Surfboards In A Convertible

Ash Wednesday.

From Art-Ql (Art-Cool :-)

How Long To Have Zumba Results

taste physiology.

from Siemens Siemens Siemens

why salt makes sweet sweet

Additional sensors in the tongue affect our sense of taste for sweet

Why does a pinch of salt, sweet pastries sweet? And why sweets taste less sweet when we are sick? A surprising explanation for this Questions have now discovered American researchers are in our tongue, alongside the already known sweetness receptor, additional sensors, which influence the sweet taste with each. As indicated in "Proceedings of the National Academy of Sciences (PNAS), some sensors are below, which are found in intestine and pancreas.

Our ability to taste sweet, is due to the specialized cells sense the sweet taste in our mouth. Especially at the front edge and on the tongue or they accumulate and respond to sugars such as glucose, fructose and artificial sweeteners numerous molecules. For some time it is known that the primary mechanism of a two-part receptor in the "sweet-sensory cells" is based. Strangely, however, these cells also seem to still be able to register sugar when they are missing a part of this receptor.

Additional freshwater sensors in the tongue

why, but have now researchers at the Monell Chemical Senses Center and the University of Utah found a surprising explanation: They discovered using modern analytical techniques to sweet-sensory cells of the tongue adjacent to the main receptor for several other sensors, which also regulate the detection of sweetness. Interestingly, these additional sensors are not known, but rather old friends: they are also found in our internal organs like the intestine and pancreas. Here they look at other things as important regulators of blood sugar and digestion.

"The taste system ceases to amaze me with how smart it is and how well it integrates the sense of taste with the digestive processes," says molecular biologist Robert F. Margolskee from the Monell Center. The newly discovered glucose sensors play different, so the researchers suspect, even different roles for the Detection of sweetness.

glucose transporter responds to salt

One of the now new in the sweet-sensitive taste cells discovered glucose sensors, for example, may explain why we feel that cookies or cake taste even sweeter, if the dough is mixed with an additional pinch of salt. Known as SGLT1, this sensor is in fact rather transporter, specifically glucose infiltrates in the taste cells - but only when sodium is present.

sweet taste less sweet when we are full

Another newly identified in the taste cell sensor, known as the KATP channel in the pancreas which normally monitors glucose levels and triggers insulin-Aussschüttung if they rise too high. The researchers suggest that this sensor could have the function of the tongue, affect our Süßempfinden too dependent on the supply situation. When we have eaten, for example, just a piece of cake, and our sugar levels are high enough, he makes the taste cells less sensitive, so that the next candy as we no longer feel quite so sweet.

"The fresh cells have proven to be quite complex, "Karen K. Yee, cell physiologist at the Monell Center and explains lead author of the study. "The presence of the KATP channel suggests that taste cells also play a role in regulating our sensitivity to the sweet taste in different nutritional states. This knowledge could help us to understand one day, how can we stop the excessive consumption of sweet food "

. (Monell Chemical Senses Center, 08.03.2011 - NPO)

Woman Wrestling In Panty Hose

Cyber aesthetics.

from FAZ.NET, 7th 3. 2011

Our new Bauhaus

We criticize anything, but not the aesthetics and functionality of any computer software. We should understand that technology needs of art and design. We need a Bauhaus aesthetics for the digital era.

By David Gelernter

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Who even throws in a look at a classical Greek-style building that can see that it consists of vertical and horizontal elements, which interact in a certain way. One need not between columns differ freestanding columns, half columns and pilasters, between architraves, friezes and cornices in one of the Five Orders, to see how a classic building.

cyber worlds are similarly varied in detail and simple in basic structure. But for several reasons it is difficult to discern the basic structure of software. First, we are not accustomed to regard critical software. We live in an age of criticism, literature, art, architecture, Cultural criticism, not criticism of the software. Second, the industry would not want us to recognize the simple structure. And finally, like many journalists, technologists and engineering simplicity, restraint and elegance do not distinguish the Parthenon or the Dessau Bauhaus. Enter rococo palaces with their hidden staircases, hidden caves and underground lakes in preference, such as Microsoft Word or Apple's iTunes they represent.

However, everything that happens in the world of digital information processing - like everything in the classical architecture - the variation of a simple theme. It is time to reflect on this issue. The two orthogonal basic elements of the cyber world are space-and time-related information structures. Spatial structures operate on the principle of a desk, bookcase or Shop window. We remember where the information resides. The Windows desktop, a conventional website, the app screen of a smartphone, the screen with the results of a Web search and the Music Finder on an MP3 player - are all the spatial information structures.

Time-based work structures, such as musical scores, scripts, screenplays and diaries. Who is moving it from front to back, moving forward in time. Who goes backward, moving in the past. A roll of film is a period role. Of course, borrow from time-related structures of the room a dimension to represent time on the screen. This procedure is known since the first time a chronicle of war in parallel lines engraved on a stone tablet or was spiraling on a winning column moved in the air.

the subject

• A spirit of software: David Gelernter on artificial intelligence
• computer scientist David Gelernter: Yes, I am a painter become
• The ash cloud of anti-knowledge: how simulations lead us into intellectual passivity
• Our thinking the Internet should steer
• learned theses from 2000

The entries on a blog, the news in a mailer, the tweets on Twitter, the notes on a Facebook Wall or in any other "Activity Stream" are elements of time-related information structures - like the successive frames on a roll of film. The above-mentioned time-related structures are all examples of Eric Freeman and I invented the mid-nineties "Lifestreams" ("Activity Streams"). But time-related structures as such are as old as the first written diary, the first written history.

folds of the digital desktop

These simple facts would be in the very first section of a textbook on Cyber structures, if that would be. We like to say, from information to be fascinated, but have no time for this basic knowledge - and this is strange. Maybe we allow ourselves to be blinded by the very gifts of the gods technology (which appear to be living in a valley in California), that we were to resign as a step and think about. Any practical information environment requires the interaction of space and a time-based structure. In any rational cyber world, there are open borders between separate space-and time-related structures, so that information can move easily between them. The problem facing policy spatial structures (Cyber surfaces) is the fact that computer screens are too small. Most are smaller than the average desk or work table. But the size of an average desk reflects the average size and the work habits of the people. Information surfaces need to use the small space efficiently if they have good potential to collapse the Cyber furniture or to compress and unfold as needed.

desktop icons to offer this end, sites and search engines offer links; Smartphones offer App Screens. Icons are compressed files, windows or applications, links sites are compressed and so on. Icons, links and similar devices, the inflatable liferafts the information world. They are all ultimately the same thing. Although as the icon on your desktop may click on a file that resides on your hard disk, while a link refers to any site in Mongolia. The icon is an image, while the Link usually consists of words. Icons are scattered across your desktop, embedded links, however in a text. But these are arbitrary distinctions that have no meaning. Instead of complicating the appearance of the site's text, one could place links to the edge of the document and plot.

migrations on the screen

There is no compelling reason to show why MP3 player apps on top of the screen level as music icons and others at lower levels. If one resorts to a song more often than on a particular app should be a Icon that represents this song, walk up and get a place alongside the other icons on the top screen, while the shift is less frequently used app on a deeper level. Which icon should represent a piece of music? How about if we were to offer the user several thousand icons and would leave him the choice? The "iconic turn", the turn to the picture, ensuring that images for us today are as important as speaking. However, there is no evidence that our ability to image - carefully - to be considered, would have improved over the last centuries.

fact may be that the huge number of images are all around us, images can appear cheap, so we perceive them only in passing and sluggish. "Choose an icon" would be a simple exercise that could improve our vision in subtle ways. The MP3 player raises an interesting software problem. Apple deserves credit for the creativity and the skill with which the company developed its pod. But the software makes it almost unsuitable for a serious approach to music - although it is probably one of the best listening tools ever developed. There are a few apps take care of this problem, but here it requires a fundamental redesign. Music files must be loaded together with basic information about the performers and the performance.

It must be easy to download the sheet music. It must be easily possible to provide the score with notes and share them with others. You have several performances of a song phrase by phrase easily compare and relate to each other if necessary, additional information from the cloud can. You press a button, and as long as you press it, pour in. more information - to the instrumentation, the performance history, the life of the composer. Of course you should connect the player to a larger audio system and use it as a TV screen can display. The process should be characterized by a high degree of integration, ease of use and a nice design.

transfer files between all devices

I have spoken of information surfaces, but of course, a spatial structure are three-dimensional. As Xerox scientists in the seventies, the modern, invented on windows based graphical user interface, they turned the computer screen in front of an opaque surface, as a sheet of virtual paper. But she would have just as well described as a transparent window with a three-dimensional space on the other side. You should file can move apps, music and videos easily by simply dragging a cyber surface to the other. You should be able to easily drag a video from the mail program of your laptop to your TV or digital music from your computer to an audio system or photos from your phone to your MP3 player or text files from the PC to the laptop. How does it work? Click on your laptop on "All my devices, and display a list of all your devices so you can move data and files between them. Such a button is not there yet, but he will soon be - if the users just want it. Unfortunately, computer users tend to passivity. We only want what the industry offers us already.

With Cyber surface each time-based structure and vice versa. The time-related structure is a story of their past (or its expected future) use of the surface. Connected to the Windows Desktop is a History is open or generated files and apps. Save with the Cyber surface on the mobile phone number, a history of calls placed and received calls, sent and received messages is connected. With MP3 players connected, time-related structures are a history of the track being played. A playlist is a time-based structure with information about a sequence of songs you want to play in the future. Time-related structures (short streams) based on several interlinked requirements. If you want to find a document, you must be able to browse the stream and to browse - it has a graphical display type that you as a desktop enables easy browsing for items, that is, to jump forward and backward through the various elements, as you leaf through a book or magazine. The stream must act as a real-time communication channel and as a permanent archive. The stream must act as a private or collaborative media.

past and future flows

The stream may contain documents that belong to you, and to which only you have access. Or is it completely public - users around the world see the same stream, while new items are added. Or is it a combination of private and public stream. The stream must have a past and a future. The past is history. The future consists of plans - appointments, reminders, guidelines, and the like. In practice, different types of streams have different characteristics. E-mail streams are private. Twitter streams and blogs are public or part of the public. E-mail streams show only the past. Playlists point to the future. And so on. To illustrate

To the basic equivalence of the different types of streams, we want the court of a large tenement imagine on an old-fashioned clothes line tension. The clothesline can e-mail system for communication among the residents act. If anyone would like another resident of something, he writes it on a sheet of paper, folds the paper, the recipient's name written on the outside and hangs it on a leash, and indeed at one end or the first free location. The messages accumulate, and they start at one end of the line and work your from there to the other end. If anyone sees his name on a message, he goes out and reads them. Then he hangs the paper back on the leash so he can remember where it is.

As each e-mail system is also a washing line system for storing old messages. Everyone can see the line, but only read the messages that are addressed to him. This system, we could directly translate into software (an Internet e-mail system), by the line drive you stored in the cloud stream. The residents could use their clothesline for public announcements. You write them down and hang the sheet on the lead, fold up without it.

Now we not only have an e-mail system, but a simple form of Twitter, a tweet is a public release. Every resident who has an eye on the washing line provides each tweet as soon as it is published. Of course, someone could restrict their tweets to a subset of the people by the hand and folded it as "Ground floor only" to write. Let's say, twenty people shared the washing line stretched across the yard. Then it would be an e-mail and a social network system for twenty participants. But at twenty million subscribers, the system does not help. In short: Mailer are basically the same as Twitter, the same as the Facebook Wall, the same as any blog or Activity-stream. All streams are, like all Cyber surfaces, basically the same.

humanization of technology

Lifestream Our original system was connected to its own spatial structure that we have called a register. If a user wanted a new incoming stream element stopped in front of him, instead it sank further and further into the past, he pulled it out from the stream. The system assigns the extracted elements automatically. on the screen was no more room, just took the extracted element automatically replace the element one whose use lagged the furthest.

Where the Bauhaus, when we need it? In its early days was followed by the Bauhaus to the motto: "Art and technology - a new unity". In its short history it has developed further, but it was always considered both to art for art's sake as well as a humanization of technology. His greatness lay in the collective brilliance of the artist, which combined led to Klee and Kandinsky, Feininger and Albers, Breuer and Mies and Gropius. A new Bauhaus could never imitate the old. It belonged to the essence of the Bauhaus, to never imitate anything. But the name reminds us of the twenties, in which self-consciously art occurred and the largest energy of the best minds levied, a time when people understood that the technology needs of art and design, so it is a blessing for the people and not just a bubbly money source.

did what probably a new Bauhaus? It set about, first of all to design a decent MP3 player.

David Gelernter born in 1955, the foundations of the World Wide Web has created. In 1993, he was hard by an explosive device of the Una-bomber Ted Kaczynski injured. He now teaches computer science at Yale.

From the American Michael Bischoff

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Konrad Witz in Basel

from NZZ am Sonntag, 6th March 2011

The world

Konrad Witz awakened one of the great realists of the early 15th Century, yet not particularly known

By Gerhard Mack

At the right edge of the Rhone-island rises to the Château de l'Ile in the picture. From left approaches a cavalcade of Geneva. On the meadows, men practice archery. Lakeside women wash clothes. In the background the Alps are visible to Mont Blanc. "The Miraculous Draught of Fishes" from the Sea of Galilee will be held on Lake Geneva. Jesus floats on the water. Peter is depressed, because he got scared, as the Evangelist Matthew says. His garment bags below the surface and are recognizing his bare legs. The painting is the most famous work of Konrad Witz, and the first landscape portrait of early modern art, not nature staffages a salvation-historical event does, but almost verismo, was the focus.

that we know their Creator at all and it exists for over a century of art history, we have to thank the frame on which he as "magister Conrad sapientis de Basilea," the picture in 1444 painted, has declared. It was one of a presumed three-winged altarpiece for the cathedral in Geneva and was living stations of the patron saint Peter. His client was François de Metz, Bishop of Geneva, who was a cardinal at the Council of Basel and to the powers of the council against the papacy and the election of the antipope Felix V. supported. During the sessions of the 18 years of college, he has probably seen the great altar that had Konrad Witz painted for the church of St. Leonard, which was held in a part of the Council meetings.

Fast career

from the prestigious painters, we do not know much. He was probably born around 1400 and came before 1434 from Rottweil Baden Basel. This year he is in the guild added to the sky in which to organize the painters and saddlers, and acquires the rights of citizenship. In 1441 he receives from the city's lucrative contract painting in the Granary at St Peter's Square. Two years later he is married and bought for 350 guilders a stately home. And 1447 his wife is already out by the authorities as a widow. He leaves behind a considerable legacy from which it is said that he had earned it with his craft. What he has painted everything is not known. Much was lost in the iconoclasm of the Reformation, wall paintings, such as the famous Basel Totentanz at the preacher church fell victim to time. Other works such as the Book of Hours of Louis of Savoy, after all, tell of his influence. The Kunstmuseum Basel is now, after years of research and restoration work, the first comprehensive retrospective. The work is in its context classified images that are no longer able to travel, we have carefully reproduced.

Who now in Basel, the few remaining frames and tables, can enjoy from large altars learns today, why picture knowledgeable contemporaries such as the Bishop of Geneva this artist orders thoughtful. Konrad Witz saw the reality with new eyes and brought them into the picture, like a painter on the Upper Rhine had done before him. When Mary's parents meet Anna and Joachim at the Golden Gate in Jerusalem, because they have experienced in a dream that they have a child, Witz painted spider webs into the stone gatehouse and reflected in a puddle. During take the St. Catherine and Magdalena in a nave to religious exchange, he shows by an altar candle in the background, only the reflection of the flame. And the knight Sibbecai his armor for the audience with King David so highly polished that every sword scar is visible and even the garb of his follower is reddish number there.

How to paint the sparkle of precious stones and the crackle of the materials may look different as water, such as shadow space depth Generate Konrad Witz learned from the Dutch colleagues. Presumably, he has traveled to Bruges and Brussels, works of Rogier van der Weyden and the Master of Flémalle has seen and worked even in the studio of Jan van Eyck. The Mystic Lamb, completed the set of 1432, he knew very well. On his own altar panels, the shadows return, throw in the van Eyck, the wooden frames, which hold the plates in the represented world. The reflections of windows, the colored glow of light on substances and which seems from the picture to us outstanding objects joke is from the colleague brought to the Upper Rhine and connected with his massive sculptural language.

existential drama

We see such artistry today, especially the picture strategic refinement of a painter, considered one of the first, the boundary between the real world and has painted the fiction plays around and developed a new image consciousness. How much of this realism is nevertheless involved in the mediation Christian salvation history, showing the Christopher, which is located in Basel. A body of water bordered by jagged cliffs. While Fischer and Charterhouse in the background signal Idyll, played the front from a drama. A giant with a child through the water. The shore in front of him, but he falls already up to their knees in the deep, his back is bent, soaked his cloak. The boy on his shoulders down so hard that splintered the tree trunk to which it is based.

joke does not show the giant, the boy Jesus with sovereign through the water. He paints the weight of the world, the Son of God sets him on the shoulder. He is a Christian atlas that breaks almost at that weight. The psychological distress, the risk that their legs buckle and a messenger with his precious commodity sinks in water, is everywhere apparent. The divine child has hit rock in this world and the people threatening to overwhelm. Redemption to the crunch, the existential border phenomenon. Salvation falls, and whom it applies, who is at risk. Since the artist can paint no matter how carefully each wave. The world is not to comprehend the most precise realism no more than a chimera.

Konrad Witz: Kunstmuseum Basel, 6 3. - 3 7. Catalog: Hatje Cantz, CHF 90 -.

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The colored Buddha statues of Bamiyan.

from Siemens Siemens Siemens

giant Buddhas illuminated red, white and blue possible

reconstruction of the ancient world's cultural heritage?

the monumental Buddhas of Bamiyan earlier shone in bright colors. This has now proved Munich restorers. They analyzed to hundreds of fragments of the destroyed giant statues by the Taliban.

World Heritage blown

The world's consternation was great, as fanatical Taliban in March, ten years ago blew up two giant Buddha statues, since 6 Century, the Bamiyan Valley in Afghanistan today surveyed. Located on the Silk Road, were the 55 and 38 meters high art to the tenth century, the center of one of the world's largest Buddhist monasteries. Thousands of monks attended countless cult places in the niches and caves of a mile-long cliff.

Since the defeat of the Taliban seek European and Japanese experts, commissioned by UNESCO and coordinated by the International Council on Monuments and Sites (ICOMOS) to secure the remains of the statues and then to the public. And they take the fragments under the microscope - for research, the Buddha until they blow hard.

Scientists at the Technical University of Munich (TUM) were able to date the period of formation for the first time reliable and explore the technically brilliant design. The highlight: A procedure that they have developed jointly with a company could not only the porous rock steady, but perhaps also allow a reconstruction of the ancient world cultural heritage.

Several hundred fragments examined

scientists of the Department of Conservation, Art Technology and Conservation Science at the TUM investigated and a half years, several hundred fragments. Their findings not only contribute to the understanding of this world heritage site, but could also allow an assembly of the resulting parts:

"The Buddha had a colorful appearance," says Professor Erwin Emmerling. His team found that the statues, was under Islamic rule until the final region, have been painted over several times, probably because the colors were faded. The outer robes sangati, shining dark blue on the inside, pink and orange on the top later. In another phase of the larger Buddha was painted red, according to the researchers, the smaller white background, the inside of the robes were repaired with a lighter blue.

old traditions confirmed

The graphical reconstruction of the TUM scientists confirmed that old traditions: even in sources from the eleventh century by a red and a moon-white Buddha mentioned. The other parts of the figures may have had a white coat, but can not be proven beyond reasonable doubt.

The statues were, according to the researchers knocked out of the cliff, the outer skin with the flowing robes, but the craftsmen formed from clay that has been applied in two or three layers. The remains shows an amazing skill.

smooth, perfect surfaces

"These are smooth, perfect surfaces - a quality as they usually only fired materials such as porcelain have, "says Emmert. The TUM-restorers found in the clay straw and chaff, absorbing moisture, pet hair, stabilize the wall like fine glass fibers, as well as quartz and other additives that prevent the shrinkage of the plaster. Levels, the lower layer of plaster with ropes to small wooden stakes were committed.

example, who after the ancient craftsmen unusually thick layers of up to eight centimeters. "They have not only survived nearly 1,500 years, but in part even the blowing up," marvels Emmerling.

reveals age of the statues

date information on the time of origin of the statues were estimates that were based on a concept of Buddhist robes or similar clues. Per mass spectrometer was now at the Swiss Federal Institute of Technology Zurich and the University of Kiel determined the age of the organic parts of the clay layer. The TUM scientists could enable the construction of the smaller Buddha in the years 544-595, that of the larger Buddha limit to 591 bis 644th

How can the pieces of this world heritage to be preserved for the future? The ICOMOS teams have stacked the debris now in temporary storage facilities in the Bamiyan Valley, larger parts were covered on the cliff. "That is however only a few years well, because it is very porous sandstone," says Emmert. The common preservation methods are but the question.

"Commonly used resins in the required dimensions would behave under the climatic conditions in the Bamiyan Valley to vary in relation to natural stone," said Emmert. The conservation scientists have been cooperating with the company Consolidas its still relatively new process for possible application to the Buddha fragments further: Instead of using synthetic resins, the stones could be consolidated with an organosilicon compound in the interior.

3D model of the cliff

work In addition, the TUM-Restoration of a 3D model of the cliff, showing all the fragments of their former place. Emmerling has thus a reconstruction of the smaller Buddha in principle possible - and the restorer calls for a combination of the remaining parts, not for a reconstruction of the ancient state.

respect of the larger Buddha Emmerling is skeptical because of the depth of about twelve meters. The smaller one was against it at about two meters deep rather relief. But also for its establishment, there are great practical addition to political Hurdles. That should be the preservation of the fragments in the Bamiyan Valley, a small factory built - or it would need about 1,400 bricks are taken to Germany, some of which two tons. This week is discussed at a conference in Paris about the fate of the Buddhas.

(Technical University of Munich, 02.28.2011 - DLO)

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Still Photographer: René Burri and you.

from Neue Zürcher Zeitung, 27 2. 2011

icons of the time and memory The culture magazine "You celebrates its seventieth year with a booklet about the photographer René Burri

Roman Bucheli · meet Occasionally our pictures in which flashes up a piece of genuine memory, has persisted in that story without clouding the time: as the image of a past were calling alert, which has remained safe in it as a sensual experience. We are not different if we Today, some covers of appearing in seven decades cultural magazine look back "You: Some issues have become icons of their time. They themselves have written in the medium of painting history and also have the history preserved: not only as a visual impression. The past made present in these photographs for all the senses: We smell and taste the time, Louis Armstrong's trumpet was in December 2001 not to see on the cover of his hundredth birthday, was to hear them anyway. In the booklet to Tom Waits, we looked in a different America, and with the melancholy look Claude Simon, we came suddenly in the Flemish war hell.

memory in images

celebrated the fiftieth year of its appearance, the cultural magazine "You in 1991 with a tribute to their first Chief Editor Arnold Kübler. Twenty years later and after some turmoil in the newsroom and in the owner stock the magazine celebrates again: your seventieth birthday she celebrates with a photographer René Burri devoted anniversary issue. A man may not be the very first hour, but is certainly Burr, the senior photographer of "You. In 1959 he first major report from South America appeared in the magazine "El gaucho" and since then his name is so inextricably connected with the magazine as with the photo agency Magnum, which he had become a member soon.

René Burri is one now of course to those photographers who have shaped our memories with pictures. The booklet shows some of these recordings. The most famous is without doubt the photograph of Che Guevara, in Havana in 1963: a casual, leaning back, a cigar in his mouth hanging down, the opposite of attention in the side covered View, is a mixture of condescension and distrust. The picture was famous, a different but leaves us once again look quite radically into the interior of man. It Alberto Giacometti shows in 1960 in his Paris studio, in a suit and tie, as always, he works on his ever-shrinking figures, his head but he thinks laterally inclined to the oversized eyelids convulsively closed, as he is blind and only trust the groping hands. The picture brought him to a limit, admits Burri. "I almost could not have done it. Giacometti lived as long as I have not been published. Why? I got as close as I would have anticipated the coming death. "

The pictures are not made in a separate chapter in this anniversary issue. Burrell describes the loss that missed, not the pictures taken. They are almost even more impressive than some of the better-known photographs. Because Burrell meticulously notes in words what the picture would have shown. It is a living story, in which the photographed is not more important than the photographer himself. The image is created and then with the language - and imagination.

That was "You" since its inception always both - Word and Image - obliged. It portrayed authors (the legendary magazine to Mayröcker and Jandl is), told stories from everyday life. The anniversary number is now bringing a preprint of Brigitte Kronauer's emerging new novel and a conversation with the author. Brigitte Kronauer put it a little plea for the complexity of their language: "The sentences are but a kind of resistance. In the German language is not the oversimplification, but the differential architecture significantly. I feel this is absolutely not a negative circumstances, but as something that reflects grammatically, the complexity of the situation is. This includes music from "Do not Just could be the program of the magazine you can be formulated". They also measured by the resistance with which we encounter the reality. And here musicality is not entirely excluded.

For several years, however, had to order the magazine "You're always a little fear and trembling: changed hands, editors came and went, and soon there were great books, sometimes you might not know where it is because her should go.

new self-confidence

Since 2007, Oliver Prange, Director of Personal-publishing, the magazine has acquired seems to take the magazine back on track and to gain self-confidence. Boldly she sets priorities: In words and pictures, it proposes paths into the thicket of the present, she looks back and forward, it creates contrast and shows affinities, in short: it represents the time and her mind is a diagnosis by way of experiment, provocative, speculative, but always clear. And as you succeed still photographs which have what it takes to become permanent icons of their time.

«René Burri. Photographer and Collector of Worlds ". You. The cultural magazine. Anniversary Edition 70 years. Issue 814, March 2011. CHF 20 -.

Nota. are not the photos of this selection, all of you .

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André Kertész Photography Museum in Winterthur.

from NZZ am Sonntag, 27th 2. 2011

look through the window

André Kertész has created a number of icons, which contributed to the photography to establish itself as art. The photo Winterthur Museum dedicated to the native Hungary, a major retrospective, see the recordings were previously unknown place.

By Nadine Olonetzky

In artfully-dislocation of the lascivious woman lying on the sofa. The erotic crackle, desire can be just still keep in check and owes quite the ironic game of the photographers: Where we suspect the highest immediacy prevails, calculated pose. André Kertész left for the taking, "Satiric Dancer" (1926), a dancer in the studio of a sculptor to imitate a sculpture. Published countless times and sent a postcard around the world also expressed this picture in 1894, born in Budapest famous photographers.

Kertész, is recognized as one of the founders of photojournalism, but he was not a conventional news photographer. He had an eye for the poetic moments of everyday life - the view from the window, the effects of back-light and shadows, strange combinations of people, animals and architecture, graphical elements. Kertész was guided by the atmosphere of the moment reaction, forms and moods, looking for visual equivalents for his emotional state. Often taken from an unusual perspective, wore his pictures help to establish photography as an art. The photo Winterthur Museum dedicated to him, a comprehensive retrospective. In chronological order, it weighs in at around 250 original photographs, magazines and books with an arc from early works up to the surprising late Polaroids.

André Kertész's life and work were shaped by Budapest, Paris, New York. Since the five-year-old - said he was still Andor - to the memory of his parents' house in the Hungarian capital, magazines had discovered, practiced photography a great fascination for him. His first, still tiny pictures he made in 1912: "I photographed the Things around me - people, animals, my house, my shadow, farmers, life around me. I have always photographed what revealed to me the moment, "he says towards the end of his life. But he first attended the Commercial College and worked temporarily at the exchange. As in the years after World War II anti-Semitism and economic hardship increased and he increasingly suffered from his day job, he decided in 1925 to emigrate to Paris. On 17 November 1926 Andor was registered as "André Kertész" the foreign population register. The addition was: "photojournalist".

But Paris did not wait for him. Kertész lived anything but a vertical take-off. He spoke no French, was shy and hesitant, and inclined to melancholy. He had the press card of the Hungarian agency Continental photo in the pocket, but he was not a contract reporter. He lacked the interest and exuberance that one must have in order hinterherzuhetzen the day's news and to sell the photographs. Above all, he wanted to work on their own issues.

Surely that is why Kertész in Paris was betrayed to his own visual language, the influence of New Objectivity and Surrealism, but remained singular. He explored the city by day and night, photographed shadows, gazes out the window, or tracks in the freshly fallen snow - motives that he should care for a lifetime. He also began his series, "Distortion," which occupies in his work a unique place. Inspired by Zerrspiegelkabinett of the Palais de rire "at Luna Park in the Bois de Boulogne, he came in 1930 with the idea, the editor of the magazine" Vu "for which he worked as a photojournalist, grotesquely distorted to portray. As a result, he experimented with convex and concave mirrors and reflective beads used. What appears at first glance as a gimmick turns out to be as soon as the exploration of the Abnormal: Kertész reached on the deformation of bodies - and later of things - to a resolution of unity and integrity of form. He shows them as something monstrous and unstable.

Today Kertész is one of the masters of photography, the likes of Brassai and Henri Cartier-Bresson decisive influence, when he in 1936 with his wife Elizabeth - was "Erzsi» 1931 from Budapest to Paris come - emigrated to New York, reiterated, however, increased, which had made life quite difficult on the Seine. During the live Erzsi efficient, in Paris at Helena Rubinstein had worked, a cosmetics company founded, which was soon profitable, did her husband found it difficult to learn the language and make contacts. His melancholy increased to depression. Although he could publish in journals of the Group Condé Nast, but he was homeless, misunderstood and isolated: "I felt that I was buried alive." Persistently gloomy mood took it in as clear as dreamy and sometimes self-ironic images, such as the Zerrspiegelaufnahme "The melancholy Tulip" (1939). The "country of dove End" (1960) was a metaphor for his loneliness. The snowy Washington Square, to which the couple had moved in 1952, he was A photographic monument.

Success came late, unexpected and striking. In 1963, when produced in Lucerne photo journal "Camera," which at that time was available in 35 countries, a large portfolio with an introduction by Brassaï published and the Museum of Modern Art in New York the following year showed a retrospective of the melancholy poet became the center of the international attention. Kertész, who considered himself a perpetual beginner, became the meistpublizierten photographers and still remained open to technical innovations of the medium. As almost ninety-year-old shot it with a Polaroid camera, an abstract glass bust. The book "From My Window" (1981) reflects his major themes: the view from the window, back light, shadows, distortion and reflection - and the mourning for his deceased Erzsi 1977. Only this once everything is in color.

André Kertész

André Kertész (1894-1985) influenced his cityscapes, Zerrspiegelaufnahmen and still life photography to the present. The chronological exhibition at the Winterthur Museum of Photography, in cooperation with the Musée du Jeu de Paume in Paris was showing his Icons and little-known from its inception. The extensive catalog (Hatje Cantz, 360 S., Fr 70.90) for a thorough biography. Photo Museum Winterthur, to 15 5. (Olo.)