But he can't dance . . .
Friday, June 29, 2007
Monday, June 25, 2007
Walter Lindrum
Great Video. Makes it look so easy.
World record break of 4137 in 1932. They changed the rules of billiards after this record break, to try and stop him. Didn't work. Lindrum won the World Professional Billiards Championship in 1933 and held it until his retirement in 1950. He also holds the fastest century break (46 seconds) and 1011 points (in 30 minutes). In a match in 1930 (against Willie Smith) he made 10 breaks over 1000 with a highest of 2419.
Friday, June 22, 2007
Some nice fish
Stefan Seuss (r) and Benjamin Grunder present their 102,8 and 97,4 kilo heavy catfish.The fish were caught in Italy in Bernhard Heiner's "Welcamp on the Po" During the night between 21. and 22. March the two Quantum-testanglers, Stefan Seuss and Benjamin Grunder made history in Italy for the catching "Wels" story. They had been fishing already very successfully in Bernhard and Ute Heiner's "Welscamp" on the River Po the days before. But in this particular night they broke the IGFA-World Record twice. About half-an-hour before midnight Stefan Seuss received a very hard bite. This was followed by a long, tiring battle, during which, because of the fish's long runs, it became apparent it must have enormous dimensions. After about 45 minutes, Stefan tried to hand land the fish, but was pulled into the River Po. In the end he managed to get the monster fish out of the water though. Just after he was back on his feet, and in control of the situation, he saw his fellow fisherman and team-colleague Benjamin Grunder running in the direction of his rod, which was a bit downstream, where the bite-indicator was virtually screaming like crazy. This was followed yet again by a breakneck battle, ending however, with another successful landing. The two fisherman were speechless after the first, quick measuring of the fish. Both of them were well over 2,40 meters long. Absolute madness! After daybreak both fish were measured, in the presence of a notary, seven witnesses and with calibrated, certified scales. This proved that the catfish from Stefan Seuss with a length of 2,48 metres and weighing 102,8 kilos was the larger of the two. But Benjamin Grunder's fish with 2,41 metres and 97,4 kilos also broke the existing World-Record. The catch data from the giant catfish from Stefan Seuss are now submitted to the IGFA so that it will be recorded as the new World-Record. The fish were caught with the following equipment: Rod - Rhino DF Big Fish, 2,85 metres, Reel - Quantum Crypton Big Pit fixed spool reel and as line Quantum Catfish Braid 50 kg. The water temperature at the venue was only 9.2 degrees centigrade due to the long, cold winter. Both anglers had been fishing on a long sandbank for the first days and had caught several extremely good "Wallers" up to 71 kilos - although this became slightly unimportant after this very special night! Most successful baits have been live bream of 1-3 lb size.
Wednesday, June 20, 2007
It Might Pay to Follow Your Bliss
It Might Pay to Follow Your Bliss
By M. P. DUNLEAVEY
Published: June 16, 2007
New York Times
REMEMBER the fable about the ant and the grasshopper? The ant works hard all summer, socking away provisions for the winter; the grasshopper frolics away each day. The ant warns the grasshopper that he’s being hedonistic and short-sighted. The grasshopper ignores the ant, and continues on his merry way — only to perish when winter sets in.
It’s a rather stern lesson about financial prudence, but there is a reason this tale has survived through the ages — and still preoccupies many researchers who study the eccentricities of human economic behavior. Why do the grasshoppers of the world have such a hard time emulating the ants?
The rewards of the ant’s strategy are obvious: by working hard, planning ahead and saving your resources, you end up healthy, wealthy and warm. The pleasures of the grasshopper’s life are short-lived — and ultimately lead to great stress and suffering (if not a dire end).
Yet economic research has demonstrated that most people find it hard to resist the siren song of “seize the day and spend what you have now” — even though a lifestyle based on constant consumption doesn’t enhance anyone’s long-term store of happiness and often puts people on shaky financial ground.
This conundrum also bedevils those who work in the field of personal finance. Why do millions of Americans resist saving for their retirements? Why do so many carry thousands of dollars in credit card debt?
The standard advice for those caught on the treadmill of “getting and spending” could come straight from the mouth of the ant: material kicks don’t pay off in the end, so mend your ways, plan ahead and financial prudence eventually will be its own reward. But this sort of finger-wagging makes few converts in the grasshopper world.
A more compelling approach may be to focus more on what makes you happier — because investing in your own well-being and quality of life may turn out to be more prudent and more profitable than you thought.
Tim Kasser, an associate professor of psychology at Knox College in Galesburg, Ill., studied 200 people who embraced Voluntary Simplicity, a movement focused “less on materialistic values — like wanting money and possessions and status — and more on what we called intrinsic values or goals,” Professor Kasser said. The three main intrinsic values were being connected to family and friends, exploring one’s interests or skills and “making the world a better place,” he said.
He conducted the study in 2005 with Kirk Brown, an assistant professor of psychology at Virginia Commonwealth University in Richmond. The researchers compared the attitudes and behaviors of this group with a matched sample of 200 mainstream Americans.
Although the mainstream group’s income was much higher, an average of about $41,000 a year compared with $26,000 for those aiming to live more simply, “we found the people in the Voluntary Simplicity group were much happier and more satisfied with life,” Professor Kasser said.
THAT doesn’t mean frugal people are happier, said Professor Kasser, adding that research findings on this topic are mixed. But the study found that when people invested more in intrinsic values, like relationships and quality of life, and less in consumption, it seemed to increase their happiness. And, the study suggested, there may be a financial gain to doing so. Those in the simplicity group were far more likely than the control group to say that they were careful about their spending, Professor Kasser said.
Christopher K. Hsee, a professor of behavioral science at the University of Chicago Graduate School of Business, has observed a similar pattern. He points out that when people use their purchases as a semaphore of status, there is “no natural stopping point;” there will always be a bigger house, a fancier car, a more expensive watch to go after.
When it comes to more basic needs, like food or sleep or friendship, most people naturally reach a point of satisfaction. “Consequently, people who value these types of goods may be financially better off,” Professor Hsee said.
As someone who struggles against her own grasshopper nature, wishing she had the foresight and impulse control of the ant, I like the idea that there’s another path to fiscal prudence.
Working hard and being practical are ideal skills to have in life, but if those aren’t your bag, investing in a happier way of life may offer the same financial dividend. Too bad the ant didn’t know about that.
http://www.nytimes.com/2007/06/16/business/16instincts.html?em&ex=1182484800&en=3b8892675557a945&ei=5087%0A
By M. P. DUNLEAVEY
Published: June 16, 2007
New York Times
REMEMBER the fable about the ant and the grasshopper? The ant works hard all summer, socking away provisions for the winter; the grasshopper frolics away each day. The ant warns the grasshopper that he’s being hedonistic and short-sighted. The grasshopper ignores the ant, and continues on his merry way — only to perish when winter sets in.
It’s a rather stern lesson about financial prudence, but there is a reason this tale has survived through the ages — and still preoccupies many researchers who study the eccentricities of human economic behavior. Why do the grasshoppers of the world have such a hard time emulating the ants?
The rewards of the ant’s strategy are obvious: by working hard, planning ahead and saving your resources, you end up healthy, wealthy and warm. The pleasures of the grasshopper’s life are short-lived — and ultimately lead to great stress and suffering (if not a dire end).
Yet economic research has demonstrated that most people find it hard to resist the siren song of “seize the day and spend what you have now” — even though a lifestyle based on constant consumption doesn’t enhance anyone’s long-term store of happiness and often puts people on shaky financial ground.
This conundrum also bedevils those who work in the field of personal finance. Why do millions of Americans resist saving for their retirements? Why do so many carry thousands of dollars in credit card debt?
The standard advice for those caught on the treadmill of “getting and spending” could come straight from the mouth of the ant: material kicks don’t pay off in the end, so mend your ways, plan ahead and financial prudence eventually will be its own reward. But this sort of finger-wagging makes few converts in the grasshopper world.
A more compelling approach may be to focus more on what makes you happier — because investing in your own well-being and quality of life may turn out to be more prudent and more profitable than you thought.
Tim Kasser, an associate professor of psychology at Knox College in Galesburg, Ill., studied 200 people who embraced Voluntary Simplicity, a movement focused “less on materialistic values — like wanting money and possessions and status — and more on what we called intrinsic values or goals,” Professor Kasser said. The three main intrinsic values were being connected to family and friends, exploring one’s interests or skills and “making the world a better place,” he said.
He conducted the study in 2005 with Kirk Brown, an assistant professor of psychology at Virginia Commonwealth University in Richmond. The researchers compared the attitudes and behaviors of this group with a matched sample of 200 mainstream Americans.
Although the mainstream group’s income was much higher, an average of about $41,000 a year compared with $26,000 for those aiming to live more simply, “we found the people in the Voluntary Simplicity group were much happier and more satisfied with life,” Professor Kasser said.
THAT doesn’t mean frugal people are happier, said Professor Kasser, adding that research findings on this topic are mixed. But the study found that when people invested more in intrinsic values, like relationships and quality of life, and less in consumption, it seemed to increase their happiness. And, the study suggested, there may be a financial gain to doing so. Those in the simplicity group were far more likely than the control group to say that they were careful about their spending, Professor Kasser said.
Christopher K. Hsee, a professor of behavioral science at the University of Chicago Graduate School of Business, has observed a similar pattern. He points out that when people use their purchases as a semaphore of status, there is “no natural stopping point;” there will always be a bigger house, a fancier car, a more expensive watch to go after.
When it comes to more basic needs, like food or sleep or friendship, most people naturally reach a point of satisfaction. “Consequently, people who value these types of goods may be financially better off,” Professor Hsee said.
As someone who struggles against her own grasshopper nature, wishing she had the foresight and impulse control of the ant, I like the idea that there’s another path to fiscal prudence.
Working hard and being practical are ideal skills to have in life, but if those aren’t your bag, investing in a happier way of life may offer the same financial dividend. Too bad the ant didn’t know about that.
http://www.nytimes.com/2007/06/16/business/16instincts.html?em&ex=1182484800&en=3b8892675557a945&ei=5087%0A
Tuesday, June 19, 2007
Wayne Carey
But it was with the ladies that Wayne Carey had the most problems. The first incident that saw him cop a high-profile guilty plea was back in 1996:
The assault occurred when Carey and a group of friends were walking down King Street after a night out [at 9am].
They approached the woman, who was with a female friend.
Carey grabbed her breast and said, "Why don't you get a bigger set of tits?".
A man, on his way home from work was stuck in traffic which was much worse than usual. Noticing a policeman walking among the stalled cars, he asked, "Officer, what's the holdup?" The policeman says: "Wayne Carey is so depressed about being caught cheating that he's stopped his car and is threatening to douse himself in petrol and set himself on fire. He says his family hates him, fans hate him, his team mates hate him and he now won't have the $1 million from hisfooty contract. I'm walking around taking up a collection for him." "Oh, really?" the man says. "How much have you collected so far?" "So far only 18 litres, but a lot of people are still siphoning."
Q. What's the difference between Skippy and Wayne Carey? A: Skippy can root who he likes and still be a kangaroo!
Q: What's the difference between Wayne Carey and the Titanic? A: Only 1600 people went down on the Titanic.
Q: Why does Wayne Carey wear boxer shorts? A: To keep his ankles warm
Q: What is the first thing Wayne Carey does when he gets out of bed? A: He goes home.
Q. What's the difference between a microwave and Wayne Carey? A: A microwave stops when you open the door !!!
The assault occurred when Carey and a group of friends were walking down King Street after a night out [at 9am].
They approached the woman, who was with a female friend.
Carey grabbed her breast and said, "Why don't you get a bigger set of tits?".
Wayne Carey jokes:
A new poll asked 1,000 women if they would have sex with Wayne Carey. 70% said, "Never again."
A man, on his way home from work was stuck in traffic which was much worse than usual. Noticing a policeman walking among the stalled cars, he asked, "Officer, what's the holdup?" The policeman says: "Wayne Carey is so depressed about being caught cheating that he's stopped his car and is threatening to douse himself in petrol and set himself on fire. He says his family hates him, fans hate him, his team mates hate him and he now won't have the $1 million from hisfooty contract. I'm walking around taking up a collection for him." "Oh, really?" the man says. "How much have you collected so far?" "So far only 18 litres, but a lot of people are still siphoning."
Q. What's the difference between Skippy and Wayne Carey? A: Skippy can root who he likes and still be a kangaroo!
Q: What's the difference between Wayne Carey and the Titanic? A: Only 1600 people went down on the Titanic.
Q: Why does Wayne Carey wear boxer shorts? A: To keep his ankles warm
Q: What is the first thing Wayne Carey does when he gets out of bed? A: He goes home.
Q. What's the difference between a microwave and Wayne Carey? A: A microwave stops when you open the door !!!
Sunday, June 17, 2007
Modern Art Movements
As artists began to experiment with new styles and techniques, they gathered in groups to talk about their ideas. rtisits with similar aims sometimes formed a movement (i.e. futurism). Apart from creating a sense of solidarity and confidence, the movements gave them authority; groups of artists tended to be taken more seriously than individuals. Below is a list of various movements associated with modern art:
Abstract Expressionism: Late 1940s-late 50s, USAArtists produced large-scale, dramatic abstract paintings. There were two main types: action painting, and the quieter, colorfield painting, which used broad expanses of color and relied more on color association. This movement was largely responsible for New York displacing Paris as the centre of the art world after WWII.
Bauhaus: 1919-33, GermanyAn influential German art school which was eventually closed down by the Nazis. Each student studied art, architecture and design with the ultimate aim of creating a better living environment for everyone. Its design principles were based on admiration for geometry and the machine.
Conceptual Art: Late 1960s-70s, USA and ItalyConceptual artists emphasized the ideas underlying works of art, often as a protest against the commercialism of the art world. They often used photos, text, etc. to document an action or even, or to express ideas.
Constructivism: 1917-20, RussiaA geometric abstract art movement. Artists were initially influenced by Suprematism, but after the Russian Revolution they tried to help create a new society by applying geometric design principles to all areas of life (architecture, furniture, clothes design, etc.)
Cubism: 1907-early 20s, ParisA style pioneered by Picasso and Braque which drew attention to the contradictions involved in depicting a 3-D scene on a 2-D surface. Analytical Cubism (1907-12) broke down real objects into different parts. Synthetic Cubism (1912-14) built up recognizable images from abstract parts using ready-made materials.
Dada: 1914-20, Germany, Paris and New YorkA movement of irreverent, unbridled protest against the state of western society that led to the First World War. Members saw art as decadent and middle class. They staged events (now often called "Happenings") designed to shock, and created works out of unconventional materials, or based on chance.
Expressionism: 1905-early 20s, Germany and AustriaThe artists' main purpose was to express emotions and/or a sense of deeper reality, through vigorous brushstrokes, and distortion or exaggeration of shapes and colors. There were two main groups: Die Brucke (The Bridge) and Der Balue Reiter (The Blue Rider). Van Gogh and Munch were key influences.
Fauvism: 1905-10, FranceA group of young painters centered around Matisse whose work was characterized by strong color and powerful brush strokes. Their worktended to be joyful.
Futurism: 1909-14, ItalyThis movement was founded by the poet Marinetti. Its members rejected the past and instead celebrated the dynamism of the machine age and city life.
Impressionism: 1874-86The first major avant-garde movement. The name was invented in 1874 by a hostile critic, inspired by a painting by Monet entitled Impression: Sun Rise. The Impressionists' aim was to capture the passing moment, by means of a sketchy technique, strong color and a commitment to outdoor, on-the-spot painting, with as little reworking in the studio as possible.
Kinetic Art: 1960s, InternationalSculpture that actually moves, often using modern technology to achieve this. It contrasts with Op art which just appears to move.
Land Art: 1960s-80s, USA and GBArt that invovles the artist going out into nature (normally in a remote area), and making his or her mark on it. The only record that remains is photographic, sometimes combined with maps, text and so on. More recently, some Land artists have exhibited sculptures made from natural found objects inside galleries.
Minimalism: Late 1960s-70s, USAAn intellectual sort of art which seems to consist of very little, so that the viewer is forced to scrutinize the formal roperties of what is actually there very carefully. The work is usually rigorously geometric and involves the repetition of identical objects. Malevich was among the pioneers of this kind of art.
Neo-Expressionism: Late 1970s-80s, InternationalWidespread and much-publicized characteristic of 1980s art.
Op Art: Late 1950s-60s, InternationalThe name is short for Optical art. It refers to a geometric abstract art that manipulates the viewer's visual response and creates the illusion of movement. Artists use theories from the psychology of perception to achieve this effect.
Orphism: 1912-13, FranceA colorful and almost abstract strand of Cubism. One of the earliest attempts to create abstract art.
Performance Art: 1960s-present, InternationalThis art is related to theatrical performance, but usually has no plot or sense of drama. It is often used to make a political point, exploit the idea of endurance, or simply to entertain.
Pointillism: Mid 1880s-90s, FranceThe technique of applying small, regular dabs of unmixed color on to the picture surface, relying on scientific theories (combining complementary colors). Pioneered by Seurat, who used the term "Divisionism."
Pop Art: Late 1950s-60s, USA and GBThe apparent celebration of western consumerism after the auterity and rationing of the war years. The artists' work evokes the brash, colorful world of advertising, commic strips and popular entertainment.
Point Impressionism: 1880s-90s, FranceA blanket term referring to art that both learned from and rejected certain Imressionist principles. Cezanne and Seurat tried to regain a sense of order; Gauguin attempted to express a world of imagination and spirituality; van Gogh, elemental emotions.
Socialist Realism: 1930s-50s, USSRArt promoted by the Stalinist regime in Russia as a propoganda tool. The artists used a realistic, but often melodramatic style to present an idealized vision of Societ society and its leaders.
De Stijl: 1917-early 30s, HollandA movement founded by van Doesburg and Mondrian to promote their use of geometric abstract shapes and primary colors, based on the idea of universal harmony. Their ideas exended to architecture and design as well as paintings. They published a magazine with the same name.
Suprematism: 1913-20s, RussiaMalevich expressed the ideas behind this movement in his book "The Non-Objective World." e wrote of his wish to create a vocabulary of geometric abstract shapes entirely independent of the visible world, and espressing pure artistic feeling. He greatly influenced Constructivist artists.
Surrealism: 1924-40s, ParisA movement that drew on certain ideas of Dada, and on the writings of Freud to create an art which was intended to free the viewer as well as the artist by exploring the world of the unconscious and subconscious mind. some artists used unorthodox techniques such as frottage (random rubblings from different materials).
Symbolism: 1890s, InternationalA literary and artistic movement which, partly in reaction to Realism and Impressionism, emphasized the world of the imagination, of ideas, dreams and emotions. It is a predecessor of Expressionism and Surrealism.
Vorticism: 1910-14, EnglandA group of London-based avant-garde artists inspired by cubism and Futurism. They rejected the gentility of the English art world and celebrated the excitement and beauty of the machine age. They published a magazine called "Blast." The movement did not survive the brutality of WWI.
Source for text:Bohm-Duchen & Cook. "Understanding Modern Art." EDC Publishing: Oklahoma, 1988.
http://www.umfa.utah.edu/?id=MjAx
Abstract Expressionism: Late 1940s-late 50s, USAArtists produced large-scale, dramatic abstract paintings. There were two main types: action painting, and the quieter, colorfield painting, which used broad expanses of color and relied more on color association. This movement was largely responsible for New York displacing Paris as the centre of the art world after WWII.
Bauhaus: 1919-33, GermanyAn influential German art school which was eventually closed down by the Nazis. Each student studied art, architecture and design with the ultimate aim of creating a better living environment for everyone. Its design principles were based on admiration for geometry and the machine.
Conceptual Art: Late 1960s-70s, USA and ItalyConceptual artists emphasized the ideas underlying works of art, often as a protest against the commercialism of the art world. They often used photos, text, etc. to document an action or even, or to express ideas.
Constructivism: 1917-20, RussiaA geometric abstract art movement. Artists were initially influenced by Suprematism, but after the Russian Revolution they tried to help create a new society by applying geometric design principles to all areas of life (architecture, furniture, clothes design, etc.)
Cubism: 1907-early 20s, ParisA style pioneered by Picasso and Braque which drew attention to the contradictions involved in depicting a 3-D scene on a 2-D surface. Analytical Cubism (1907-12) broke down real objects into different parts. Synthetic Cubism (1912-14) built up recognizable images from abstract parts using ready-made materials.
Dada: 1914-20, Germany, Paris and New YorkA movement of irreverent, unbridled protest against the state of western society that led to the First World War. Members saw art as decadent and middle class. They staged events (now often called "Happenings") designed to shock, and created works out of unconventional materials, or based on chance.
Expressionism: 1905-early 20s, Germany and AustriaThe artists' main purpose was to express emotions and/or a sense of deeper reality, through vigorous brushstrokes, and distortion or exaggeration of shapes and colors. There were two main groups: Die Brucke (The Bridge) and Der Balue Reiter (The Blue Rider). Van Gogh and Munch were key influences.
Fauvism: 1905-10, FranceA group of young painters centered around Matisse whose work was characterized by strong color and powerful brush strokes. Their worktended to be joyful.
Futurism: 1909-14, ItalyThis movement was founded by the poet Marinetti. Its members rejected the past and instead celebrated the dynamism of the machine age and city life.
Impressionism: 1874-86The first major avant-garde movement. The name was invented in 1874 by a hostile critic, inspired by a painting by Monet entitled Impression: Sun Rise. The Impressionists' aim was to capture the passing moment, by means of a sketchy technique, strong color and a commitment to outdoor, on-the-spot painting, with as little reworking in the studio as possible.
Kinetic Art: 1960s, InternationalSculpture that actually moves, often using modern technology to achieve this. It contrasts with Op art which just appears to move.
Land Art: 1960s-80s, USA and GBArt that invovles the artist going out into nature (normally in a remote area), and making his or her mark on it. The only record that remains is photographic, sometimes combined with maps, text and so on. More recently, some Land artists have exhibited sculptures made from natural found objects inside galleries.
Minimalism: Late 1960s-70s, USAAn intellectual sort of art which seems to consist of very little, so that the viewer is forced to scrutinize the formal roperties of what is actually there very carefully. The work is usually rigorously geometric and involves the repetition of identical objects. Malevich was among the pioneers of this kind of art.
Neo-Expressionism: Late 1970s-80s, InternationalWidespread and much-publicized characteristic of 1980s art.
Op Art: Late 1950s-60s, InternationalThe name is short for Optical art. It refers to a geometric abstract art that manipulates the viewer's visual response and creates the illusion of movement. Artists use theories from the psychology of perception to achieve this effect.
Orphism: 1912-13, FranceA colorful and almost abstract strand of Cubism. One of the earliest attempts to create abstract art.
Performance Art: 1960s-present, InternationalThis art is related to theatrical performance, but usually has no plot or sense of drama. It is often used to make a political point, exploit the idea of endurance, or simply to entertain.
Pointillism: Mid 1880s-90s, FranceThe technique of applying small, regular dabs of unmixed color on to the picture surface, relying on scientific theories (combining complementary colors). Pioneered by Seurat, who used the term "Divisionism."
Pop Art: Late 1950s-60s, USA and GBThe apparent celebration of western consumerism after the auterity and rationing of the war years. The artists' work evokes the brash, colorful world of advertising, commic strips and popular entertainment.
Point Impressionism: 1880s-90s, FranceA blanket term referring to art that both learned from and rejected certain Imressionist principles. Cezanne and Seurat tried to regain a sense of order; Gauguin attempted to express a world of imagination and spirituality; van Gogh, elemental emotions.
Socialist Realism: 1930s-50s, USSRArt promoted by the Stalinist regime in Russia as a propoganda tool. The artists used a realistic, but often melodramatic style to present an idealized vision of Societ society and its leaders.
De Stijl: 1917-early 30s, HollandA movement founded by van Doesburg and Mondrian to promote their use of geometric abstract shapes and primary colors, based on the idea of universal harmony. Their ideas exended to architecture and design as well as paintings. They published a magazine with the same name.
Suprematism: 1913-20s, RussiaMalevich expressed the ideas behind this movement in his book "The Non-Objective World." e wrote of his wish to create a vocabulary of geometric abstract shapes entirely independent of the visible world, and espressing pure artistic feeling. He greatly influenced Constructivist artists.
Surrealism: 1924-40s, ParisA movement that drew on certain ideas of Dada, and on the writings of Freud to create an art which was intended to free the viewer as well as the artist by exploring the world of the unconscious and subconscious mind. some artists used unorthodox techniques such as frottage (random rubblings from different materials).
Symbolism: 1890s, InternationalA literary and artistic movement which, partly in reaction to Realism and Impressionism, emphasized the world of the imagination, of ideas, dreams and emotions. It is a predecessor of Expressionism and Surrealism.
Vorticism: 1910-14, EnglandA group of London-based avant-garde artists inspired by cubism and Futurism. They rejected the gentility of the English art world and celebrated the excitement and beauty of the machine age. They published a magazine called "Blast." The movement did not survive the brutality of WWI.
Source for text:Bohm-Duchen & Cook. "Understanding Modern Art." EDC Publishing: Oklahoma, 1988.
http://www.umfa.utah.edu/?id=MjAx
Thursday, June 14, 2007
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