Jun
27
Nikkor-H 50mm f2.0
Photography, Jazz, Typography, Arts, Yoyo, Comics, Knots, Chess ...
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Jun
26
Eugenio Recuenco
Jun
25
Eugenio Recuenco
Considered one of the most creative contemporary photographers in Spain, he is famous worldwide for his works in the publishing and advertising fields. His style has been defined as “cinematographic” and “pictorial”.
Gianfranco Meza
Jun
24
Robert Frank - The Americans
Jun
23
Franco D’Andrea FiveFranco D’Andrea (p) – Fabrizio Bosso (tpt) – Gianluca Petrella (tb) –
Daniele D’Agaro (cl) – Zeno De Rossi (dr)
“Sono entrato nel mondo della musica ascoltando Louis Armstrong e per qualche anno il centro della mia vita è stato il jazz tradizionale in tutte le sue forme. Ho imparato a suonare vari strumenti a fiato e ben presto ho provato l’ebbrezza di essere al centro di quel mitico front-line che negli anni ‘20
imperava: cornetta (o tromba), clarinetto, trombone.
Non ho mai smesso di pensare che si potesse fare ancora qualcosa di nuovo, partendo da quella magnifica combinazione di strumenti.
Gli “Hot Five” erano il paradigma. Io ho solo sostituito al banjo una batteria, possibilmente con i colori di base di Zutty Singleton (e altri inventati), e infine mi sono posizionato al pianoforte. C’era solo da aggiungere un pizzico di “jungle style” e poi sarei stato pronto per la nuova avventura: ” D’Andrea Five”.
Franco D’Andrea
Jun
23
Robert Frank - The Americans
Jun
22
Robert Frank - The Americans
Jun
20
![In graphic design deconstructivism gave its name to one of the major typographic movements, starting in the early 1980’s and continuing into the late 1990’s: Deconstructive Typography. Taking on a more experi-mental approach to typography, the Dadaists and Futurists in the 1920s and 1930s, and later Concrete Poetry during 1950s and 1960s experimented with floating type compositions and fragmented typographic treatments, releasing type from its linear structure. Further developments of the deconstructivist typography in the 1990’s shifted the typographic practice towards a spatial, non-linear process: ‘Communication for the deconstructivist is no longer linear, but involves in-stead the provision of many entry and exit points for the increasingly over-stimulated reader.’ [Cahalan 1994, p.1] The page is no longer to be just “read” but also “perceived”, beyond the pure textual content, into all of its associative conjunctions: We are meant to “feel” rather than “read” a page. The end of the century, with the rising issues surrounding global economies, ecology and rising poverty in developing countries was a time when graphic designers took a long, hard look at the nature of their work; at its ephemereal qualities, its associations with consumerism/capitalism. The outcome took into account unexpected resources; the ordinary, the often-used, the soon to be discarded - as indeed is most of the output of graphic design itself. Designers sought inspiration in unlikely items such as old ticket stubs, torn billboards and discarded packages and the expression and legitimisation of the vernacular. (via The History of Visual Communication - The Computer)](http://media.tumblr.com/069MD6LsDag3tizpTYprJMhF_500.jpg)
In graphic design deconstructivism gave its name to one of the major typographic movements, starting in the early 1980’s and continuing into the late 1990’s: Deconstructive Typography. Taking on a more experi-mental approach to typography, the Dadaists and Futurists in the 1920s and 1930s, and later Concrete Poetry during 1950s and 1960s experimented with floating type compositions and fragmented typographic treatments, releasing type from its linear structure. Further developments of the deconstructivist typography in the 1990’s shifted the typographic practice towards a spatial, non-linear process: ‘Communication for the deconstructivist is no longer linear, but involves in-stead the provision of many entry and exit points for the increasingly over-stimulated reader.’ [Cahalan 1994, p.1] The page is no longer to be just “read” but also “perceived”, beyond the pure textual content, into all of its associative conjunctions: We are meant to “feel” rather than “read” a page. The end of the century, with the rising issues surrounding global economies, ecology and rising poverty in developing countries was a time when graphic designers took a long, hard look at the nature of their work; at its ephemereal qualities, its associations with consumerism/capitalism. The outcome took into account unexpected resources; the ordinary, the often-used, the soon to be discarded - as indeed is most of the output of graphic design itself. Designers sought inspiration in unlikely items such as old ticket stubs, torn billboards and discarded packages and the expression and legitimisation of the vernacular. (via The History of Visual Communication - The Computer)
Jun
19
Jun
19
