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November 26 2012

March 18 2012

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March 15 2012

March 13 2012

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Helmut Qualtinger liest aus Karl Kraus'

"Die letzten Tage der Menschheit"

January 18 2012

8771 0fd4 500

silentowl:

Military cemetery in Verdun, France

Military outpit via driftwork.tumblr

Reposted from02myhumsci-01 02myhumsci-01

January 15 2012

April 25 2011

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April 19 2011

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IFA: Neuzeitlicher Nutzbau

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5

1 Schlossbrücke Königsberg/Kaliningrad, 1909, Wettbewerbsbeitrag
2 Werdermühle Breslau/Wroc&#c322;aw, 1907/1908, Projekt
3 Wasserturm für Winterhude, Hamburg, 1906/1907, Wettbewerbsbeitrag
4 Wasserturm an der Sternschanze, Hamburg, 1906/1907, Wettbewerbsbeitrag
5 Talsperre Klingenberg, 1908-1914, Aussichtskanzel
Fotos: Architekturmuseum der TU Berlin (1-4), Sabrina Dohle (5)

Neuzeitlicher Nutzbau

Den Industriebau nannte Poelzig 1911 "die wahre Monumentalbauaufgabe der Gegenwart". Das Wort bezeichnet den Widerspruch, der sich aus der Größe der Bauten einerseits und ihrer Ansiedlung ganz unten in der Hierarchie der Bauaufgaben ergab. Hinzu kamen die dem traditionellen architektonischen Empfinden konträren Eigenschaften neuer Baumaterialien: des Eisens, das im Verhältnis zum Stein bei gleicher Tragfähigkeit sehr viel geringer dimensioniert werden konnte, aber auch des armierten Betons, der nach den Regeln der Materialgerechtigkeit nicht bloß kaschiert in Erscheinung treten sollte.
Während Poelzig bei seinen frühen Wasserturm-Entwürfen für Hamburg (1906) den  Wasserbehälter im oberen Teil des Bauwerks noch mit vor allem optisch wirksamen, mächtig gegliederten Substruktionen auffängt, setzt er beim Entwurf für die Breslauer Werdermühle (1907) bereits ausschließlich auf die geschlossene Silhouette gestaffelter Baukörper.
Einzelne Bauten der Chemischen Fabrik in Luban (1910 – 1911) ebenso wie der Ausstellungs- und Wasserturm für Posen (1911) machen die eiserne Armierung ihrer Außenwände ablesbar etwa in der dünnen Profilierung der Oberfläche und dem strengen Raster der Wandöffnungen. Was dem Detail an Plastizität fehlt, ersetzt Poelzig durch die Großform: gotisierende Stufengiebel mit gemauerten Wandvorlagen oder die gestufte Silhouette eines ganzen Baukörpers prägen die Fernansichten der Gebäudes in Luban, die ohne Platzbildung, lediglich entlang weitgehend parallell verlaufender Zubringergleise errichtet wurden.
Das Geschäftshaus in der Breslauer Junkernstraße (1911 – 1913) bricht mit der bis dahin im Geschäftshausbau üblichen Vertikalgliederung. Mit der Betonung der Horizontalen wird das stockwerkweise Auskragen der Brüstungen optisch aufgefangen.
Die als reine Gewichtsstaumauer im konventionellen Steinverband errichtete Talsperre in Klingenberg (1908 – 1914) ist mit einer Art Tempelgiebel bekrönt.

 

April 14 2011

02mydafsoup-01
3 #Dada Magazines (mostly by Tristan Tzara, 1917-18) | pdf at @Ubuweb via Miscellanea, a paper.li daily - edited by @ramage - http://bit.ly/dHzNTY
Twitter / 02mytwi01: 3 #Dada Magazines (mostly ...

U B U W E B :: Dada Magazine






Dada Magazine (1917-1918)


Dada 1, July 1917 [PDF, 2.7mb]
Dada 2, December 1917 [PDF, 3.1mb]
Dada 3, December 1918 [PDF, 7mb]


Attempting to promulgate Dada ideas throughout Europe, Tristan Tzara launched the art and literature review Dada. Although, at the outset, it was planned that Dada members would take turns editing the review and that an editorial board would be created to make important decisions, Tzara quickly assumed control of the journal. But, as Richter said, in the end no one but Tzara had the talent for the job, and, "everyone was happy to watch such a brilliant editor at work."[10] Appearing in July 1917, the first issue of Dada, subtitled Miscellany of Art and Literature, featured contributions from members of avant-garde groups throughout Europe, including Giorgio de Chirico, Robert Delaunay, and Wassily Kandinsky. Marking the magazine's debut, Tzara wrote in the Zurich Chronicle, "Mysterious creation! Magic Revolver! The Dada Movement is Launched." Word of Dada quickly spread: Tzara's new review was purchased widely and found its way into every country in Europe, and its international status was established.

While the first two issues of Dada (the second appeared in December 1917) followed the structured format of Cabaret Voltaire, the third issue of Dada (December 1918) was decidedly different and marked significant changes within the Dada movement itself. Issue number 3 violated all the rules and conventions in typography and layout and undermined established notions of order and logic. Printed in newspaper format in both French and German editions, it embodies Dada's celebration of nonsense and chaos with an explosive mixture of manifestos, poetry, and advertisementsÑall typeset in randomly ordered lettering.

The unconventional and experimental design was matched only by the radical declarations contained within the third issue of Dada. Included is Tzara's "Dada Manifesto of 1918," which was read at Meise Hall in Zurich on July 23, 1918, and is perhaps the most important of the Dadaist manifestos. In it Tzara proclaimed:

Dada: the abolition of logic, the dance of the impotents of creation; Dada: abolition of all the social hierarchies and equations set up by our valets to preserve values; Dada: every object, all objects, sentiments and obscurities, phantoms and the precise shock of parallel lines, are weapons in the fight; Dada: abolition of memory; Dada: abolition of archaeology; Dada: abolition of the prophets; Dada: abolition of the future; Dada: absolute and unquestionable faith in every god that is the product of spontaneity.
With the third issue of Dada, Tzara caught the attention of the European avant-garde and signaled the growth and impact of the movement. Francis Picabia, who was in New York at the time, and Hans Richter were among the figures who, by signing their names to this issue, now aligned themselves with Dada. Picabia praised the issue:
Dada 3 has just arrived. Bravo! This issue is wonderful. It has done me a great deal of good to read in Switzerland, at last, something that is not absolutely stupid. The whole thing is really excellent. The manifesto is the expression of all philosophies that seek truth; when there is no truth there are only conventions.

  
[...]




SOURCE: http://www.artic.edu/reynolds/essays/hofmann.php


PDF conversions by Phil Julian


RELATED RESOURCES:

Helmut Herbst, "Deutschland Dada" in UbuWeb Film
Hans Richter in UbuWeb Film
Tristan Tzara in UbuWeb Sound

 

via ubu.net

 

March 08 2011

May 26 2010

02mydafsoup-01
Claude Rains, English actor, as Bohun K.C., 1912 / photographer Burlington Studios, Melbourne
Claude Rains was born in England in 1889 and became a stage actor. In 1912 he toured to Australia and can be seen here as a twenty three year old playing a mature and senior lawyer. He was a already a successful Broadway actor when he moved to Hollywood for a long run of stardom in major films. Most of the portraits of him seen on the web are of the middle aged Hollywood star of films like Now voyager, opposite Bette Davis.

Format: Photograph

Notes: Find more detailed information about this photograph: acms.sl.nsw.gov.au/item/itemDetailPaged.aspx?itemID=896790

From the collection of the State Library of New South Wales www.sl.nsw.gov.au

From the collection of the State Library of New South Wales www.sl.nsw.gov.au

May 03 2010

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Play fullscreen
Hugo Ball

Gadji beri bimba / 1916
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gadji beri bimba glandridi laula lonni cadori
gadjama gramma berida bimbala glandri galassassa laulitalomini
gadji beri bin blassa glassala laula lonni cadorsu sassala bim
gadjama tuffm i zimzalla binban gligla wowolimai bin beri ban
o katalominai rhinozerossola hopsamen laulitalomini hoooo
gadjama rhinozerossola hopsamen
bluku terullala blaulala loooo

zimzim urullala zimzim urullala zimzim zanzibar zimzalla zam
elifantolim brussala bulomen brussala bulomen tromtata
velo da bang band affalo purzamai affalo purzamai lengado tor
gadjama bimbalo glandridi glassala zingtata pimpalo ögrögöööö
viola laxato viola zimbrabim viola uli paluji malooo

tuffm im zimbrabim negramai bumbalo negramai bumbalo tuffm i zim
gadjama bimbala oo beri gadjama gaga di gadjama affalo pinx
gaga di bumbalo bumbalo gadjamen
gaga di bling blong
gaga blung

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