TransFemme Feminizing Program Guide
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American, 1887-1986
About the work:
www.moma.org/interactives/exhibitions/2012/inventingabstr...
A pivotal figure in the history of modern American art, Georgia O’Keeffe first gained widespread recognition in the 1920s for her flower paintings. Although these repre-sentational canvases remain some of her most iconic works, abstraction—then a revolutionary new form of expression—was central to O’Keeffe’s art. Influenced by predecessors including the painter Vasily Kandinsky and the progressive arts edu-cator Arthur Wesley Dow, O’Keeffe held a sophisticated view of the relationship between abstraction and representation, often challenging the boundary between the two. “Objective painting is not good painting unless it is good in the abstract sense,” she declared. Created in 1927, Abstraction Blue illustrates that belief, echoing the vivid color, careful modulation, and zoomed-in view of the artist’s contempora-neous blooms while forgoing any strict adherence to representation.
Fotografía capturada en una orilla del rio Tinto a su paso por el município onubense de Villarrasa
Recomiendo ver en grande / I recommend see in large
I got this shot of a 1-1/2 inch speaker for my computer, using a radial blur app got some strange designs, then add smoke for more effect!
Detail: An apse of the Cathedral of The Basilica Metropolitan Cathedral of Santa Maria del Fiore is the episcopal seat (in Italian "duomo") of the archdiocese of Florence, Italy. It is one of the masterpieces of Gothic art and the first Italian Renaissance.
Basilica di Santa Maria Novella:
The marble facade is among the most important works of the Florentine Renaissance. It was completed in 1470. The first intervention was made in 1350, when the area was covered in white marble. The other colors used are pink and green. The three characteristic colors of Florence at that time.
1953-54 Arvin model 780 TFM AM-FM table radio dial. The radio was produced not long after the longstanding 88-108 MHz FM radio band (initially 88-106 MHz in 1945, for a short time) was standardized in the US.
The implementation of a separate FM scale on a typical AM dial is rather unique, if confusing at first. One glaring omission, maybe just due to timing, is the set of marks at 640 and 1240 kHz on the AM dial for the now-long-defunct CONELRAD alert system, a design requirement for radios sold between 1953 and '63.
“To linger anew
behind bars of birdsong,
dangling high and on display
in the cage of a memory.
So, has flight been clipped.
So punctuated has been sounding.
So. Score so. Tremble thus,
then less tremble, stilling,
fitfully to rest. Colon.
Here, then here else,
solfege across modulations.
Palm psalms and moth motifs
clap to burn bright, hand-flutter
and arpeggio across a blink,
to play a span, to transit a sonata,
from stutter-bee to shutter-sea,
as saying letters the skin, transported,
just more baggage above comportment.
I have lived
the dark betweens.
Everything I have ever seen
has been through
the murky windows
of way stations.”
—George Angel
en.atthefringe.org/program2020/passion-for-words%3A-georg...
The structure is etched with vertical elements which give modulation, structure, protection from the sun, and resolve the whole building. Variable profiles are subtly modeled within a smooth and continuous design, where plans delicately suggest themselves. An ever-changing facade varies with the light, half-light, or shadow, and changes from more opaque and mysterious, to more transparent, revealing the light pulsating within it. The gesture resolves the project, protecting working...
Frequency modulation is the encoding of information in a carrier wave by varying the instantaneous frequency of the wave.
😄
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All of my photographs are under copyright ©. None of these photographs may be reproduced and/or used in any way without my permission.
© VanveenJF Photography
The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome.
The rest of the mosaics, dated to the 1160s or the 1170s, are executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental. A few mosaics have a secular character and represent oriental flora and fauna. This may be the only substantial passage of secular Byzantine mosaic extant today.
c/o Wikipedia
Architekt: Bruno Martini
Greve in Chianti, Italy, 1960
"Die Geschichte des Baus dieser Kirche beginnt in den frühen 1960er Jahren, als die Zementfabrik Sacci di Testi, die ihre Bergbauaktivitäten ausweiten wollte, den gesamten angrenzenden Hang erwarb, der aufgrund der Verödung des Landes entvölkert war, aber reich an Geschichte und Leben.
Die antike Kirche San Donato a Luciana (10. Jh.), Sitz der Pfarrei, zu der auch der heutige Passo dei Pecorai gehörte, der Friedhof, die Villen Pitti und Storno, die etruskisch-römischen Bauernhäuser wie Tolano, Ciciano, Cuculia, Poppiano, die Gehöfte, die Zypressenallee und die antiken Straßen wurden abgerissen, was zur Folge hatte, dass die landwirtschaftliche Bevölkerung abwanderte oder in die Talsohle am Passo dei Pecorai zog.
Hier am Passo dei Pecorai, wo die Transhumanzroute mit den zahlreichen Herden aus dem oberen Valdarno vorbeiführte, die den Winter in der Maremma verbringen wollten, von der die Stadt ihren Namen hat, gab es bereits einige bescheidene Häuser für die Arbeiter der Zementindustrie, die in jenen Jahren landesweit immer beliebter wurde und Hunderte von Arbeitern, Technikern und Lastwagenfahrern aus ganz Italien anzog.
Die Kirche, die wegen der vielen Arbeiter im Dorf dem Heiligen Josef dem Handwerker gewidmet ist, wurde am 18. Dezember 1965 von S.E. Kardinal Ermenegildo Florit eingeweiht, nachdem vier Jahre zuvor der Grundstein gelegt worden war.
Heute präsentiert es sich als ein modernes, innovatives Werk im architektonischen Panorama der Zeit und von großem ethischen und religiösen Sinn: Das äußere Bild von großer Wirkung ist aus Zement und Kupfer, isoliert auf einer Erhebung im Boden, die Fassade ist nicht vorhanden, sie ist veraltet, es gibt keinen bevorzugten Punkt, um sie zu betrachten, wichtig ist die Modulation des Lichts, die dazu führt, dass man unter dem großen Vorhang des Kirchenschiffs stehen bleibt und den Blick auf den Hochaltar richtet, der sich unter dem herrlichen Segel mit historisierendem Glas befindet, das an sonnigen Nachmittagen eine Myriade von Farben auf das Presbyterium projiziert und dasselbe draußen in der Nacht, wenn die Lichter im Inneren eingeschaltet sind.
Sicherlich eine der schönsten Kirchen des 20. Jahrhunderts in der florentinischen Diözese, ein Ziel für Besucher und Liebhaber der sakralen Kunst.
Die Kirche wurde von Arch. Bruno Martini aus Florenz, ein Schüler des großen Architekten. Giovanni Michelucci und auf Wunsch des Ingenieurs Emilio Polzinetti, damals Direktor der Firma Sacci, der sich an den Kosten für den Bau beteiligte, wie auf dem Pergament des Grundsteins vermerkt."
Quelle: www.gazzettinodelchianti.it/greve-in-chianti/50-anni-chie...
Übersetzt mit www.DeepL.com/Translator (kostenlose Version)
Through the medium of digital photo manipulation I seem to have found a way to paint. I was an abstract painter for many years and it has always been in my blood. This year I have decided not to paint on canvas, for various reasons, mostly to do with the cost of those damn tubes now. Yet here it is ... I seem to have found a way to do it in another medium.
In terms of art history this piece is a melding of two 20th century American painting movements - Gestural Abstraction, where in the hand movements of the painter are not only obvious, but the whole point. This can easily be seen in the works of Willem de Kooning. The other movement is Color Field Painting, where the main focus is the modulation of colour across the whole canvas and in this case it is colour that is the point. Colour Field Painting reached it's zenith with the work of Jules Olitski. Art history is always there in the back of my creative consciousness, exerting a subconscious influence now and then.
Image created July 16, 2022
Zoom in for a detailed immersive view.
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Music Link: "Bolero" - Maurice Ravel. Performed here by the Paris Opera Orchestra and the Paris Opera Ballet. "Bolero" made it's infamous and riotous debut as a dance piece, so it seems appropriate to choose this particular video. Brilliant choreography, staging and lighting.
www.youtube.com/watch?v=6rQwof50VsA
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© 2022, Richard S Warner. All Rights Reserved. This image may not be used or copied or posted to another website in any form whatsoever without express permission of the creator of this work, with whom the sole copyright resides.
After a brief hiatus, Porsche has slid the 911 GT3 and 911 GT3 Touring—the latter now known officially as the GT3 with Touring Package—into production as 2025 models. They join the intense GT3 RS to create the holy trinity of the 911 lineup. The GT3 and GT3 Touring feature a round of focused updates for 2025, and the GT3 RS mains the preeminent—and undeniably brilliant—track-focused pinnacle of Porsche’s consumer lineup. All feature the venerated naturally aspirated flat-six engine and elevate it to new heights. The 4.0-liter unit makes 502 horsepower in the GT3 and 518 in the GT3 RS, producing an intoxicating soundtrack all the way to its 9000-rpm redline. The chassis is a sharper version of the 911's, tuned, tweaked, and fortified with a control-arm front suspension design that Porsche says is derived from the factory's 911 RSR and 911 GT3 Cup race cars. While the rear wing found on the GT3 and the even larger wing on the GT3 RS makes it simple for even a neophyte enthusiast to pick them out of a lineup, it's an exterior detail that doesn't allow the GT3 RS to be incognito. But the core spirit of the GT3 is impossible to ignore regardless of the packaging, a quality that makes it one of our favorite ultra-performance vehicles—one that has scorched Virginia International Raceway in our annual Lightning Lap track shootout.
In the tail of the 911 GT3 is a naturally aspirated 4.0-liter flat-six that makes 502 horsepower. The engine is essentially identical to the one that powered the last 911 Speedster we tested, which spun to 9000 rpm and wailed hypnotically. The GT3 offers both a seven-speed dual-clutch automatic (a.k.a. PDK) and a six-speed manual, and both feature a shorter final-drive ratio for sharper responses. The 4.0-liter in the GT3 RS gets tuned for 518 horsepower and comes with an outrageous rear wing that incorporates a drag-reduction system similar to those on Formula 1 race cars, and it pulled 1.16 gs on our skid pad. The most notable performance upgrade on this latest generation of the GT3 is its control-arm front suspension, which is a first for a production 911. Combine that with standard adaptive dampers and sticky Michelin Pilot Sport Cup 2–or stickier Cup R–tires and the coupe's chassis provides tremendous cornering grip and unfiltered feedback. While the GT3's ride is undeniably firm, it's never punishing, and the electrically assisted steering is so divinely communicative that it deserves anointment as the best in the business. The RS's suspension tuning is stiffened up for the track to the point where some drivers may find it too uncomfortably sharp-edged for the street. But if you're one of those folks, consider the 911 Turbo model instead. Stopping these purist's Porsches are massive binders with steel brake rotors; a carbon-ceramic option provides heroic braking power, easy modulation, and resists fade at the track. Active anti-roll bars for flatter cornering are also available.
The price of the 2025 Porsche 911 GT3 / GT3 RS starts at $224,495 and goes up to $243,295 depending on the trim and options.
The facade with the imprint of the architect Leon Battista Alberti.
Piazza di Santa Maria Novella.
Basilica di Santa Maria Novella:
The marble facade is among the most important works of the Florentine Renaissance. It was completed in 1470. The first intervention was made in 1350, when the area was covered in white marble. The other colors used are pink and green. The three characteristic colors of Florence at that time.
How Many Towers Can You See? Made in the remarkable governmental Department of Transport biding in Dusseldorf, Germany. Thanks again to Reiner Pohl for making the visit possible.XT-2 plus XF16mm WR lens. Double exposure. In-camera WB modulation.
After a brief hiatus, Porsche has slid the 911 GT3 and 911 GT3 Touring—the latter now known officially as the GT3 with Touring Package—into production as 2025 models. They join the intense GT3 RS to create the holy trinity of the 911 lineup. The GT3 and GT3 Touring feature a round of focused updates for 2025, and the GT3 RS mains the preeminent—and undeniably brilliant—track-focused pinnacle of Porsche’s consumer lineup. All feature the venerated naturally aspirated flat-six engine and elevate it to new heights. The 4.0-liter unit makes 502 horsepower in the GT3 and 518 in the GT3 RS, producing an intoxicating soundtrack all the way to its 9000-rpm redline. The chassis is a sharper version of the 911's, tuned, tweaked, and fortified with a control-arm front suspension design that Porsche says is derived from the factory's 911 RSR and 911 GT3 Cup race cars. While the rear wing found on the GT3 and the even larger wing on the GT3 RS makes it simple for even a neophyte enthusiast to pick them out of a lineup, it's an exterior detail that doesn't allow the GT3 RS to be incognito. But the core spirit of the GT3 is impossible to ignore regardless of the packaging, a quality that makes it one of our favorite ultra-performance vehicles—one that has scorched Virginia International Raceway in our annual Lightning Lap track shootout.
In the tail of the 911 GT3 is a naturally aspirated 4.0-liter flat-six that makes 502 horsepower. The engine is essentially identical to the one that powered the last 911 Speedster we tested, which spun to 9000 rpm and wailed hypnotically. The GT3 offers both a seven-speed dual-clutch automatic (a.k.a. PDK) and a six-speed manual, and both feature a shorter final-drive ratio for sharper responses. The 4.0-liter in the GT3 RS gets tuned for 518 horsepower and comes with an outrageous rear wing that incorporates a drag-reduction system similar to those on Formula 1 race cars, and it pulled 1.16 gs on our skid pad. The most notable performance upgrade on this latest generation of the GT3 is its control-arm front suspension, which is a first for a production 911. Combine that with standard adaptive dampers and sticky Michelin Pilot Sport Cup 2–or stickier Cup R–tires and the coupe's chassis provides tremendous cornering grip and unfiltered feedback. While the GT3's ride is undeniably firm, it's never punishing, and the electrically assisted steering is so divinely communicative that it deserves anointment as the best in the business. The RS's suspension tuning is stiffened up for the track to the point where some drivers may find it too uncomfortably sharp-edged for the street. But if you're one of those folks, consider the 911 Turbo model instead. Stopping these purist's Porsches are massive binders with steel brake rotors; a carbon-ceramic option provides heroic braking power, easy modulation, and resists fade at the track. Active anti-roll bars for flatter cornering are also available.
The price of the 2025 Porsche 911 GT3 / GT3 RS starts at $224,495 and goes up to $243,295 depending on the trim and options.
After a brief hiatus, Porsche has slid the 911 GT3 and 911 GT3 Touring—the latter now known officially as the GT3 with Touring Package—into production as 2025 models. They join the intense GT3 RS to create the holy trinity of the 911 lineup. The GT3 and GT3 Touring feature a round of focused updates for 2025, and the GT3 RS mains the preeminent—and undeniably brilliant—track-focused pinnacle of Porsche’s consumer lineup. All feature the venerated naturally aspirated flat-six engine and elevate it to new heights. The 4.0-liter unit makes 502 horsepower in the GT3 and 518 in the GT3 RS, producing an intoxicating soundtrack all the way to its 9000-rpm redline. The chassis is a sharper version of the 911's, tuned, tweaked, and fortified with a control-arm front suspension design that Porsche says is derived from the factory's 911 RSR and 911 GT3 Cup race cars. While the rear wing found on the GT3 and the even larger wing on the GT3 RS makes it simple for even a neophyte enthusiast to pick them out of a lineup, it's an exterior detail that doesn't allow the GT3 RS to be incognito. But the core spirit of the GT3 is impossible to ignore regardless of the packaging, a quality that makes it one of our favorite ultra-performance vehicles—one that has scorched Virginia International Raceway in our annual Lightning Lap track shootout.
In the tail of the 911 GT3 is a naturally aspirated 4.0-liter flat-six that makes 502 horsepower. The engine is essentially identical to the one that powered the last 911 Speedster we tested, which spun to 9000 rpm and wailed hypnotically. The GT3 offers both a seven-speed dual-clutch automatic (a.k.a. PDK) and a six-speed manual, and both feature a shorter final-drive ratio for sharper responses. The 4.0-liter in the GT3 RS gets tuned for 518 horsepower and comes with an outrageous rear wing that incorporates a drag-reduction system similar to those on Formula 1 race cars, and it pulled 1.16 gs on our skid pad. The most notable performance upgrade on this latest generation of the GT3 is its control-arm front suspension, which is a first for a production 911. Combine that with standard adaptive dampers and sticky Michelin Pilot Sport Cup 2–or stickier Cup R–tires and the coupe's chassis provides tremendous cornering grip and unfiltered feedback. While the GT3's ride is undeniably firm, it's never punishing, and the electrically assisted steering is so divinely communicative that it deserves anointment as the best in the business. The RS's suspension tuning is stiffened up for the track to the point where some drivers may find it too uncomfortably sharp-edged for the street. But if you're one of those folks, consider the 911 Turbo model instead. Stopping these purist's Porsches are massive binders with steel brake rotors; a carbon-ceramic option provides heroic braking power, easy modulation, and resists fade at the track. Active anti-roll bars for flatter cornering are also available.
The price of the 2025 Porsche 911 GT3 / GT3 RS starts at $224,495 and goes up to $243,295 depending on the trim and options.
Arturia MicroFreak is a virtual analog synthesizer created in collaboration with modular synthesizer pioneers Mutable Instruments. The synthesizer is based on the Plaits module. The synthesizer has 11 unique sound engines and 3 main filter types (LP, BP, HP). Despite its small size, MicroFreak has a modulation matrix with advanced functions. With 5 available modulation sources and 7 destination points, you can virtually reconnect components within the MicroFreak to create completely unique sounds, especially since 3 of the destination points are user assignable. With easy programming via the Matrix push knob, a clear backlit display and extra detail shown on the OLED screen, you can create unique patches in an instant. The flat touch keyboard with no moving parts may seem alien, but its use is extremely natural. The 25-key touch board not only tracks notes, but can also detect pressure and aftertouch on each note individually. This has some exciting uses both when playing the MicroFreak and when using MPE and virtual instruments with polyphonic aftertouch support, such as when the MicroFreak is used as a MIDI controller. Touch keyboard controls also give access to basic sequencer parameters, while the touch strip can be used as a pitch bending tool or to control the amount of "Spice" and "Dice" in sequences.
My son is engaged in this creativity, and I don’t yet know where he will upload his masterpieces... I’ll let everyone know when I know :)
The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome.
The rest of the mosaics, dated to the 1160s or the 1170s, are executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental. A few mosaics have a secular character and represent oriental flora and fauna. This may be the only substantial passage of secular Byzantine mosaic extant today.
c/o Wikipedia
Die Sendeanlage Junglinster in Luxemburg wurde 1932 von der Compagnie Luxembourgeoise de Radiodiffusion (CLR) errichtet und nahm am 15. März 1933 ihren Betrieb auf. Ursprünglich bestand die Anlage aus drei 180 Meter hohen Stahlfachwerkmasten, zwischen denen ein Antennendraht gespannt war.
1954 wurden diese Masten durch zwei freistehende, gegen Erde isolierte Stahlfachwerktürme mit einer Höhe von jeweils 250 Metern ersetzt; 1959 kam ein dritter Turm hinzu. Diese Türme bildeten eine Richtantennenanlage zur gezielten Ausstrahlung des Signals in Richtung Frankreich.
Funkamateur
In den folgenden Jahrzehnten diente die Sendeanlage Junglinster der Ausstrahlung von Programmen auf Langwelle, Kurzwelle und zeitweise auch auf Mittelwelle und UKW. 1972 wurde der Langwellensender nach Beidweiler verlegt, wobei Junglinster als Reserveanlage erhalten blieb. 1994 wurden die Kurzwellenausstrahlungen eingestellt, jedoch 2002 mit erneuerter Technik im DRM-Modus wieder aufgenommen.
Ein bemerkenswertes Phänomen, das mit der Sendeanlage Junglinster verbunden ist, ist der sogenannte Luxemburg-Effekt. Dabei handelt es sich um eine Kreuzmodulation in der Ionosphäre, bei der das Signal eines anderen Senders auf einer Frequenz hörbar wurde, auf der dieser selbst gar nicht sendete.
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The Junglinster transmission facility in Luxembourg was built in 1932 by the Compagnie Luxembourgeoise de Radiodiffusion (CLR) and began operation on March 15, 1933. Initially, the facility consisted of three 180-meter-high steel lattice masts, with an antenna wire suspended between them.
In 1954, these masts were replaced by two free-standing, ground-isolated steel lattice towers, each 250 meters high; a third tower was added in 1959. These towers formed a directional antenna system for targeted signal transmission towards France.
In the following decades, the Junglinster transmission facility was used for broadcasting programs on longwave, shortwave, and occasionally on medium wave and FM. In 1972, the longwave transmitter was relocated to Beidweiler, while Junglinster remained as a backup facility. Shortwave transmissions were discontinued in 1994 but resumed in 2002 with renewed technology in DRM mode.
A remarkable phenomenon associated with the Junglinster transmission facility is the so-called Luxembourg Effect. This is a cross-modulation in the ionosphere, where the signal of another transmitter could be heard on a frequency on which it was not actually broadcasting. (Quelle/source: Internet)
When I look at this scene, with that glorious cross of golden light projected by the rising sun, I cannot avoid a sense of awe, and the adventure of post-processing could only confirm and deepen that feeling. One could think that I could express some pride for such a work, but it would be inappropriate. Nature is the author of this wonder, and I am only an humble means to tidy it up a bit and offer its beauty to everyone would take the time to have a look. And it makes me wonder about how God sometimes reveals Himself in special moments - and we are sometimes lucky enough to be able to capture them with a camera.
At last I realized that I had this lesson by a great mentor, and I decided to tell it to those who, intrigued by the Latin title of the photo, will decide to continue reading.
"Soli Deo Gloria" is a Lutheran Latin motto meaning "Glory to God alone". Johann Sebastian Bach was a very proud man when dealing with wordly powers, but he used to put this motto at the end of his works, humbing himself in front of God. One day someone asked him how could he produce such an awful lot of great music - a provocative question, since Bach's work was on the old-fashioned side of the music of the time, to which Bach provocatively answered: "By working a lot". So he was stubborn and proud, but he was also aware that all his genius and hard work was not for his own glorification, but rather a way to induce people to perceive God, to sincerely glorifying Him. Bach made it all crystal clear in the Musical Offering BWV 1079 (1747), one of his last works and one of his very few published ones. The Musical Offering is definitely not a sacred music work, nonetheless it is a treatise about the real status of the supposed worldly glory of Man. It is formally dedicated to Frederick II the Great and is, basically, the devastating response to a humiliation that Bach had suffered at the hands of Frederick some months before. It was not simply a challenge between two quite different musical worlds, but a clash of two mutually incompatible worldviews. The Musical Offering is full of provocations and ironic remarks to the king - who, at our knowledge, was fully unresponsive to the challenge. The typical procedure is as this: while apparently celebrating the glory and greatness of the king through Latin mottoes like "Ascendenteque Modulatione ascendat Gloria Regis" (as the modulation rises, so may the King's glory), the actual music tells a vastly different story (the rising modulation, through subtle artifices, is actually perceived as descending). So, even if Frederick did not care a bit of Bach's powerful response (maybe he did not even open the luxury dedicatory copy Bach sent to him), we are left with a deep reflection about the glory and power of this world. A lesson still to be learned by the posterity.
I have obtained this picture by blending an exposure bracketing [-1.3/0/+1.3 EV] by luminosity masks in the Gimp (EXIF data, as usual, refer to the "normal" exposure shot), then I added some final touches with Nik Color Efex Pro 4. RAW files processed with Darktable 3
Since the 13th century, the harp had been considered the heraldic symbol of Ireland. An early visitor to Ireland remarked: " I find that this people apply a commendable industry is playing upon musical instruments. They are incomparably more skillful than any other nation I have ever seen. For their modulation on these instruments is not slow and harsh, but lively and rapid, while the harmony is both sweet and gay…"
A tradition which, thankfully, continues!
Jeder wollte mit ihr musizieren. Jacques Brel besuchte sie mit seiner Gitarre in der Rue de Berri, als er fünfundzwanzig Jahre alt und noch völlig unbekannt war. Welches seiner Lieder dem Publikum am schwersten nahezubringen sei, wollte sie von ihm wissen und machte „Ça va, le diable“, einen satirischen Lobgesang auf die Zerstörungskraft des Teufels, der 1954 noch zu früh kam, über die Jahre zu einem Klassiker. Auch Georges Brassens war ein nahezu unbeschriebenes Blatt, als er ihr das „Chanson pour l’Auvergnat“ überließ, eine Ode an die Résistance. „Padam, padam“ wurde ihr angeboten, aber sie lehnte ab. Dafür nahm sie „Je hais les dimanches“ von Charles Aznavour, das Edith Piaf zuvor verschmäht hatte. Mit Serge Gainsbourg entstand 1958 „L’Accordéon“. Und noch im neuen Jahrtausend suchte Juliette Gréco unter den Stimmen einer jungen Generation nach Weggefährten. Neben Benjamin Biolay fand sie auch den Rapper Abd al Malik, dessen Art von Musik im Anprangern der Verhältnisse, das wusste sie, das französische Chanson längst abgelöst hatte.
Zufällig war keine dieser Begegnungen. Juliette Gréco hat ihre Arbeit stets als Engagement begriffen, das mit der sorgsamen Auswahl ihrer Lieder begann. Oft war diese Wahl vom Mut, Neues zu wagen, nicht zu trennen. Mit Miles Davis trat sie im New Yorker Waldorf Astoria in den fünfziger Jahren auf, als eine weiße Frau neben einem schwarzen Mann auf der Bühne den Hoteldienern noch die Gesichtszüge entgleiten ließen. Im Jahr 1967 hauchte sie dem Publikum „Déshabillez-moi“ entgegen, glitt mit den Händen an ihrem Körper entlang und löste einen Skandal aus. Schon bald nach dem Krieg besuchte sie auch wieder Deutschland, weinte auf der Bühne, aber fand ein Publikum, dessen treue Begeisterung sie mit regelmäßigen Konzerten belohnte. Sie machte nie einen Hehl daraus, dass ihr Verhältnis zu den Franzosen gespaltener war als das zu anderen. Die Franzosen seien treuloser und sprunghafter, sagte sie, die Deutschen aber kundige Zuhörer und Zuschauer, die nicht zufällig vorbeikämen. Es stimmte. Ihre stets schwarze Silhouette, ihre dunkel umrandeten Augen, das Besingen der verrinnenden Zeit, der sie doch mit jeder Modulation ein Schnippchen schlug, auch das ewige Akkordeon wirkten auf das Publikum in Deutschland viel seltener antiquiert als in Frankreich, wo man keine Sehnsucht nach sich selbst hatte.
Doch es galt auch umgekehrt: Dass diese Sehnsucht hierzulande über Jahrzehnte lebendig geblieben ist, daran hatte Juliette Gréco einen großen Anteil. Es waren ihre Stimme und ihr Spiel, die den Assoziationsraum öffneten, in dem, für einen Abend lang, eine Zeit aufschien, die ein Versprechen barg und alles möglich machte.
Dass sich nicht jedes Versprechen erfüllt, wusste Gréco wohl am besten. Sie war dreimal verheiratet, zuletzt mit Gérard Jouannest, der für Jacques Brel mehr als vierzig Chansons komponierte, bevor er Gréco mehr als zwanzig Jahre lang am Klavier begleitete. Sie hat ein Kind geboren und eines abgetrieben. Eine Krebserkrankung überstanden. Ein Selbstmordversuch scheiterte. Bis vor wenigen Jahren stand sie auf der Bühne, aber sie wusste, wann die Zeit vorbei war. „Man darf nicht als Besiegter gehen, sondern als Sieger“, sagte sie, kurz bevor sie zum letzten Mal in Deutschland auftrat. Das ist ihr gelungen. Am Mittwoch ist Juliette Gréco im Alter von 93 Jahren gestorben.
Quelle: F.A.Z.
The Palatine Chapel is the royal chapel of the Norman Palace in Palermo, Sicily. This building is a mixture of Byzantine, Norman and Fatimid architectural styles, showing the tricultural state of Sicily during the 12th century after Roger I and Robert Guiscard conquered the island.
Also referred to as a Palace church or Palace chapel, it was commissioned by Roger II of Sicily in 1132 to be built upon an older chapel (now the crypt) constructed around 1080. It took eight years to build, receiving a royal charter the same year, with the mosaics being only partially finished by 1143. The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns. The muqarnas ceiling of the nave and the chapel's rectilinear form show the Fatimid influence in the building's construction.
The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome. The shimmering mosaics of the transept, presumably dating from the 1140s and attributed to Byzantine artists, with an illustrated scene, along the north wall, of St. John in the desert and a landscape of Agnus Dei. Below this are five saints, the Greek fathers of the church, St. Gregory of Nissa, St. Gregory the Theologian, St. Basil, St. John Chrysostom and St. Nicholas. The three central figures, St. Gregory, St. Basil, and St. John Chrysostom, are the Three Great Orthodox Church Fathers referred to as the Three Hierarchs, which originated fifty years earlier. Every composition is set within an ornamental frame, not dissimilar to that used in contemporaneous mosaic icons.
The rest of the mosaics, dated to the 1160s or the 1170s, are executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental. A few mosaics have a secular character and represent oriental flora and fauna. This may be the only substantial passage of secular Byzantine mosaic extant today.