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Distant view of the boundary peaks of the Cimarron and San Juan Mountains as seen from Montrose, Colorado.
Nessun uomo è un'isola,
completo in se stesso;
ogni uomo è un pezzo del continente,
una parte del tutto.
Se anche solo una zolla
venisse lavata via dal mare,
l'Europa ne sarebbe diminuita,
come se le mancasse un promontorio,
come se venisse a mancare una dimora di amici tuoi,
o la tua stessa casa.
La morte di qualsiasi uomo mi sminuisce,
perché io sono parte dell'umanità .
E dunque non chiedere mai
per chi suona la campana:
Essa suona per te.
John Donne
"Understanding Complexity - Offering Solutions to Problems of the 21st Century" Conference February 9th - 10th Vienna TUtheSky
Complexity on top of electric ice needles but no snowflakes, I need to rethink this. Perhaps I need more acetic acid.
A Norman chapel stands on the steep hillside above Chadlington. On a cold day in March the wind drives snow across the churchyard and rattles resilient patches of snowdrops. How many snows has this simple building seen, how many travellers have sought shelter from a howling storm, having climbed the steep hill from the River Evenlode below. Standing among the yew trees, on the bone-rich ground, the view from the churchyard is ancient, little altered by the passing years. At the end of a narrow lane All Saints has a few cottages for company, it is hard to tell whether these humble buildings are survivors of a larger village or have always stood isolated among the fields. It is easier to imagine the numberless generations of locals summoned here by bells to celebrate the passing ceremonies of Christian calendar.
The exterior of All Saints is austere, a simple two-cell Norman chapel extended to the south in the 15th century with a Georgian east window added during a major early restoration. The church consists of nave, chancel, an east belfry and 19th century south porch although outer and inner doors appear much earlier in date. Step inside and you are confronted by the Middle Ages in all it's symbolic complexity and the belief that the intervention of saints can influence our daily lives. A palimpsest, medieval saints overwritten with later biblical texts cover large areas of the nave walls, giving a faded impression of the elaborate decorative schemes that were common to all our pre-Reformation churches. A round-headed lancet survives in the north wall of the nave. The small 13th century chancel arch of two pointed chamfered orders is off-centre due to the nave being extended to the south. The south wall has two Perpendicular windows, a doorway and a piscina to the east, all of a similar date. A large squint to the south of the chancel arch connects nave and sanctuary. The west wall of the nave has a Tudor window and a blocked Georgian opening which may once have been one main doors of the church. An atmosphere of antiquity is emphasised by the 18th century pulpit, reading desk and box pews which tower over the east end of the nave. Opposite the door is a Norman tub font which has seen over 900 years of service. If you look through the Georgian east window of the chancel the tower of Spelsbury church can be seen in the distance, the chancel was rebuilt in the 18th century re-using a Decorated window in the south wall.
The real rarity of All Saints is the fortunate survival of several passages of medieval decoration preserved from destruction under a layer of whitewash. The earliest decoration surviving surrounds the 13th century round-headed north nave window, red lines mimic the pattern of stonework and small red floral motifs have been added to the window splay.
To the left of the blocked north door is a representation of St Frideswide, an 8th century princess who became a nun, choosing the church over a royal suitor, who was blinded when he attempted to force her into marriage. She became patron saint of Oxford and although her shrine was destroyed in the Reformation she is believed to be buried in Christ Church, Oxford.
To the right of the door is the figure of an archbishop, which might be St Edmund of Abingdon or a rare survival of an image of St Thomas a Becket, a particular target for iconoclasts due to his defiance of royal authority. The image shows the archbishop teaching a child to read.
To the west of the round-headed window is a fragmentary 14th century priest thought to be a depiction of St Leonard, patron saint of Eynsham Abbey, who owned the patronage of Shorthampton.
Over the chancel arch the remains of a Doom have been obscured by a Royal Coat of Arms. The Last Judgement, with the just ascending to heaven while sinners are thrown into the mouth of hell, is a common subject for the chancel arch, after the Reformation every church had to display the Royal Arms.
The squint was inserted in the 15th century to enable those in the widened southern portion of the nave to be able to witness the elevation of the host, during the celebration of the Mass. "The Legend of the Clay Birds" is depicted inside the squint, the Virgin Mary holds the Christ child and St John, although St.John might be holding a Goldfinch. The legend derives from the apocryphal Infancy Gospel of St Thomas which describes the Christ child making clay birds which he then brings to life.
To the right of this is "the Agony in the Garden" but there are two layers of paint which makes the imagery difficult to read.
The left reveal of the easterly south window of the nave has a small mid-15th century figure in an elaborate green dress. This is St Sitha, also known as Zita of Lucca, the patron saint of maids and domestic servants, often depicted holding a set of keys and said to help supplicants in finding items they have lost.
Between this window and the south door is a panel which shows St Loy or the "Legend of St Eligius", patron saint of blacksmiths and metalworkers, depicted shoeing a horse. A 7th century goldsmith famous for the building of churches.
Biblical texts replaced images of saints in the reign of Eward VI who ordered their destruction in 1548. The Creed appears on a large panel over the door and the west wall has a cartouche containing King Solomon's prayer. Also on the west wall is a disembodied wing probably the remains of "George and the Dragon" though possibly the Archangel Michael. There are also many small fragments of wall painting including foliate decoration round the chancel arch.
All in all a wonderful voyage through time. Shorthampton is a few miles from Chipping Norton about 40 minutes from Stratford-upon-Avon
Why Bach? Johann Sebastian and complexity
See it on video: youtu.be/iETlDofAJZ8
State of the Net 2013
Trieste (Italy), May 31-June 1
This image shows how the topological complexity of physical reality (elementary particles) can be created from a background membrane, IFF that brane is unbreakable and very elastic.
Holons are topological enfoldings of a non-breakable, dynamic, indestructible, very elastic Membrane. They can explain gravity, the fundamental forces in nature and physics, and the fundamental interconnectivity and interactions between all beings and all objects.
Holons are multi-layered "spaces". A holon contains always parts of the two parents Membrane peaks. The penetrator is Yang (male, lingam) and the acceptor is Yin (female, Yoni).
The two Yin membrane parts cover partly the Yang peak.
In the simplest form the holon has only three layers. When holons combine to more complex holons there are much more layers. And even the orientation (which peak is active and which is passive?) influences the outcome, since the unbrokenness implicates a non-commutative reality, where magical mathematical commutative tricks are not allowed or causally possible.
This concept shows the Concept of the Universal Energy Coupling. The essence is how two elements of Neutral Energy (Zero Field Energy) can couple/join because one is active and one is passive, making together a new specific energetic union. Such new holon can be a fundamental particle in physics, that is logically constructed by the dynamics of a single cosmological membrane. So we don't need Quantum Uncertainty (HUP) to explain nature.
This approach makes it clear how the Union of BODY and MIND is topologically constructed, and how consciousness fits in this.
Dirk Laureyssens
The complexities of molding a panel which is essentially carpet on top of cardboard without destroying it was not very fun. Nor was it easy, but here at Password:JDM, we were still able to get this completed with the processes that we have developed in house. All of this was done in less than a week. The agenda was to produce a piece thats adds volumes in terms of looks to 2013+ Scion FR-S / Subaru BRZ / Toyota FT86 and keep everything very tasteful. I honestly say it was mission accomplished here at Password:JDM.
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Some of these photographs appear to be close-ups of regular-sized flowers; they are not. All of these photos are micro (macro) photographs of the super-tiny blooms that blossom on the common weeds in my yard.
Many people assume that these flowers are, for example, squash or zucchini-sized flowers, or that they are flowers 1" in diameter or larger and are perhaps on stems a foot tall or so. Nothing could be further from the truth.
Most of these flowers when measured petal tip to petal tip at their widest diameters measure 1/4" (6mm) across…or less...the entire bloom is that small. And the average stem height is only a few inches tall, if that.
The smallest weed flower I've shot yet is a small ring of flowers that measured less than 1/32" (.7mm) in diameter which encircled a spire which measured about 1/64" (0.3mm) in diameter.
For some photos I’ve included references to common objects such as the head of a paper match, or the head of a pin, which dwarfs some of these tiny flowers! On some others I’ve listed a description of the actual size of each object in the photo.
For size comparisons to these objects view my set here:
www.flickr.com/photos/motorpsiclist/sets/72157635834700196/
So far I've made over 700 photographs of over 50 varieties of weed flowers.
I hope that seeing the variety, beauty, and intricate complexity of this small world astonishes and pleases you as much as it has me.
Thanks for looking.
.
Weed Flower Size Comparisons:
www.flickr.com/photos/motorpsiclist/sets/72157635834700196/
Micro Weed Flowers:
www.flickr.com/photos/motorpsiclist/sets/72157626023965740/
Micro Weed Flowers II:
www.flickr.com/photos/motorpsiclist/sets/72157633029514344/
Micro Weed Flowers III:
www.flickr.com/photos/motorpsiclist/sets/72157633029556370/
Micro Weed Flowers IV:
www.flickr.com/photos/motorpsiclist/sets/72157633025347237/
Micro Weed Flowers V:
www.flickr.com/photos/motorpsiclist/sets/72157633029592988/
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Copyright © notice: My photographs and videos and any of my derivative works are my private property and are copyright © by me, John Russell (aka "Zoom Lens") and ALL my rights, including my exclusive rights, are reserved and protected by United States Copyright Laws and by the Berne Convention and the Universal Copyright Convention.
ANY use without my permission in writing is forbidden by law.
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~
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I was familiar with the newer printing of this book in a larger landscape format, but it originally was published as a compact little manifesto-like volume.
I've always thought that such things are only possible in poorly-designed software projects. Apparently, the plumber at Alcatraz had an artistic soul...
I tried to clarify the relation between matter and language, from the original chemical components of life (as self-organisation) to the emergence of species, ethno-linguistic groups, programming languages. This cladogram draft permits me to map clearly the shortest path from matter to language (red line). Of all this complexity, interwoven histories, some simplicity should emerge...
The proximity of 2 elements on this tree also make the compatibility of the elements more obvious : compatibility of human and other mamals organ transfert, compatibility of 2 close-by computing syntaxes.
This cladogram is very simplified regarding the complexity of evolution, just a few branches out of the main path. I might continue this research here, feel free to advise me on this subject, if you know a software that does wonderful graphics of interwoven cladograms, I am interested.
research continues here :
Biography & Artist Statement:
My passion for photography started when I got my first digital point-and-shoot camera when I was 14; but, my fascination grew when I got my first DSLR at the age of 17.
I took Digital Arts and Design at Malayan Colleges Laguna and graduated in 2010. I then moved to San Francisco and continued my education. Since then, I have been honing skills more and more by taking photography classes, and doing some experiments involving light.
I also often make my own equipment when the tools I'm looking for aren't commercially available.
I am now seeking growth in the world of portraiture, black and white darkroom photography, and 3-Dimensional photography.
CCSF Photography and You:
I have always been fascinated by images because they spark my imagination. These images make me question what happened/is happening/will happen next, and where is it. Ever since I got my first DSLR in 2008 I've been exploring the things I could do with it: landscapes, 360-panoramas, light painting, freeze motion, and more recently, 3D.
Taking classes in the photography department meant challenging myself to do what I have not done before. It makes me think of new ways to be creative. When I take pictures in my "mini studio" in my own little room, it often involves setting up the light, tying objects with strings, and making strange contraptions just to make the image I imagined possible.
Now I am thinking of ways I could combine these things that I learned to make something new out of them. This makes the process twice as difficult and hopefully the results will also be twice as better.
Complexity Group Grapes On a Train 2013
To read more about this trip, please CLICK HERE
© 2013 Tina Wong; The Wandering Eater. All Rights Reserved. Images may not be reproduced, copied, or used in any way without written permission.
Why Bach? Johann Sebastian and complexity
See it on video: youtu.be/iETlDofAJZ8
State of the Net 2013
Trieste (Italy), May 31-June 1
This gigantic hall is an old semi abandoned container ship building hall used by Maersk Shipping. I had a short visit there, but will for sure be back for more C-:
Well that sucks. I created a quick css hack for adding text over the images. I can make an image that when clicked can go to the intended url. But cannot get it to be valid strict xhtml. Has to do with nested tags (href around divs). Though I can use the text/image for pictures with text. Could not find any simple way (aside from adding single character by character) for vertical text.
'... We had a couple embedded languages within the editor, in fact.
Another one, which we didn't expose directly to the users, was for
describing images. Viaweb included an image generator, written in
C, that could take a description of an image, create that image,
and return its url. We used s-expressions to describe these images
as well. ...' [0]
I'll leave it at that. I might look at using code to generate text over images but that is way too complex for my needs. The complexity comes in aligning text over complex images. If you look at Paul Grahams site all the link graphics are created by generating text on a background through code. While the code is cool, images themselves are lame.
As a rule I don't like images for titles (waste of bandwidth). But the flickr moo cards look nice. Text placement is the problem with complex images (light text over dark works. Light text over light areas do not.) But I got around this by careful placement of the text. Add white text into dark areas. Hence the placement at the top/bottom.
Reference
[0] Paul Graham, 'Lisp in Web-Based Applications, Talk to BBN, Cambridge MA, April, 2001':
lib.store.yahoo.net/lib/paulgraham/bbnexcerpts.txt
[Accessed Tuesday 14, November 2006]
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