goodmemory:

Akiko Takizawa

goodmemory:

Akiko Takizawa

dhmsiftings:

Louis Noguchi by tlpjr on Flickr.Kimbell Art Museum - Kahn

dhmsiftings:

Louis Noguchi by tlpjr on Flickr.

Kimbell Art Museum - Kahn

ヨコハマトリエンナーレ2014

Figure_of_speech wiki

figure of speech

"歴史[編集]
 
 
古代ギリシア[編集]
このレートリケーは、元々はシケリアの法廷弁論として発達したものであり[3]、その創始者・大成者は、コラクス及びその弟子のテイシアスとされる[4]。当時のポリス社会において、法廷や広場(アゴラ)などで人々を説得する雄弁家という職業が存在し、ソフィスト達もこれを主要な教育科目の1つとして扱っていた。
ソクラテスは彼らに対しても一問一答の問答法・弁証法(ディアレクティケー)で臨み、「議論をしている当人をこちらの支持する証人たらしめる」のが目的であるとして民衆に訴える雄弁術とは一線を画した。プラトンは著作『ゴルギアス』や『パイドロス』で、この雄弁術・弁論術(レートリケー)を主題的に取り上げて批判している。
しかし、プラトンの弟子であるアリストテレスは、プラトンとは異なり、この雄弁術・弁論術(レートリケー)を、弁証術(ディアレクティケー)と相通じる技術として捉え、先行する専門書の内容を、より広い観点から体系化した、そのものずばり『弁論術』という名の著作を残している。
当時アテナイ周辺(アッティカ地方)で活躍した雄弁家たちは、「アッティカ十大雄弁家」として後世に語り継がれている。
 
古代ローマ[編集]
修辞学が理論づけられた一学問として体裁を整えるようになったのは、古代ローマのキケロ『弁論家について』とクィンティリアヌス『弁論家の教育』の力が大きく、レトリックの五分野、発見・配列・呈示・記憶・演示が確立したのもこの時代である。特に、「発見」は主題を選別し決定するという技法を指し、トポス(演説のための常套句)を収集し、演説のときの助けにするというのが欧州中世の教養の大部分を占めた。"

http://ja.wikipedia.org/wiki/修辞学

"参考文献
 
プラトン、『ゴルギアス』(Gorgias)
Plato. Gorgias. Trans. Robin Waterfield. Oxford University Press, 1994.
アリストテレス、『弁論術』(Rhetoric)
『弁論術』 岩波文庫
キケロ、『弁論家について』(De oratore)(紀元前55年)全3巻
『キケロー弁論集』 岩波文庫  2005
『弁論家について』 岩波文庫上下  2005
クィンティリアヌス、『弁論家の教育』(Institutio Oratoria)"

http://ja.wikipedia.org/wiki/修辞学

"修辞学
(しゅうじがく、希: ρητορική, 羅: rhetorica, 英: rhetoric)は、弁論・叙述の技術に関する学問分野。レトリック、雄弁術、弁論術、説得術とも。
欧州古代・中世で教養の中核を成していたが、近代に衰退。古代・中世の教育規範である自由七学芸の内の一つ[1]。基本的には演説の技術で、いかに聴衆を納得させるかを目的とするかなり政治的なもの[2]。そのため修辞学では、聴衆の心理操作が大きな位置を占め、さらに、演説をより魅力的に見せるために、身ぶりや発声法なども重要視される。つまり、言語学、詩学、演技論などの総体だった。だが近代ではさまざまな学問に分化し、あくまで言語表現に磨きをかける技術、という領域に押し込められる。"

http://ja.wikipedia.org/wiki/修辞学

fleurdulys:

East Hampton, Long Island - Thomas Moran

fleurdulys:

East Hampton, Long Island - Thomas Moran

blackhallmanor:

Ann Demeulemeester interview. encens magazine no 18 fall/winter 2006/2007
How would you describe your evolution during these last twenty years of fashion? Usually I say that a new collection is the concrete expression of everything that was missing in those that came before. Its like a steep hill that i have to climb. In twenty years, I’ve gradually scratched a furrow, the story of which, my story, is clothing. I’ve gotten better, I’ve acquired technical experience that allows me to go farther but i never stop learning
For two seasons, women’s and men’s have been shown together, but now they’re broken down into two distinct collections. Has that created any new possibilities for you? Absolutely. For a long time, I didn’t want to separate men’s and women’s. I didn’t think it was normal, it was like cutting life in two. Certainly, the necessity of making them walk separately is a response to my need for enlarging the scale of pieces available for men. But this is where i found happiness. Everything is not blended like it was before. It’s no longer a question of doing a jacket for women in the morning, and in the afternoon concentrating on men’s trousers. Now I work in two stages, beginning first with men’s, which leads me to undertake the women’s collection under another light, as if it were the second chapter of the same story. I believe that this different approach to my fashion can be seen in the final result.
When you began in 1987, your eminence grise, your world’s alter ego, Patryck Robyn, put together some sumptuous visuals. Why have you stopped doing it that way? There was no longer any reason. At the beginning of my career, I resisted the idea of a show. I thought that I absolutely wasn’t ready. To compensate for this, with Patrick, who was still a full time photographer, I produced catalogues of my collections. Then Patrick got more involved in the evolution of my label, to the point that at a certain point it seemed to us that, in order to keep together as a couple we needed to regroup our ambitions into one. Patrick had to do a lot of traveling and was sometimes absent for long periods. One day he decided to stop short when it came to leading a double life so that he could work with me. I’ll always be grateful for that.
What is your relationship to your past, your archives? Out of fear of disappointing myself, I’ve always refused to look back. But i have kept a lot of pieces that i considered the best of each of my collections from being sold. It has built into an enormous stock, which i keep in a separate room. However, the for the last months, my retrospective at Hyeres has required that i refresh my memory. Despite my apprehension, revisiting my career had been quite thrilling. Certain clothes haven’t aged at all. I could do them tomorrow without a problem. What are the most lasting, in the end, are the memories, flashes: I can rediscover my tears in a piece of clothing! 
In your winter 2007 show, big hoods that can be wrapped around the body reminded me of a great moment in the fashion you’ve done. Were they directly inspired by your 1997 rectangles for wrapping around the body? My mentality’s different than it was ten years ago. In 1997, for the first time I wanted to set the counters back to zero and envision my collection as it I knew nothing. I worked without sketches without any bosses. All that was left was the material, the fabric. As if I no longer had any knowledge about clothing design, I made it move over me, I rolled myself into it and i put holes in it to stick my arms through it. It was a very strong experience, which will haunt my sense of fashion for life. Also that piece has become my emblem: at the workshop, my collaborators call it <the ann piece>. So yes, maybe this season more than the others is a prolongation of my research on clothing pure of all construction. But in the meantime, there has been ten years designing cuts, and my way of working feels the effect of it. For me, the guiding principle remains trying to explore unknown territory for each collection, but not confronting things that aren’t part of my sensibility. I’m always excited by the idea of starting with an element that I find ugly a priori and then transforming it in terms of my lexicon. The result makes me learn a lot about myself.
How have you been affected by your passion for Belgian fashion? I knew that it was going to pass. When I started, Antwerp was a no-man’s land, no journalist was interested in us. Then a wave of designers started making waves, almost to the rhythm of each new season, which helped to crystallize the phenomenon. Signs of enthusiasm from the press was very gratifying, to the extent that Belgium finally became synonymous with fashion. That said, I’ve always kept 
Leather is essential to your collections. How have you succeeded in always finding treatments of it? I love leather, working with it is a permanent challenge. Cutting it doesn’t allow for the slightest approximation: you have to treat it with perfect mastery. I designed my first clothing in leather in 1993, a jacket that i still wear. The idea came to me from my brother who was working with sheepskin, and who initiated me to the countless textures that leather can engender. In addition, I quickly got alienated from my existing materials when it came to creating my own touches, as i experimented with novel qualities of the skins, which I love approaching like living tissue.
Would you live without making fashion your profession? That’s difficult to answer. I was only a teenager when i registered at the Academy at Antwerp, and I was more preoccupied with the world of music than that of fashion magazines. I was already ill at ease with the <chi chi> side of this profession. My girlfriends, who thought I was an astonishing phenomenon, strutted around in a Mugler look and Maud Frizon shoes. I needed some time to understand that i could appreciate a leather jacket by Montana without loving all fashion and being bound to reject it as a whole.
The obstinacy that characterizes you, did you have it then? Perhaps my decision to temporarily interrupt my career so that I could have a baby was also a form of stubbornness. Victor was born when I became conscious that I really wanted to make fashion my profession. His birth seemed to me essential before actually taking off, and there was no way in the world that I would have accepted letting time fly at the expense of my desire to have a child.
Do you follow the collections of other designers? Honestly, the feat of letting myself be influenced blocks me. I live a bit in my own bubble and concentrate in my own evolution. Of course, I see things but i dont pass my days trying to decipher them. Besides I have a closer relations with people in the arts or music than those in the fashion world. But I’m still very respectful of my peers, whose high standards give their creations soul. Even if they aren’t my taste, I’m the first to recognize their value.

blackhallmanor:

Ann Demeulemeester interview. encens magazine no 18 fall/winter 2006/2007

How would you describe your evolution during these last twenty years of fashion? Usually I say that a new collection is the concrete expression of everything that was missing in those that came before. Its like a steep hill that i have to climb. In twenty years, I’ve gradually scratched a furrow, the story of which, my story, is clothing. I’ve gotten better, I’ve acquired technical experience that allows me to go farther but i never stop learning

For two seasons, women’s and men’s have been shown together, but now they’re broken down into two distinct collections. Has that created any new possibilities for you? Absolutely. For a long time, I didn’t want to separate men’s and women’s. I didn’t think it was normal, it was like cutting life in two. Certainly, the necessity of making them walk separately is a response to my need for enlarging the scale of pieces available for men. But this is where i found happiness. Everything is not blended like it was before. It’s no longer a question of doing a jacket for women in the morning, and in the afternoon concentrating on men’s trousers. Now I work in two stages, beginning first with men’s, which leads me to undertake the women’s collection under another light, as if it were the second chapter of the same story. I believe that this different approach to my fashion can be seen in the final result.

When you began in 1987, your eminence grise, your world’s alter ego, Patryck Robyn, put together some sumptuous visuals. Why have you stopped doing it that way? There was no longer any reason. At the beginning of my career, I resisted the idea of a show. I thought that I absolutely wasn’t ready. To compensate for this, with Patrick, who was still a full time photographer, I produced catalogues of my collections. Then Patrick got more involved in the evolution of my label, to the point that at a certain point it seemed to us that, in order to keep together as a couple we needed to regroup our ambitions into one. Patrick had to do a lot of traveling and was sometimes absent for long periods. One day he decided to stop short when it came to leading a double life so that he could work with me. I’ll always be grateful for that.

What is your relationship to your past, your archives? Out of fear of disappointing myself, I’ve always refused to look back. But i have kept a lot of pieces that i considered the best of each of my collections from being sold. It has built into an enormous stock, which i keep in a separate room. However, the for the last months, my retrospective at Hyeres has required that i refresh my memory. Despite my apprehension, revisiting my career had been quite thrilling. Certain clothes haven’t aged at all. I could do them tomorrow without a problem. What are the most lasting, in the end, are the memories, flashes: I can rediscover my tears in a piece of clothing! 

In your winter 2007 show, big hoods that can be wrapped around the body reminded me of a great moment in the fashion you’ve done. Were they directly inspired by your 1997 rectangles for wrapping around the body? My mentality’s different than it was ten years ago. In 1997, for the first time I wanted to set the counters back to zero and envision my collection as it I knew nothing. I worked without sketches without any bosses. All that was left was the material, the fabric. As if I no longer had any knowledge about clothing design, I made it move over me, I rolled myself into it and i put holes in it to stick my arms through it. It was a very strong experience, which will haunt my sense of fashion for life. Also that piece has become my emblem: at the workshop, my collaborators call it <the ann piece>. So yes, maybe this season more than the others is a prolongation of my research on clothing pure of all construction. But in the meantime, there has been ten years designing cuts, and my way of working feels the effect of it. For me, the guiding principle remains trying to explore unknown territory for each collection, but not confronting things that aren’t part of my sensibility. I’m always excited by the idea of starting with an element that I find ugly a priori and then transforming it in terms of my lexicon. The result makes me learn a lot about myself.

How have you been affected by your passion for Belgian fashion? I knew that it was going to pass. When I started, Antwerp was a no-man’s land, no journalist was interested in us. Then a wave of designers started making waves, almost to the rhythm of each new season, which helped to crystallize the phenomenon. Signs of enthusiasm from the press was very gratifying, to the extent that Belgium finally became synonymous with fashion. That said, I’ve always kept 

Leather is essential to your collections. How have you succeeded in always finding treatments of it? I love leather, working with it is a permanent challenge. Cutting it doesn’t allow for the slightest approximation: you have to treat it with perfect mastery. I designed my first clothing in leather in 1993, a jacket that i still wear. The idea came to me from my brother who was working with sheepskin, and who initiated me to the countless textures that leather can engender. In addition, I quickly got alienated from my existing materials when it came to creating my own touches, as i experimented with novel qualities of the skins, which I love approaching like living tissue.

Would you live without making fashion your profession? That’s difficult to answer. I was only a teenager when i registered at the Academy at Antwerp, and I was more preoccupied with the world of music than that of fashion magazines. I was already ill at ease with the <chi chi> side of this profession. My girlfriends, who thought I was an astonishing phenomenon, strutted around in a Mugler look and Maud Frizon shoes. I needed some time to understand that i could appreciate a leather jacket by Montana without loving all fashion and being bound to reject it as a whole.

The obstinacy that characterizes you, did you have it then? Perhaps my decision to temporarily interrupt my career so that I could have a baby was also a form of stubbornness. Victor was born when I became conscious that I really wanted to make fashion my profession. His birth seemed to me essential before actually taking off, and there was no way in the world that I would have accepted letting time fly at the expense of my desire to have a child.

Do you follow the collections of other designers? Honestly, the feat of letting myself be influenced blocks me. I live a bit in my own bubble and concentrate in my own evolution. Of course, I see things but i dont pass my days trying to decipher them. Besides I have a closer relations with people in the arts or music than those in the fashion world. But I’m still very respectful of my peers, whose high standards give their creations soul. Even if they aren’t my taste, I’m the first to recognize their value.

(via michaelvel)