as soon as Robbe comforted him with "altijd" and his kiss... 

 fav kiss that sander initiates

Their first one in the swimming pool. It's such a magical moment. He finally had scrambled all the courage he needed to kiss the boy he was so utterly in love with... 

Second place would be for Tuesday 16:31. A small peck at first to test the water that ended in a full make out session that was interrupted by Britt calling him. This time it was Sander who comforted Robbe when he said: "We are the future". 

 fav sander dialogue

"Gij en ik... 100% voor altijd... In elk universum..."

Ok, maybe not much of a dialogue but those few words carry such meaning... And the fact that Sander said these words with such conviction! You could feel how he meant every word of what he said! 

 fav robbe dialogue

The minute by minute speech and "You've touched me and I never felt anything like it" in Monday 11:03. Yes, I keep coming back to Monday 11:03 because I love that scene so incredibly much!!!! 

 fav hug

Wednesday 17:21 

It's so cute how Robbe goes behind Sander and wraps his arms around him like a guardian angel and Sander then calls him an angel! 

 Fav 21:21

Friday 21:21 

Look how vulnerable Sander is when he opens up to Robbe. The way Robbe melted when Sander spoke his iconic words. And this also marks the moment when they fully chose each other and never looked back. 

And the funny parts like "Stomme schoenen!". Haha, such dorks. I love them!  

 Fav. Sobbe Instagram pic

The pic uploaded December 4th, 2019 on Sander's Insta. It's just the two of them acting silly (Sander sticks out his tongue). So, cute.  

And then the Bowie caption: 

"'Cause we're lovers

And that is a fact

Yes, we' re lovers

And that is that"

 fav scene x song pair

Friday 21:21 with Wandering Romance by Lie Ning! 

When during Friday 21:21 Sander's face is on screen the song goes: "No one knows the pain". Then the camera switches to Robbe as the song continues: "No one sees what I see in you". (*)

Is there a better song imaginable??? And then the fact that Lie Ning himself wrote on Instagram: "i wish i had Robbe and Sander when i was a teenager. this love that is not defined by gender or sexuality but purely by affection and heart is exactly what I was looking for back then. glad to be a part of this beautiful romance. everyone knows the pain. but few are brave enough to show it."

(*) Of course this must be a bit of a lie because someone as wonderful and sweet as Sander must have hordes of people who see how special he is... 

 fav message between Sander & Robbe

Hmmm, April 10th, 2020 is really nice. It starts with Sander saying that Robbe was hefty in his dreams that night... Definitely Robbe must have blushed so much reading that... Then he teased Robbe that his battery was empty and so that he couldn't record his lockdown walk movie. Such a Sander thing to do... Teasing his boyfriend... 

Then Robbe writes: "I want to be with you sooooo much. How focking cute you are". Then Sander writes: "I love you, Robin" to which Robbe answers: "I love you too. Abnormally much!"

How perfect is this??? Like the teasing, Robbe calling Sander cute, Sander saying Robin, and then Robbe saying he loves Sander abnormally much. 

 fav banter on Instagram 

Their discussion about their anniversary post. Robbe saying that this was ok for Sander to call him awake for but that Sander had to wait till tomorrow for Robbe's surprise. Saying "patience is a virtue". And then Robbe commenting on Sander's excessive use of emoji's. And Sander teasing Robbe by saying "Thus not like this" followed by 20 hearts... haha 

I am not sure who has all done this so far so I am tagging @lucidpantone, @bowieexaminprogress, @tsjernobyl, @mijnlief, @indimlights, @sanderxrobbee, @debussyatmidnight, and @hereforsobbe. Feel free to ignore! 

[estudiodedecoracion]

Tejo Remy

Tejo Remy. Diseñador de productos, interiores y espacios públicos.

Tejo Remy (1960, Países Bajos) estudió en la Escuela de Artes de Utrecht, departamento de Diseño 3D, donde conoció a René Veenhuizen. Ambos empezaron a trabajar juntos en el año 2000 para crear la marca Remy/Veenhuizen.

La pieza que creó para su examen de graduación se ha convertido en una pieza maestra del diseño contemporáneo : la cómoda You Can’t Lay Down Your Memory Chest of Drawers, producida después por Droog Design.

Droog Design abrió las puertas a una nueva generación de diseñadores que exploraban el uso de los materiales cotidianos y reciclados en nuevas formas y reinventado objetos; se convirtió así en una empresa afincada en el terreno de la producción de mobiliario y objetos de uso doméstico a partir de material de reciclado, de desecho, o de bajo coste.

La primera aparición de Droog Design, colectivo que ofrecía y ofrece una nueva aproximación al diseño, tuvo la fuerza de un manifiesto. Entre los primeros miembros del colectivo se encontraban Hella Jongerius, Marcel Wanders y Tejo Remy (miembro desde 1993), que con el tiempo han pasado a convertirse en maestros contemporáneos.

Droog Design llamó la atención de los críticos internacionales ese año de 1993 con una exposición en la Feria del Mueble de Milán en la que los fundadores del grupo, Gijs Bakker y Renny Ramakers, mostraban el trabajo de varios diseñadores holandeses que compartían el mismo enfoque esencialmente minimalista. Después fueron presentados en la exposición de 1996 del MoMA en Diseño Contemporáneo de los Países Bajos.

Para Tejo Remy todo es válido, todo puede considerarse como material para utilizar. Transforma la información existente, las circunstancias o los bienes encontrados en nuevas situaciones, a menudo incorporando más contacto social o contando la historia de un lugar en particular.

Remy transforma los objetos familiares conservando su emoción. Se trata de utilizar lo familiar de otra manera, pero conservando el sentimiento.

En la resaca después de la exuberancia y el exceso de la década de 1980, los diseñadores de todo el mundo se volvieron hacia un nuevo sistema de valores basado en la economía, la simplicidad y la responsabilidad.

Muchos de sus objetos celebraban el ingenio y la pobreza de medios, y los elevaron a una filosofía estética. Idealismo y moralismo eran las actitudes políticamente correctas de la época.

Después de haber colaborado con Droog desde su creación : con la clásica cómoda hecha de cajones (1991) -con el impacto visual y la intención provocativa de una escultura Dada-; la silla Rag, hecha de mantas viejas, y la lámpara de techo Milkbottle, hecha con botellas de leche, Remy consiguió la aclamación internacional.

Desde su asociación con Rene Veenhuizen, Tejo Remy no ha dejado de explorar esa clase de objetos, creando productos y espacios que conectan con el usuario a nivel personal -muchos derivados a menudo de las formas del mundo natural- y que obligan al usuario a reconsiderar sus interacciones con el entorno y con sus posesiones.

Ellos usan soluciones sencillas a los problemas estructurales; por su forma de trabajar surgen nuevas e inesperadas aplicaciones de los materiales. Los materiales cotidianos obtienen un contexto diferente y a veces un uso nuevo, y un mismo diseño a menudo combina varias funciones : ornamento, función y construcción forman un todo inseparable.

Nada viene primero, y el resultado es siempre desconocido. Remy y Veenhuizen no son pragmáticos, sino que exploran, experimentan y descubren.

La aleatoriedad positiva caracteriza su actitud hacia el diseño y no hay una sola mejor solución, se trata de considerar la arbitrariedad. El momento en que algo ocurre es importante, quieren trabajar en el aquí y ahora, en su propia realidad. La lógica caprichosa conduce a la poesía materializada

Remy reinventa una nueva vida para esos objetos cotidianos que ya no queremos y les da una nueva personalidad de una manera brillante, hermosa y sobre todo útil. Cuando el reciclaje pasa por las manos de Tejo Remy entonces se convierte en arte. Por ejemplo, la cómoda hecha de cajones fue catalogada como uno de los mejores diseños en los últimos 100 años de diseño holandés y ha alcanzado el estatus de icono.

Remy & Veenhuizen trabaja dentro y fuera de los Países Bajos para clientes como Droog Design; Centraal Museum de Utrecht; Museo Boijmans van Beuningen de Rotterdam; Fashion Hotel Modez; Government Building Agency (Rijksgebouwendienst); Cinekid, y diseñan también para varias escuelas e instituciones públicas.

Su trabajo se expone a nivel mundial y forma parte de varias colecciones : el MOMA de Nueva York; el Victoria & Albert Museum de Londres; Crafts Council de Londres; Museo del Diseño de Helsinki; Museo Stedelijk de Amsterdam; Centraal Museum de Utrecht, y el Museo de Textiel de Tilburg, entre otros.

Tejo Remy (pág. web).

Tejo Remy y “You Can’t Lay Down Your Memories Chest of Drawers” cabinet (1991) para Droog Design.

AllABCDEFGHIJKLMNOPQRSTUVWXYZ

A

Alessandro Mendini

Alfredo Häberli

Alvar Aalto

Andrea Branzi

Andreu Carulla

Andy Martin

Antonio Citterio

Arend Groosman

Arik Levy

Arne Jacobsen

Autoban

B

BarberOsgerby

Benjamin Graindorge

Benjamin Hubert

Bertjan Pot

Boca do Lobo

C

Carlo Mollino

Charles Rennie Mackintosh

Charles y Ray Eames

Claudio Colucci

D

David Adjaye

DimoreStudio

Doshi Levien

E

Edward van Vliet

Eero Saarinen

Enzo Mari

Ettore Sottsass

F

Fabio Novembre

Fernando Mastrangelo

Finn Juhl

Francesco Rota

Frank Gehry

Frank Lloyd Wright

Fredrikson Stallard

G

Gabriella Crespi

George Nelson

Goula Figuera

H

Hermanos Campana

Hervé Van der Straeten

I

Inga Sempé

J

Jaime Hayón

Jasper Morrison

Jean Prouvé

Joaquim Tenreiro

Joe Colombo

Jonathan Adler

Jörg Schellmann

K

Kelly Wearstler

L

Lex Pott

Ludovica y Roberto Palomba

M

Marc Newson

Marcel Breuer

Max Lamb

Michael Anastassiades.

Mies van der Rohe

N

Naoto Fukasawa

Nendo

Nigel Coates

O

Olivier Mourgue

P

Paolo Lomazzi

Patricia Urquiola

Pierre Paulin

Piet Hein Eek

Q

Quentin de Coster

R

Rick Owens

Rodolfo Dordoni

S

Sacha Lakic

Scholten & Baijings

Seung-Yong Song

Simone Simonelli

Studio Job

T

Tapio Wirkkala

Tejo Remy

Thomas Sandell

Toni Grilo

V

Verner Panton

Vico Magistretti

Vincenzo de Cotiis

Vladimir Kagan

W

William Sawaya

X

Xavier Lust

Y

Yrjo Kukkapuro

Z

Zanuso

from http://decorador.online/disenadores-destacados/tejo-remy/

[leesbeesten]

Rafels van Rio

Opeens doven de stadionlichten en gaan ook de schermen op zwart. Het wordt aardedonker in de voetbaltempel. Het daverende lawaai van de trommelaars verstomt en de spreekkoren ebben weg. Wat is er aan de hand? Waarom zwijgt de speaker? Officials lopen druk te gebaren, cameramensen dringen zich op. Dan krijgt ook het publiek door wat er is gebeurd. Mensen wijzen en slaan hun hand voor de mond. De witte sokkel aan de rand van het veld is leeg. De wereldbeker is verdwenen...

Eén keer in de vier jaar is heel Nederland (en jij waarschijnlijk ook) in de ban van het WK voetbal. Iedereen verzamelt zich voor de televisie om de prestaties van de voetballers te volgen. Met iedere wedstrijd die ze winnen stijgt de spanning, en voor korte tijd is heel Nederland oranje gekleurd. Ook bij het afgelopen WK in Brazilië was dit het geval. Achter al die voetbalgekte in Brazilië ging een wereld schuil van drugsbendes en moorden, waar je in Rafels van Rio over kunt lezen.

In Rafels van Rio wanen we onze even in de favela’s (achterbuurten) van Rio de Janeiro. De bewoners van de favela’s leven in angst omdat er bendes aan de macht zijn die niet bang zijn om geweld te gebruiken. Tussen deze bendes is het vaak oorlog en ook met de politie zijn ze vaak in conflict. Ontvoeringen, martelingen en moorden zijn er aan de orde van de dag. In zo’n favela wonen Julia, haar pleegzoon Hiago, haar broer Orlando en politieagent Renato.

Hun leven komt op zijn kop te staan als blijkt dat drugsbaas Reiss steeds meer de macht in handen probeert te krijgen. Ieder van hen draagt een geheim met zich mee. Zal de strijd tegen de drugsbende hen uit elkaar drijven, of juist dichter bij elkaar brengen? En wat gebeurt er nu met die beker in het stadion? Hoe is het om te leven in een favela? Je leest het in Rafels van Rio, wat zeker een aanrader is als je van voetbal houdt en meer wilt weten over de wereld achter het WK!

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Geschreven door: Ilja Goedegebuure