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re:publica Hamburg x Reeperbahn Festival
18. - 19. September 2025, Schmidt Theater
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Session: Hyperreaktiv. Wie in Sozialen Medien um Deutungsmacht gekämpft wird
Speaker: Annekathrin Kohout
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Am 18. und 19. September 2025 gastiert die re:publica – Europas größte Digital- und Gesellschaftskonferenz – zum dritten Mal in Hamburg. Im Rahmen des diesjährigen Reeperbahn Festivals präsentieren die Veranstalter*innen im „Schmidt Theater“ auf der Reeperbahn ein Programm, bestehend aus Vorträgen, Workshops, Panel-Diskussionen und Performances.
Hamburg, 18.09.2025
Foto: Gregor Fischer/re:publica
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Intervencion de Fátima Spinola y Catia Magna Silva, en el "Columbus Plaza Caffe"
Evento "Algo Dolce"
Trabajo terminado
The only evening class where you don't get told off for looking at your phone. Two spaces left on this 5 weekly course of 3-hour sessions at Kensington & Chelsea College, starting May 31. See www.iphoggy.com for course content, student feedback and subscription forms. Cost £115. #iphonegraphy #classes
The James McNeill Whistler Exhibition at the Tate Britain, London - June 28, 2026
www.ft.com/content/1e1847b9-7c3f-4d57-9aea-cb68949aecf9
www.tate.org.uk/whats-on/tate-britain/whistler?_gl=1*1e4m...
news.artnet.com/art-world/whistler-earliest-portrait-tate...
news.colby.edu/story/james-mcneill-whistler-retrospective...
telescoper.blog/2026/07/05/whistler-at-tate-britain/
A truly global figure, Whistler re-wrote the rules of what it meant to be an artist. He pioneered new and innovative techniques, creating astonishingly beautiful, ethereal visions of modern life that would earn him a place as one of the most influential artists of the 19th and 20th centuries.
This retrospective – the first major European exhibition of Whistler’s work in 30 years – brings together the artist’s world-famous paintings alongside rarely, or never seen, works. It includes exquisite portraits, drawings, prints, and designs, from as early as his teens in St. Petersburg to the enigmatic late self-portraits.
The exhibition presents both a boldly experimental artist and cosmopolitan celebrity, disrupting the conventions of Victorian society in pursuit of truth, beauty, and progress.
This exhibition brings together 150 artworks and offers a rare chance to explore the full range of James McNeill Whistler’s work. Visitors can see his paintings, drawings, prints and designs, including the famous Arrangement in Grey and Black No. 1, his series of nocturnes, and sketchbooks that have never been shown before.
The exhibition reveals Whistler as a bold and experimental artist who challenged Victorian society while pursuing beauty, truth and new artistic ideas.
www.tate.org.uk/whats-on/tate-britain/whistler/exhibition...
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"It’s an odd, ungainly, unforgettable portrait. Anna McNeill Whistler’s face is rigid, lightless and cold as she poses for her son. She’s like a carving from a medieval tomb sutured to an aesthete’s dream. Starbursts of silver dance on the curtain in front of her while she sits as grim as death. Yet by painting her in silhouette, absorbing her black dress into his personal vision, Whistler turns her into a symbol of art for art’s sake.
At least that’s one way of seeing the masterpiece lent by the Musée d’Orsay that stars in Tate Britain’s luscious, seductive blockbuster dedicated to the American painter who delighted and scandalised late Victorian Britain. He competed with Walter Pater and Oscar Wilde for leadership of the Aesthetic Movement which dared to say that art has no responsibility to depict real life or serve a moral purpose. The cosmic curtain and carefully composed pattern of Whistler’s Mother add up to the movement’s earliest manifesto: to ram the point home, he called it Arrangement in Grey and Black No 1. Even when I’m painting my mum, says Whistler, I “arrange” her.
Yet in this insightful show you see that, like Hitchcock’s Norman Bates, he himself is partly Mother. The abstract vision of the life beautiful and Anna McNeill Whistler’s bony reality are two sides of Whistler himself. Part of him wants to paint beauty for beauty’s sake while the other is a hard-bitten observer, suspicious of the very glitz he creates.
At the far end of the gallery from his mother hangs his raw 1860s masterpiece Wapping. The surface of the Thames glistens yellow and brown between a crowd of steamers and sailing boats in what was then the world’s most cosmopolitan port: the lurid colours of the water look lovely until you realise they’re probably caused by a scum of faeces, piss and god knows what else. In the foreground a woman and two men chat freely on the terrace of a dockside bar: Whistler’s model and lover Joanna Hiffernan leans back sensually.
It’s a louche, staggeringly honest evocation of modern city life. The only other artists who painted like this in 1860 were French. Whistler had recently spent time in Paris among the avant garde and imitated the rugged style of Courbet. But reality was becoming more complex. As industrial capitalism melted the past, Manet led the way in painting the flowing, alienated coolness of modern bars, cafes, boudoirs. In Wapping, Whistler brings a Manet-like eye to London. He also records the realities of the East End docks in black-lined etchings. Seafarers share stories at a Rotherhithe pub in front of a row of tall masts; longshoremen brood in silence over their drinks.
Then, in 1865, Whistler suddenly paints the sea as if it was a piece of silk decorated with white lace and a ribbon. Green and Grey, Channel is a stunning declaration of artistic independence. He takes the sea, the element humans can’t control, the roaring theme of Turner’s visions, and makes it a painterly plaything. It is all totally, explicitly artificial and brilliantly arrogant: where other artists might look at the sea with awe, Whistler regards it as much less real than himself, arranging it just as he arranges his mother.
This big show follows Whistler in this insistently subjective quest to arrange the world. It includes a reconstruction of The Peacock Room, the notoriously extravagant installation he made out of his patron Frederick Leyland’s dining room, ignoring Leyland’s wishes. At the heart of the simulation hangs the original cartoon for his depiction of himself and Leyland as fighting peacocks, jousting in mutual vainglory.
Was Whistler the first absolute modernist? His completely free celebrations of colour and pattern anticipate Klimt and Pollock. You can see here why he drew the very first public attack on abstract art when the veteran critic John Ruskin accused him of merely “flinging a pot of paint in the public’s face”.
Ruskin was enraged by his paintings of fireworks over the Thames by night, even though they are accurate depictions: fireworks in the dark are so spaceless and mysterious that they do look abstract. In Nocturne: Black and Gold – The Fire Wheel, Whistler captures a spinning galaxy of blazing yellow in a black void flecked with red sparks.
Whistler's Mother shows a woman in a black dress and white headcovering sitting in profile against a grey wall
‘America’s Mona Lisa’: how chance, genius and cheap paint made Whistler’s Mother a masterpiece
That same hovering between fact and fantasia makes his c 1872-5 work Nocturne: Blue and Gold – Old Battersea Bridge one of the most haunting pictures of London. Tiny flashes of gold fireworks hang in the twilight behind the support and gentle curve of the wooden structure, which could be a bridge in old Edo in a Hiroshige print. The Japanese prints and porcelain he collected reveal where Whistler got his ideal of an art that’s both abstract and accurate.
Yet you can’t just put on a kimono and escape your own skin. Whistler was his mother’s son. In Symphony in White, No 2: The Little White Girl, Hiffernan poses beside a mantlepiece, holding a Japanese fan, gazing at a lustrous blue and white vase. Whistler captures the plays of light, glistening surfaces and luxuriance, yet the coup de grace is brutal: her face in the mirror is tired, lost, melancholic. All this beauty is a bore. She knows it and so does Whistler."
Jonathan Jones - The Guardian
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A simple concept applied at runtime -- we're taking a tunnel of rings and applying several "morphers" to it. Elements are scaled, rotated, and translated according to their z coordinates.
Top left: The base structure is a boring tunnel of rings.
Top right: Scaling, rotation, and translation are applied, morphing the structure.
Bottom left: A more aggressive morpher is applied.
Bottom right: Side view of the morphed structure.
What's so interesting about this very simple concept is threefold: first, we can feed slightly different parameters in and get significantly different geometry out; second, in Kick It/Ugly Baby, we can tie those parameters to the audio stream, so that the music drives the level's appearance; and finally, the morphers are independent of the base structure, so we could just as easily apply the above to a grid of spheres and get something completely novel.
Scale: Photographic content: Left hand side image: 1.5 metre by 1 metre. Right side image: 1.3 metre by 97cm.
Duration: Variable day count, connected in retrospect within 2 weeks.
Date:15/12/10-29/12/10.
Investigation: Being open to natural occurrences, then bringing moments together as they coincided with own practice. Influences: Richard Longs, “Everything is Connected”. Medium: Photography Content: Cup on bench, oncoming headlights, and shattered mirror pieces, playing on light reflection. Size: A3. Status: Research.
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Bee: Testing PS CS5 functionality ...
one click cloning is now possible ...
Duplicate layer
Shift+F5 , select content aware fill option ...
It saved me a lot of time ...
DevGuild: Content Strategy
Watch the talks here: www.heavybit.com/devguild/content-strategy/
People aren’t transactions. Customers and communities want to be heard, respected and valued. On April 12th, 2017, 200+ leading SaaS founders, marketers and community builders who’ve mastered the art of driving revenue with content that’s entertaining, educational, and above all, useful came together for DevGuild: Content Strategy.
Hammock Inc. publishes American Spirit, the national magazine of the National Society, Daughters of the American Revolution.
If #SEO is your goal, more is better when it comes to #content! t.co/DGgo62rimd (via Twitter twitter.com/iqcomm1/status/1006291255859535872)
The project and the Bangkok Institute for Skill Development facilitated the “Digital Content Creator” course between the 9-11 April 2024. The 3-day course was held at the Smart Job Center building, Ministry of Labour with 16 youth (aged 15-29 years) attending and completing the course. ©ILO.
More information about the project: www.ilo.org/projects-and-partnerships/projects/young-futu...
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US.