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Conversations with Contemporary Artists: Joana Hadjithomas and Khalil Joreige
Monday, December 2, 2013
Peter B. Lewis Theater
5th Ave at 89th St
New York City
Artists and filmmakers Joana Hadjithomas and Khalil Joreige discussed how their practice explores the complexities of documenting history through different media. Reem Fadda, Associate Curator, Middle Eastern Art, Guggenheim Abu Dhabi Project, moderated the discussion. A private view of the exhibition Lasting Images, featuring Hadjithomas and Joreige’s video of the same name, Lasting Images (2003), followed the talk.
Photos: Chad Heird
To learn more, visit www.guggenheim.org/cca.
2x2 model explained in Snowden and Stanbridge (2004)
Snowden, D. and P. Stanbridge (2004). "The landscape of management: Creating the context for understanding social complexity." Emergence: Complexity and Organization 6(1): 140-148.
Clipping Path service from $0.49. Satisfaction guarantee, no payment required before job done, 1-24 Hrs turnaround. Photoshop masking, photo editing, raster to vector and other image manipulation services are also available
Complexity Group Grapes On a Train 2013: Barbecue After Party at a private condo in Montreal, Quebec, Canada
There's hoisin sauce, carrot chimichurri, salsa verde, curry yogurt sauce, Seoul sauce, and Belly Fire sauce
To read more about this trip, please CLICK HERE
Food is cooked by Chefs Bill Kim and Yvonne Cadiz-Kim of Belly Shack and Urbanbelly
© 2013 Tina Wong; The Wandering Eater. All Rights Reserved. Images may not be reproduced, copied, or used in any way without written permission.
Complexity Addict, performed as part of Ego Alter
Choreography by Hilary Bryan
Performer: Hilary Bryan
Venue: CounterPULSE, SF
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.
After Douglas Crockfords' session, where he gave away the important sentence: "Complexity is the enemy of security."
Photo showing impressions from "Roundtable Playing with Urban Complexity" / Fachhochschule OÖ - Hagenberg Campus (AT)
credit: Florian Voggeneder
via Instagram ift.tt/1L40h8V — “Living With Complexity” by Donald Norman has been providing me with some good thinking material as of late. I've been reading bits and pieces over breakfast most mornings, or a couple pages before I head to sleep. One day sometime in the future I might have enough time to be able to read more than just a page or two at a time ... Or actually sit and think without a deadline or client crises getting in the way ... Someday.
Cusp catastrophe manifold, explained with an example from community ecology. This manifold represents situations with two control parameters, herbivory and storm intensity in this case, and one response variable. Here the response is the coral or macroalgal dominance of tropical reefs. Dominance emerges from changes that take place within the community as the two control parameters interact. The change is usually abrupt and discontinuous, but the smooth manifold serves as a good explanation of the discontinuity. Prediction using catastrophe manifolds, however, remains a problem.
The manifold was generated with Mathematica 5.2 running on Fedora Linux. The example is a well known example of regime shift in ecological communities. Read more about it here.
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The rites of Holy Week are present in Sicily with complexity of content and symbologies due to numerous influences, very present those due to the Spanish culture, dominating the island between the sixteenth and seventeenth centuries; in the mystery of the death and resurrection of Christ, it is attended by a popular culture, referring to ancient pre-Byzantine rites that originated long before those of Mediterranean Christian culture.
These ancient rituals represent the most significant moments of the Passion of Jesus Christ, described in the Gospels, from his arrest by the Romans to the Resurrection and are part of the Holy Week celebrations, together with the normal religious functions.
The Good Friday procession at Bronte has its roots far beyond the characters received by Spanish domination, realizing itself as one of the most complex and archaic in absolute, a procession impregnated with prayer, penance and symbolism. The protagonists are the city confraternities that give a reconstruction of the Scenes of the Passion, featuring the apostles, the pious women, the Roman soldiers and Christ, and the statues of Our Lady of Sorrows, Christ the Column, Christ Crucified and Dead Christ, decorated with fresh beans, led by the faithful invoking grace in brontese dialect.
The porters of Dead Christ are in silence because Christ is dead, while the bearers of Our Lady of Sorrows intonate the songs of the adoration of the Cross of Christ.
It is a sequence of scenes that live along the winding streets of Bronte, which on Holy Friday become a great stage in which the Passion and Death of Christ is recited.
Since the morning everywhere is silent, it is not sung and does not laugh, the bells do not ring because they were "tied up" on Thursday. In a sign of sadness you can only hear the woody sound of "troccola" and drums.
The three "pious women" (with large black dresses, the face is hidden by long natural hair, grown and cared for by vote) in religious silence; there are clerics and childre veiled and dressed in white; each of them is entrusted with an object that finds precise references to the symbols of passion (a palm, chalice, cross, hammer and nails, sponge, ladder, spear, sheet of shroud, and other objects); there is Saint Michael the Archangel, who is traditionally a seven-eight-year-old child dressed in classic iconography, slowly goes along with an angel-girl who carries the "chalice of the Passion," with a cadence-step marked by the rhythm of a drum to make them a mimic with a movement that recalls that of Sicilian puppets.
The Christ is tied up and dragged by the violence of the Roman soldiers, and the Christ, curved that carries the cross helped by the little Cireneo.
The two figures of Christ are members of two families who pass the vote and devotion from father to son and carry their covered face and bare feet in the sign of penance.
All the statues, except that of the Dead Christ, are adorned with flowers and with the first fruits of the earth, especially beans and peas, as a sign of God's offering of the first fruits of this period, are carried on the shoulder of devotees: the rituals of Easter Jewish Christian period recall a symbolic pre-Christian ritual .
This is a short and long report on the procession of Bronte's Holy Friday of this year, 2017.
I riti della Settimana Santa presentano in Sicilia una complessità di contenuti e di simbologie dovute a numerosi influssi, molto presenti quelli dovuti alla cultura spagnola, dominante nell’isola tra il XVI ed il XVII secolo; nel mistero della morte e della resurrezione di Cristo, si assiste nella cultura popolare, a riferimenti risalenti da antichi riti pre-bizantini che originano da molto prima di quelli della cultura cristiana mediterranea.
Questi antichi riti rappresentano i momenti più significativi della Passione di Gesù Cristo, descritti nei Vangeli, dal suo arresto da parte dei romani alla Resurrezione e fanno parte, insieme alle normali funzioni religiose, delle celebrazioni della Settimana Santa.
La processione del Venerdì Santo a Bronte affonda le sue radici ben oltre i caratteri ricevuti dalla dominazione spagnola, realizzandosi come una delle più complesse ed arcaiche in assoluto, processione impregnata di preghiera, di penitenza e di simbolismo. Protagoniste sono le confraternite cittadine che danno vita ad una ricostruzione delle scene della Passione, con figuranti che fanno rivivere gli apostoli, le pie donne, i soldati romani ed il Cristo, insieme ad essi le statue della Madonna Addolorata, del Cristo alla Colonna, del Cristo Crocifisso e del Cristo Morto, addobbate con le fave fresche, condotte dai fedeli che invocano la grazia in dialetto brontese.
I portatori del Cristo Morto restano in silenzio perché il Cristo è morto, mentre i portatori della Madonna Addolorata intonano i canti dell’adorazione della Croce del Cristo.
E’ una sequenza di scene che prendono vita lungo le tortuose strade di Bronte, le quali durante il Venerdì santo diventano un grande palcoscenico, nelle quali si recita la Passione e la Morte del Cristo.
Già dal mattino dappertutto è silenzio, non si canta e non si ride, le campane non suonano perchè sono state «legate» il giovedì. In segno di tristezza si può ascoltare solo il suono legnoso della “troccola” e dei tamburi.
Sfilano in religioso silenzio le tre "pie donne" (con grandi abiti neri, il volto è nascosto da lunghi capelli naturali, fatti crescere e curati per voto); ci sono i chierichetti e le giovinette velate e vestite di bianco; a ciascuna di esse è affidato un oggetto che trova preciso riferimento ai simboli della passione (una palma, il calice, la croce, il martello e i chiodi, la spugna, la scala, la lancia, il lenzuolo della Sindone, ed altri oggetti); ecco san Michele Arcangelo, tradizionalmente è un bambino di sette-otto anni, vestito secondo la classica iconografia, procede lentamente insieme ad una bimba-angelo che reca il “calice della Passione”, con un cadenzato passo scandito dal ritmo di un tamburo, tale da far loro mimare una sorta di movimento che richiama quello dei pupi Siciliani.
Vengono rappresentati il Cristo legato e trascinato dalla violenza dei soldati romani, ed il Cristo, curvo che porta la croce aiutato dal piccolo cireneo.
Le due figure del Cristo sono membri di due famiglie che si tramandano il voto e la devozione da padre in figlio e portano la faccia coperta ed i piedi nudi, in segno di penitenza.
Tutte le statue, tranne quella del Cristo Morto, sono adornate con fiori e con le primizie della terra (fave e piselli soprattutto, in segno d’offerta a Dio delle primizie di questo pe¬rio¬do sono portate a spalla da centi¬naia di devoti: i rituali della Pasqua giudaico cri¬stia¬na, richiamano una ritualità simbolica precri¬stiana dove la pa-rola pasqua, dall'ebraico pesah = passaggio, è sintesi di rinno¬va¬mento, di transito da una fase di morte della natu-ra (l'inver¬no) ad una fase di vita e di risveglio (la primavera), si ha così la sovrap¬po¬sizione dei rituali reli-giosi con le cele¬brazioni arcaiche legate al risveglio della na¬tura. Si innesca una disarmonia este¬tica sulle vare fra la ricca infiorata ed poveri baccelli di fave, le quali finiscono col possedere uno o più significati sim¬bolici,
come essere portatrici di un omaggio alla divinità con fine propiziatorio che discende da motivazioni antiche, legate alla vita dei pastori che nel Brontese hanno avuto ed ancor hanno larga importanza, dalla pianura proprio nel periodo pasquale, essi ritorna¬va¬no ai pascoli montani dopo aver concluso la transu¬manza e, nella occasione, portavano alle divinità il dono di una primi¬zia costituita proprio dalle faviane. A margine di questa usanza religiosa vi è un'altra ap¬pen¬dice devozionale:a lla fine della processione i por¬ta-tori del¬le vare manifestano l'antichissima credenza ma¬gico religiosa della legge del contatto secondo la quale ciò che è stato vicino al divino diventa elemento di pro¬tezione contro ogni avversità e apportatore di be¬nes¬sere spirituale e materiale, essi allora cercano di impossessarsi dei baccelli che sono stati ap¬pe¬si alle vare.
Queso è un report breve e lungo sulla processione del Venerdi Santo di Bronte di quest’anno, 2017.
Fallen trees: a study in complexity.
5 frames, each ISO 100, f/11, 0.5s on tripod; aligned and stitched in Hugin with enfuse; tonemapped in LuminanceHDR; sharpening (highpass and fourier-space), black+white conversion and platinum toning in Darktable for 48.5 megapixels of detailed shapes.
A set of gaussian rationals (quotients of two complex numbers) drawn as circles whose radius is proportional to the product of the real an imaginary parts of the denominator.
I've wanted to do more high contrast black and white macro shots lately. This is my first attempt at capturing an aspect of nature in this format.
This somewhat trivial picture highlights the complexity of nature for me. The Black and White removes one layer of this complexity.
The complexity and rarity of a Rube Goldberg machine makes it all the more interesting to watch from start to finish. This overcomplicated contraption which ultimately performs a simple task, has turned up in popular commercials, events, movies, and TV shows.
At the famous Bryant Park Winter Village in New York City, Bank of America and their partner RED®, wanted to display a unique activation showing that small actions can create a big reaction—bringing us one step closer to ending the AIDS epidemic in Africa.
In order to make this idea tangible, Bank of America worked with a well-known marketing agency, Octagon, in hopes to build a Rube Goldberg experience. Octagon reached out to Britten, a creative production company in Traverse City, Michigan, to help bring this concept to life in just one month. The president, Paul Britten, was more than willing to accept this challenge as his background is in architecture.
“It took a lot of study on Rube Goldberg and his thinking. We created storyboards of each and every element in the process. Then created three-dimensional models until we were confident that the scale of each component was going to work,” said Paul.
The first trigger of the domino effect was to swipe an oversized Bank of America credit card that caused the machine to activate and go through a series of 10 different steps, until it opened up a gift box at the end with a RED® gift inside. The Rube Goldberg was designed to look like old-fashioned toys, built out of plywood, and cut using a MultiCam CNC router.
The Rube Goldberg Experience was on display for four days in Bryant Park, and raised thousands of dollars for project RED®. The entire machine was delivered in-person, assembled, tested, and staffed by Britten’s creative team. “We’ve been in business since 1985, originating as a sign company, but today we are really architects of special projects. We help agencies and other creative people bring their creative ideas to life. We only had a month to pull off this project, from the very first phone call until opening day. The kids were thrilled, there is nothing more fun than seeing their smiling faces,” said Paul.
Britten is one of the few creative companies that has the resources and manpower to oversee every step of a project like this including the initial concept, site survey, design, production, and final installation.
Intention:
Complexity
Reference:
"Balance is, ultimately, not something we can opt out of. Our photographs will be balanced—statically or dynamically—or they’ll be imbalanced, but the balance in an image will affect how people experience your photograph." -DuChemin
Outcome:
Took me far too long to organize these cards, but it was worth it to create my favorite picture from this project. The designs along with the lines create so many shapes, and with the help of editing the contrast is very eye catching. The direction of the lighting was unintentional but it adds just a slight bit of depth to the cards, almost making it look like an optical illusion.
Edits:
Removed color.
Increased: Contrast, Sharpness, and Shadow Intensity.
Decreased: Highlights.
Ecopoetics addresses the environment in all of its complexity; it includes both the butterfly and the bulldozer. Although the term "ecopoetics" didn't exist when Bern Porter started writing poetry, it is a term that now helps us to better understand his projects. Porter started out as a scientist and worked on the Manhattan Project, which created the first atomic bomb. After the bomb was detonated, he quit his job and devoted his life to making art. Porter is perhaps best remembered for his founds, which were spare collages that recontextualized words one can find in everyday places like fashion magazines or junk mail. During the course of this event at Temple Gallery, participants will listen to Bern Porter poetry (read by CA Conrad), discuss entropy and recycling in relation to Porter's work, the idea of waste as an essential component of energy, and the notion of permaculture. Additionally, participants are asked to bring a non-precious piece of paper with text (from a magazine or newspaper, or perhaps selected randomly), which will be incorporated into a collective found and hung in the Temple Gallery at the culmination of the workshop.
ABOUT OUR GUESTS:
Jena Osman's latest book of poetry is The Network (selected for the National Poetry series in 2009 and published by Fence Books). Other books include An Essay in Asterisks and The Character. She co-edits the Chain Links book series with Juliana Spahr, and she teaches creative writing and literature in the English Department at Temple University. You can read Osman's essay Bern Porter: Recycling the Atmosphere by clicking here.
CA Conrad is a recipient of a 2011 Pew Fellowship in the Arts. He is the author of A Beautiful Marsupial Afternoon: New (Soma)tics, (Wave Books, 2012), The Book of Frank (Wave Books, 2010), Advanced Elvis Course (Soft Skull Press, 2009), Deviant Propulsion (Soft Skull Press, 2006), and a collaboration with poet Frank Sherlock titled The City Real & Imagined (Factory School, 2010). He has taught poetry at St. Mark's Poetry Project, CUNY Graduate Center, Naropa University, Goucher College, and elsewhere.
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.
One frame extracted from audiovisual live performance "Sounds of Complexity", in collaboration with Kinotek. Patches are entirely programmed in VVVV. The sound part of the performance is constituted by the electroencephalographic activity of a person, translated in audible audio spectrum. Such frequencies control in real-time specifical parameters of the visualization.
Info:
www.mattiacasalegno.net/index.php?/projects/sounds-of-com...
Video extract here: www.vimeo.com/4240405