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Photography from Farm Communities by Paul Mobley

Photography from Farm Communities by Paul Mobley

Photography from Farm Communities by Paul Mobley

When photographer Paul Mobley set out to capture the soul of our country’s farm communities, he encountered an enduring rural culture that remains rooted in the principles of tradition, family, integrity and hard work. Traveling across the country from Tennessee to Montana, Mobley and his camera were welcomed time and again into the homes of over two hundred farm families, who graciously shared their personal histories and private thoughts, along with the fruits of their labor. Visit after visit, Mobley came to know the independent farmer’s spirit from both behind the lens and across the dinner table.

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Photo by Paul Mobley

The result is the first portrait collection of modern American farmers ever published to reach so deeply and gracefully into its subject. Images are accompanied by short and revealing first person narratives, told in the farmers’ own words, that offer an intimate look inside the hardships and joys of a quickly disappearing way of life—one that once defined our national identity and now struggles to remain vital. From Walter Jackson, a 104-year-old Florida citrus farmer; to Patsy Fribley, a stockyard dealer from Montana; to Aaron Bell, a young 9th generation organic dairy farmer in Maine, Mobley’s exquisite photography reveals the true face of American farming and remind us what it means to live with simplicity, contentment, and decency in a world that so often forgets.

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Photo by Paul Mobley

States included: Alaska, Alabama, Arizona, California, Colorado, Florida, Georgia, Iowa, Illinois, Indiana, Kansas, Kentucky, Louisiana, Maine, Michigan, Minnesota, Missouri, Mississippi, Montana, North Carolina, Nebraska, New Mexico, New York, Ohio, Oklahoma, Oregon, South Dakota, Tennessee, Texas, Virginia, West Virginia, Wyoming.

Paul Mobley on America’s Heartland Show from Paul Mobley on Vimeo.

WEBSITE: www.paulmobleystudio.com

Designer Eyeglasses Adjusted to Fit any Face

Designer Eyeglasses Adjusted to Fit any Face

“A-Frame” Designer Eyeglasses by Ron Arad for pq

London designer Ron Arad has created a range of sunglasses and spectacle frames that can be adjusted to fit any face by sliding the lenses along an A-shaped wire over the nose. The same wire forms a hinge mechanism that automatically closes the arms when the glasses are taken off. Each design in the collection is named after a different London Underground station. These are the first in a series of frames by Arad for new eyewear brand pq.

With frames designed by the artist, architect, thinker, designer and teacher Ron Arad, pq is here to bring something new to the world of glasses. New ideas are important. Most trousers look like trousers, most sweaters look like sweaters, most glasses look like glasses, but there is room for something new as well. That’s what pq is here to bring. Individuality is a big part of pq. Not only frames that are a little bit different but frames that can make you a little bit different too.

dezeen Eyewear by Ron Arad for pq PARK ROYAL 1022 front 78 Designer Eyeglasses Adjusted to Fit any Face

Quality is another big part. It’s one thing to make prototypes that are enjoyable for days and another thing to make real frames that are reliable for years. pq is about being a little playful too. pq has some serious frames and is serious about its frames but is not a fully signed-up member of the serious club. It plays a little on the outside.

Take the name for example. The brand is called pq because p and q are very good friends, nestled next to each other in the middle of a hostile alphabet, the mirror of each other, meaning nothing, and importantly meaning nothing in Japanese. pq stands for nothing but the shape of a pair glasses. Afraid of “boredom, fundamentalists and philistines,” Arad has spent a career creating studio pieces and buildings that are innovative and uncompromised. He sees pq as an opportunity to develop a product that, for the first time, will take his unique approach to design and “rest it on the ears and noses of a great many people.”

dezeen A Frame by Ron Arad for pq 8 Designer Eyeglasses Adjusted to Fit any Face

A-Frame:

In pursuit of coming up with a pair of frames to fit any face, we created the A-Frame. It’s a simple name for new kind of glasses idea that puts an A-shaped wire structure into the middle of the frame. The A in the bridge can be easily adjusted, to move the two lenses and frames closer or further apart. To explain the nuts and bolts of the A-Frame; quite simply there aren’t any… The wire that forms the A also forms the invisible sprung hinges. The magic really happens when you take the glasses off; they close effortlessly.

The A-Frame is constructed from the following materials: titanium, known for its durable, corrosion resistant and hypoallergenic properties; aluminium which is both light weight and corrosion resistant; acetate for colour fastness and comfort; corrosion resistant steel and the alloy, Monel.

dezeen A Frame by Ron Arad for pq 18 Designer Eyeglasses Adjusted to Fit any Face

SOURCE: www.dezeen.com

 

What Art Is What is Art…

What Art Is What is Art...

What Art Is What is Art…

Loren Lukens tells us…

My love affair with clay began in the early 1970’s as an undergraduate art student at a small Midwest liberal arts college. Counterculture influences and my farm boy background combined to make a career in pottery an appealing synthesis of practicality, art, and craft husbandry. Beth Kirchhoff, my wife is a musician (pianist, accompanist, chorus master).

We enjoy comparing the similarities of our chosen careers. The respect, understanding and interpretation of traditional forms (pottery or music) are clear priorities for each of us.

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Porcelain pottery for functional use on the table or aesthetic use on the wall
The beginnings of pottery go hand in hand with the beginnings of humankind. Of contemporary crafts, only basket making is as fundamental. The shapes of pottery are the shapes of the human body, and are named such: lip, foot, shoulder. They are shapes we know very well on a level beneath our consciousness.

My forms are extensions of traditional pottery with contemporary variations. They are strong, sleek and sculptural with a bold painterly surface and rich glaze treatment. The pieces have a dynamic impact when viewed from a distance as well as an intensity of detail up close. Form and Function drew me to pottery, but painting has been an increasingly important part of my work. My best pots resolve the difficulty of painting in three dimensions, while maintaining the integrity of the form.

My intent is to produce works of art for everyday living. It functions practically, as tableware for company and everyday use, or aesthetically, hung on the wall or as a stand-alone art piece.

SEE MORE…

Glenn Close is Albert Nobbs

Glenn Close is Albert Nobbs

Glenn Close is Albert Nobbs

Getting  Close with Glenn at the Modern School of Film

By Rachel Sokol (From the Fall 2012 Edition of A Distinctive Style Magazine)
To some, legendary actress Glenn Close is best known for her role in the 1987 thriller, Fatal Attraction. But as her eclectic theatre-to-film-to-television career  track record has proven, the Oscar and Tony-nominated actress is more–much more–than the lovestruck woman she played in that classic film.

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Glenn Close as Albert Nobbs

Close, dressed casually in jeans and a loose-fitting black top, recently sat down for a Q&A in Manhattan with Robert Milazzo, founder of The Modern School of Film, to discuss her role in the film Albert Nobbs. Earlier this year, Close was nominated for an Academy Award for her role as Albert, but lost to her dear friend Meryl Streep.

The heart-wrenching movie didn’t break box-office records, and Close admits “reviews were mixed.” Regard­less, Close is proud of her work in Albert Nobbs, which she described as “a labor of love.”
The audience watched Albert Nobbs before Close answered questions, first talking about Damages, a show about a sharp-tongued litigator named Patty Hewes that recently wrapped its successful run on FX Networks. (Close joked to the audience, “I always asked the writers, ‘What is my backstory? Why am I so mean?’”)

“At this point in my career, I don’t want to be spending time with people who aren’t inspiring, with scripts that don’t present challenges,” said Close, about what attracted her to the role of Patty Hewes. Although that simple statement may seem closed-off, Close answered it honestly, while remaining humble and personable.

READ MORE…

A Distinctive Style with Jackie Evancho, Glenn Close, Bill Cosby

A Distinctive Style with Jackie Evancho, Glenn Close, Bill Cosby

Jackie Evancho, Glenn Close, Bill Cosby, Paul Englishby among others can be found in the Fall 2012 edition of A Distinctive Style

When you open the Fall 2012 issue of A Distinctive Style you will be greeted by a beautiful cover featuring child singing sensation Jackie Evancho, then you will notice the music of Emmy Award Winner Paul Englishby.

In our cover story with Jackie Evancho you’ll hear how she has handled the media storm since coming on the scene as a contestant on the fifth season of America’s Got Talent. She talks about her acting debut in a Robert Redford film to release in 2013 and tells us how she picked the songs for her newly released album “Songs From the Silver Screen.” You will see highlights from the CD by clicking a link on her page.

Other stories you’ll enjoy in this edition include:

  • A personal look at 2012 Emmy winner Paul Englishby focusing on his love of music and the success he has had with film and television musical scores.
  • A preview on “Stories of Change,” a partnership between the Skoll Foundation and the Sundance Film Festival to promote documentary films that promote global awareness and stimulate change.
  •  An interview with legendary film actress Glenn Close as she sits down with Robert Milazzo at The Modern School of Film.
  • An inspirational profile of Tony Volpentest, a four-time Paralympic Gold Medalist and 2012 Olympic Hall of Fame nominee.
  • An examination of the fascination with the Mayan calendar and its prediction that the world will end on December 21, 2012.
  • A look into the “Gerson Therapy,” a natural cure for cancer.
  • A letter from Bill Cosby on “Why we must put our Children First.”
  •  A review of Lizzie Velasquez’ insightful new book “Be Beautiful, Be You” which relates the power of finding inner beauty.

Of course all of the stories feature the innovative aspects that A Distinctive Style is known for. They are expertly written, have vivid photography and are enhanced with audio and video clips to give you a complete interactive experience.

Flipping through the pages of the Fall issue is like losing yourself in a virtual visual world. For the readers of this magazine, this is truly a magnificent treat for the senses and a perfect way to celebrate the publication’s fifth anniversary.

Those who haven’t seen this issue yet should certainly take a look now by visiting www.adistinctivestyle.com. You will be hooked on the experience!

Frank Lloyd Wright ’s Organic Solution for Middle-Class Dwellings

Frank Lloyd Wright ’s Organic Solution for Middle-Class Dwellings

Sixty Years of Living Architecture: The Work of Frank Lloyd Wright opened in New York on site.

When we come to understand architecture as the essential nature of all harmonious structure we will see that it is the architecture of music that inspired Bach and Beethoven, the architecture of painting that is inspiring Picasso as it inspired Velasquez, that it is the architecture of life itself that is the inspiration of the great poets and philosophers.
— Frank Lloyd Wright
(July 27, 2012–February 13, 2013)

On October 22, 1953, Sixty Years of Living Architecture: The Work of Frank Lloyd Wright opened in New York on the site where the Solomon R. Guggenheim Museum would eventually be built. Two Frank Lloyd Wright-designed buildings were constructed specifically to house the exhibition: a temporary pavilion made of glass, fiberboard, and pipe columns; and a 1,700-square-foot, fully furnished, two-bedroom, model Usonian house representing Wright’s organic solution for modest, middle-class dwellings.

This presentation, comprised of selected materials from the Solomon R. Guggenheim Museum Archives, pays homage to these two structures. Aware of his lack of architectural recognition in New York City prior to the 1953 exhibition, Wright declared: “this house and the pavilion alongside it . . . represent a long-awaited tribute: the first Wright building[s] erected in New York City.”

Below is the original press release, courtesy of www.guggenheim.org

What is architecture anyway? Is it the vast collection of the various buildings which have been built to please the varying tastes of the various lords of mankind? I think not. No, I know that architecture is life; or at least it is life itself taking form and therefore it is the truest record of life as it was lived in the world yesterday, as it is lived today or ever will be lived…So, architecture I know to be a Great Spirit. 
— Frank Lloyd Wright

 

Born just two years after the end of the American Civil War, Frank Lloyd Wright (1867-1959) was witness to the extraordinary changes that swept the world from the leisurely pace of the nineteenth-century horse and carriage to the remarkable speed of the twentieth-century rocket ship. Unlike many of his contemporaries, who accepted such changes with reluctance, Wright welcomed and embraced the social and technological changes made possible by the Industrial Revolution and enthusiastically initiated his own architectural revolution. Inspired by the democratic spirit of America and the opportunities it afforded, he set out to design buildings worthy of such a democracy. Dismissing the masquerade of imported, historic European styles most Americans favored, his goal was to create an architecture that addressed the individual physical, social, and spiritual needs of the modern American citizen.

 

Read more at the Frank Lloyd Wright Foundation (www.franklloydwright.org)

 

About the Frank Lloyd Wright Foundation
The Frank Lloyd Wright Foundation is a non-profit organization that was established by Frank Lloyd Wright in 1940 to be a cultural and educational institution and the primary conservator of his work. The Foundation owns two world-famous National Historic Landmarks – Taliesin in Spring Green, Wis. and Taliesin West in Scottsdale, Ariz. – both open to inspire the public. The Foundation also owns and manages the vast Frank Lloyd Wright Archives and operates the Frank Lloyd Wright School of Architecture, a continuation of the apprenticeship program Wright established in 1932. www.franklloydwright.org

An Adventure with Willie Nelson & Friends

An Adventure with Willie Nelson & Friends

Willie Nelson Joins A Distinctive Style in the Summer edition.

In this issue you’ll get a glimpse inside the lives of Hollywood celebrities, as we spotlight their dedication and commitment to making a difference in the world.

WillieNelsonCover4x An Adventure with Willie Nelson & Friends

We have an abundance, of unique stories to share with you starting with the American icon who graces our cover. Willie Nelson’s new album, Heroes, is Willie at his finest, delivering the many flavors of ever-popular country songs. Willie and friends, including Merle Haggard, Snoop Dogg, Kris Kristofferson, Billy Joe Shaver, Sheryl Crow, Jamey Johnson, and Willie’s sons Lukas and Michah, have joined forces to introduce new songs and to delight music lovers with classics that date back 50 years.

Of course, it’s impossible to think of Willie Nelson without thinking of American farmers. Willie and Farm Aid, undoubtedly are two sides of the same coin, a coin that symbolizes an uncountable number of other individuals aiding the American farmer.

As you’ll see in the Summer issue  of A Distinctive Style, aid can come in the form of consumers who make purchases at Farmers Markets; lawyers like Peter Kennedy and others at the Farm to Consumer Legal Defense Fund; filmmakers like Kristin Canty; and brave famers and fighters who push back against heavy-handed government agencies.

Our literary horn of plenty also features Josh Wachs of Share Our Strength®, an organization committed to ensuing the food that is grown finds its way to the many who go hungry in our country each day. Too, you’ll learn about genetically modified foods and about food safety.

Get Ready for an Amazing Adventure!

Click on the the magazine below to get started…..

15,000 metallic balloon dress by Susie MacMurray

15,000 metallic balloon dress by Susie MacMurray

Susie MacMurray ‘s work encompasses drawing, sculpture and architectural installations. A former classical musician, she retrained as an artist, graduating with an MA in Fine Art in 2001. She now has an international exhibition profile and shows regularly in the USA and Europe as well as the UK.

An engagement with materials is central to MacMurray’s practice. Her role is one of alchemist: combining material, form and context in deceptively simple ways to stimulate associations within the viewers’ minds and to elicit nuanced meanings.

Working in installation and sculpture she has gained a reputation for site-specific interventions in historic spaces. Her work frequently references the history of a space and seeks to merge the particularities of that history, the specifics of site, and the inherent references attached to materials in an attempt to gain insight into the relationship between place and people.

Drawing is an important part of Susie MacMurray ‘s practice. In addition to her large scale pen & ink work she extends the possibilities of making drawings using unconventional materials including rubber tubing, hair and wax. She also makes pen & ink drawings on a more intimate scale and produces sculptural wall pieces and other work for private commissions.

 Susie MacMurray is represented by Agnew’s Gallery.

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15,000 metallic blue balloons,

Screen Shot 2012 05 21 at 5.10.52 PM 15,000 metallic balloon dress by Susie MacMurray

1400 household gloves turned inside out

 

Ernst Haeckel Dares us to Love Nature

Ernst Haeckel Dares us to Love Nature

Ernst Haeckel introduced the term Ecology

Scientific ecology is continually adding to our knowledge of the natural world and increasing our awareness of the marvel and the mystery by showing us how, on earth, everything fits together into a harmonious, ever changing, self-organising and self-creating system.

Screen Shot 2012 05 10 at 8.30.01 AM Ernst Haeckel Dares us to Love Nature

(February 16, 1834 – August 9, 1919)

An eminent German biologist and philosopher whose main claim of relevence to this resource pack is that he invented the term Ecology. In his Generelle Morphologie der Organismen(1866), Haeckel wrote, ‘By ecology we mean the body of knowledge concerning the economy of nature, the total relations of the animal to both its inorganic and organic environment; including its friendly and inimical relations with those animals and plants with which it comes into contact. In a word, all the complex relationships referred to as the struggle for existence

Building Bridges Michael Colebrook (This Article first appeared in Ecotheology vol. 10, 2001)

Just a hundred years ago, in 1899, the noted German biologist Ernst Haeckel published a book called The Riddle of the Universe. In it he reviewed what he believed to be the most significant scientific achievements of the nineteenth century and considered their impact on the relationship between science and religion. Amongst his other achievements it was Haeckel who, in an earlier work, introduced the term Ecology to describe the study of organisms in relation to where they live. To mark the centenary of the publication of Haeckel’s book it seems appropriate to take a look at the world through the eyes of the founder of scientific ecology and to compare this with the developments of the 20th century.

‘Matter cannot exist and be operative without spirit, nor spirit without matter’
In spite of being a biologist, Haeckel believed that the key scientific development of the century was the firm establishment of the conservation laws for both matter and energy. These laws state that matter and energy can neither be created nor destroyed, they can only be transformed. He combined these into what he saw as a single Law of Substance. The logical consequences of this law provide the key to Haeckel’s metaphysics and theology. He believed that, if matter and energy are fundamentally conserved, then the universe must be totally self-contained and therefore all phenomena must be accorded naturalistic origins. Based on the prevalent reductionist reasoning of his time, Haeckel’s monistic view led him to conclude that the universe had to be eternal, any form of origin or beginning seemed to him to require an external, supernatural creator; an idea which he rejected. In addition, the Law of Substance implied that the universe must also be subject to ubiquitous, deterministic and mechanical causality with the further implication that genuine creativity is not possible. All there can be is change in the context of continuity, albeit in apparently progressive and evolutionary forms. Haeckel subscribed to the view held by T.H.Huxley that Darwinian natural selection implied that biological evolution was a completely deterministic process.

haeckel ophiodea 70 astrophyton darwinium Ernst Haeckel Dares us to Love Nature

ophiodea 70 astrophyton darwinium

With respect to the debate between science and religion, Haeckel claimed that, ‘one of the distinctive features of the expiring [19th] century is the increasing vehemence of the opposition between science and Christianity… In the same proportion in which the victorious progress of modern science has surpassed all the scientific achievements of earlier ages has the untenability been proved of those mystic views which would subdue reason under the yoke of an alleged revelation’. Haeckel’s main criticisms of religion in general and Christianity in particular were that it was seen to relate exclusively to humans and that it was far more concerned with the supernatural than with the natural. Given a self-contained, monistic cosmos there can be no supernatural, by definition. Even so, Haeckel was not a complete atheist. He drew a clear distinction between monism and materialism. He quotes Goethe, ‘matter cannot exist and be operative without spirit, nor spirit without matter’ and paraphrases Spinoza, ‘matter, or infinitely extended substance, and spirit, or sensitive and thinking substance, are the two fundamental attributes of the all-embracing divine essence of the world.’ Based on these ideas, Haeckel looked for a completely naturalistic religion involving a form of pantheism. In his search he looked at the qualities of truth, goodness and beauty. For Haeckel, ‘the goddess of truth dwells in the temple of nature, in the green woods, on the blue sea, and on the snowy summits of the hills – not in the gloom of the cloister … nor in the clouds of incense of the Christian churches’. But, ‘it is otherwise with the divine ideal of eternal goodness… The idea of the good … in our monistic religion coincides for the most part with the Christian idea of virtue’. With regard to beauty, Haeckel again emphasised its manifestations in nature and particularly in the world of living things. He implicitly acknowledged the role of the Romantic movement of the nineteenth century in the dawning of an appreciation of the beauties of wild nature, ‘the glories of the Alps and the crystal splendour of the glacier world … the majesty of the oceans and the lovely scenery of its coasts.

Haeckel Orchidae 727x1024 Ernst Haeckel Dares us to Love Nature

Haeckel Orchidae

At first sight it is difficult reconcile Haeckel’s emphasis on rationality as sole source truth with his obvious leanings towards romanticism he advocates supremacy reason primarily opposition subservience any form super-natural revelation and to contemporary claims church in the conclusion of >The Riddle of the Universe he claims that ‘in a thoroughly logical mind, applying the highest principles with equal force in the entire field of the cosmos – in both organic and inorganic nature – the antithetical positions of theism and pantheism, vitalism and mechanism, approach until they touch each other’. Here he clearly seeks to transcend the dualism of reason versus Romanticism although he goes on to admit that ‘the number is always small of the thinkers who will boldly reject dualism and embrace pure monism’.>

The turn of the century, when Haeckel published his book, has to be seen as a dark period in the relations between science and religion. A.N.Wilson’s recent book God’s Funeral chronicles the vicissitudes of Western Christianity in the nineteenth century. The book takes its title from a poem by Thomas Hardy composed somewhere between 1908 and 1910 in which he writes:

And, tricked by our own early dream
 And need of solace, we grew self-deceived,
Our making soon our maker did we deem.
And what we had imagined we believed

Till, in Time’s stayless stealthy swing,
Uncompromising rude reality
Mangled the Monarch of our fashioning.
Who quavered, sank; and now has ceased to be.

There is little doubt that the ‘uncompromising rude reality’ of nineteenth century science played a significant part in God’s Funeral and even now, the best part of a hundred years later, we still live in the shadow of this period. For some, God’s Funeral meant just that; for Haeckel it implied the eclipse of theism, but clearly not the rejection of all forms of spirituality provided they were compatible with his monistic universe.

 In the two last verses of his poem Hardy suggests the possibility of a faint glimmer of hope:

Whereof, to lift the general night
A certain few who stood aloof had said,
‘See you upon the horizon that small light –
Swelling somewhat?’ Each mourner shook his head.

And they composed a crowd of whom
Some were right good, and many neigh the best…>

But, even as Hardy was writing his poem, advances in science were under way which would compromise some of the apparent certainties of the nineteenth century and which led to a wider recognition and swelling of ‘that small light’.

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Haeckel Actiniae

At the end of the twentieth century, with its enormous expansion of scientific activity it would be quite impossible to emulate Haeckel and review its achievements within the compass of a single volume, let alone in a short article. In the final chapter of his book, Haeckel claims that, ‘only one riddle of the universe now remains – the problem of substance. What is the real character of this mighty world-wonder?’ At the close of the twentieth century, in spite of all the developments of quantum theory and relativity theory, this riddle still remains. We know more about what substance is not but the real nature of the ‘stuff of the universe’ still eludes us. Max Planck claims that, ‘Science cannot solve the ultimate mystery of Nature. And it is because in the last analysis we ourselves are part of the mystery we are trying to solve’.

Nevertheless, there are aspects of Haeckel’s beliefs that are worth considering in the light of the scientific developments of the twentieth century. His belief in a self-contained universe, the emphasis on evolutionary processes, the unity and continuity of nature and the synthesis of matter and spirit, all find echoes in the world views that have emerged in this century.>

We no longer believe in an eternal universe even though we now know that the time frame of evolutionary history occupies thousands of millions of years compared with the hundreds of millions assumed at the turn of the century. It is now generally accepted that the universe did have an origin in a singular event, known as the Big Bang, and the time that has elapsed since this event is somewhere around fifteen thousand million years.

LED Snowboarder Lights Up The Winter Snow

LED Snowboarder Lights Up The Winter Snow

Jacob Sutton’s LED Snowboarder

A Night-time Snowboarding Short Lights Up the Last of the Winter Snow

Fashion photographer and filmmaker Jacob Sutton swaps the studio for the slopes of Tignes in the Rhône-Alpes region of south-eastern France, with a luminous after hours short starring Artec pro snowboarder William Hughes.

Jacob Sutton’s L.E.D. Surfer on Nowness.com.

Filming in the suit was the most surreal thing I’ve done in 20 years of snowboarding
The electrifying film sees Hughes light up the snow-covered French hills in a bespoke L.E.D.-enveloped suit courtesy of designer and electronics whizz John Spatcher. “I was really drawn to the idea of a lone character made of light surfing through darkness,” says Sutton of his costume choice. “I’ve always been excited by unusual ways of lighting things, so it seemed like an exciting idea to make the subject of the film the only light source.” Sutton, who has created work for the likes of Hermès, Burberry and The New York Times, spent three nights on a skidoo with his trusty Red Epic camera at temperatures of -25C to snap Hughes carving effortlessly through the deep snow, even enlisting his own father to help maintain the temperamental suit throughout the demanding shoot. “Filming in the suit was the most surreal thing I’ve done in 20 years of snowboarding,” says Hughes of the charged salopettes. “Luckily there was plenty of vin rouge to keep me warm, and Jacob’s enthusiasm kept everyone going through the cold nights.”

How did you come up with the concept for the film?

NOWNESS approached me to make a skiing film a few months ago. Its not a subject I’ve thought about before for film making, but I liked the idea of an unusual challenge. I did quite a lot of research into Skiing and Snowboarding films of which there are thousands of good ones. Most of them shot from helicopters featuring huge cliff jumps and vertical slopes. I wanted to approach Snowboarding in a more textural aesthetic way that felt more emotive and expressive. I was really drawn to the idea of a lone character made of light surfing through darkness.

Visit the NOWNESS Facebook page to read interviews with filmmaker Jacob Sutton, snowboarder William Hughes, and the rest of the team behind the L.E.D Surfing film.

Legendary Entertainer Ann-Margret

Legendary Entertainer Ann-Margret

Ann-Margret is Celebrating Ten Years on Grammy® Award-Winning Greenhaw Records

See our exclusive interview with Ann-Margret: www.adistinctivestyle.com/issue/60485/39

Legendary entertainer Ann-Margret has appeared in scores of television shows and motion pictures, in addition to releasing highly acclaimed music albums. Her latest album, God Is Love: The Gospel Sessions 2 (Greenhaw Records), was recently released and features the Preston Hollow Presbyterian Choir (Dallas, TX) on ten contemporary and traditional Christian and Gospel songs.

Produced by GRAMMY® Award winning musician and producer/arranger Art Greenhaw, God Is Love: The Gospel Sessions 2 marks a 10 year professional association between Ann-Margret and Greenhaw. According to Greenhaw, “As Ann-Margret’s gospel music producer, I believe that she has been called to the Gospel message of faith, hope and love through her tremendous singing and interpretive style. Listeners and her worldwide fans have agreed for over ten years as have the professional industry voters in the GRAMMY® and Dove Awards as evidenced by her nominations in the Gospel categories.”

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God is Love

Ann-Margret rose to fame for her starring roles in Bye Bye Birdie, Viva Las Vegas, State Fair, The Cincinnati Kid, Carnal Knowledge and Tommy, with later credits that include such hit films as Grumpy Old Men, Any Given Sunday, The Santa Clause 3 and The Break-Up. She has won five Golden Globe Awards and been nominated for two Academy Awards, two GRAMMY® Awards, a Dove Award, a Screen Actors Guild Award, and six Emmy Awards. In 2010, she won her first Emmy Award for her guest appearance on Law & Order: SVU.

You can purchase Ann-Margret’s CD’s at: www.theconnextion.com/artgreenhaw

______________________________

Record Producer Art Greenhaw

Art Greenhaw 230x300 Legendary Entertainer Ann Margret

Art Greenhaw

Art Greenhaw is a Grammy Award-Winning recording artist, producer and mixing engineer, having won the Grammy Award in 2003 in New York City for “Best Southern, Country or Bluegrass Gospel Album of the Year” for the album WE CALLED HIM MR. GOSPEL MUSIC: THE JAMES BLACKWOOD TRIBUTE ALBUM. He founded the independent record label, Greenhaw Records.

Greenhaw is bassist, multi-instrumentalist and manager for The Light Crust Doughboys. He officially joined The Light Crust Doughboys as band member in 1993 under the direction of Marvin “Smokey” Montgomery, one of Greenhaw’s musical mentors. The symphony performances and the other enterprises of The Light Crust Doughboys in the 1990s and in the new millennium are largely the products of Art Greenhaw’s imagination and promotional skill.

One of Greenhaw’s musical influences, Tom Brumley, steel guitarist for Rick Nelson and Buck Owens, says this about Greenhaw and his record production creativity: “Art was fantastic to work with. The guy has so much imagination to put such things together. He’s amazing to me.”

See our exclusive interview with Ann-Margret: www.adistinctivestyle.com/issue/60485/39

 


Nobel Prize winner for the discovery of polonium and radium

Nobel Prize winner for the discovery of polonium and radium

Nobel Prize winner for the discovery of polonium and radium

Maria S.C. chandelier designed by Pani Jurek is made from chemistry ready made tubes, closed in two plywood rings. Setup allows for experimenting with the look of the chandelier, it allows to create a variety of configurations and arrangements. The chandelier is inspired by the Polish scientific woman, Maria Sklodowska-Curie, who was awarded the Nobel Prize in Chemistry for the discovery of polonium and radium.

Madame Curie is one of the most famous female scientists in the history and her legend has kept the spirit of science alive for little girls through the generations. Being the most famous woman of science so far and the discoverer of polonium and radium, you’d think a light fixture inspired by her would be crafted out of these elements. But designer Pani Jurek decided that to shy away from using an all-too obvious idea and chose to design a chandelier using plywood rings and chemistry ready-made tubes.

The Maria S.C. chandelier allows users to set the light up in various arrangements and configurations to suit their decor. The versatile light fixture is even named after the famous polish scientist Maria Sklodowska-Curie. Though the chemistry tubes featured in the design do not appear to be used, if the designer can find a way to incorporate the ones discarded from labs and schools, the light fixture could become one helluva statement piece for the eco conscious decorator.

SOURCE: designeast.eu

Clothing can be used to purify air

Clothing can be used to purify air

A public experiment between Fashion and Science. To purify the air we all breathe.

by artist/designer
Professor Helen Storey
MBE with scientist
Professor Tony Ryan OBE

Catalytic Clothing seeks to explore how clothing and textiles can be used as a catalytic surface to purify air, employing existing technology in a new way. It is the brainchild of artist / designer Helen Storey and chemist Tony Ryan – people from very different worlds whose minds have come together over recent years in highly successful art/science collaborations.

A series of cultural and art interventions will bring this forthcoming technology into the public domain, seeking to engage you, in helping us shape our world for the better.

(Fe) Catalytic Clothing from Protein® TV on Vimeo.

Helen Storey (MBE)
Photo by: John Ross

Screen Shot 2012 02 16 at 5.52.52 PM Clothing can be used to purify airProfessor Helen Storey is an artist and designer living and working in London. She graduated in Fashion from Kingston Polytechnic in 1981, then worked with Valentino and Lancetti in Rome. She returned to London and worked with Belville Sassoon before launching her own label in 1983 with Caroline Coates. Storey’s late ‘80s and early ‘90s collections were noted for their questioning of traditional notions of glamour, expense and women’s image, including the launch of her 2nd Life range of clothes in 1992. In 1991, Storey won Most Innovative Designer Of The Year and was nominated for British Designer Of The Year by The British Fashion Council.

Storey was awarded Honorary Professorships at Heriot Watt University and King’s College London in 2001 and 2003 respectively and became a Visiting Professor of Material Chemistry at Sheffield University in 2008.

Helen is currently Professor of Fashion and Science at The London College of Fashion. Her pioneering work over the last decade has brought the worlds of art and science together, producing hybrid projects, and products that have broken new and award winning ground, she was awarded an MBE for ‘Services to Arts’ in 2010.

Professor Tony J Ryan OBE

Screen Shot 2012 02 16 at 5.54.26 PM Clothing can be used to purify airTony Ryan is the Pro-Vice-Chancellor for the Faculty of Science at the University of Sheffield where he was previously the ICI Professor of Physical Chemistry, Head of the Chemistry Department and Director of the Polymer Centre. His research covers the synthesis, structure, processing and properties of polymers and he was in at the beginning of polymer nanotechnology. He has co-authored more than 200 papers and eight patents and written a book on polymer processing or how things are made from plastic. Tony presented the Royal Institution Christmas Lectures on Channel 4 in 2002 and is a regular contributor to TV, radio and newspapers. He was born in Leeds and got his three degrees from UMIST. Married with two daughters, Tony is a creative cook, a keen cyclist and an occasional mountaineer with a weakness for gadgets. He was made an OBE in 2006 for ‘Services to Science’.

For more information visit: www.catalytic-clothing.org