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Industry continues to expand in the west, albeit in a smaller scale now, than in the later part of the 20 century. The lines and stripes on this factory gate really caught my eye. Being a relatively new construction the signs of wear and tear on the concrete were still minimal, offering a clean clinical look that complements the graphical nature of this image. All this made even better by that late light in the magic hour of summer in Australia.
no graphical GROUP ICONS, INVITES, or AWARDS please (they will be [sadly] deleted) - just comments and critiques ---
please click here: www.flickr.com/photos/qmusaget/?details=1" to see HOW our streams should be preferably [or at least optionally] viewed ---
It's a Risso's dolphin (Grampus griseus). The ocean was as flat as a pond.
This picture was taken against the light, as you certainly guessed ;)
A non-ideological photo, taken for its graphical interest (to my eyes at least).
[Just to make sure I'm not misunderstood: I am NOT against PMA (Medically Assisted Procreation); but I am not favorable to GPA (surrogate mothers), except perhaps in very selective cases among people who are family members or close friends (done for love not for money). And with this I'm sure I will lose some followers who disagree. Too bad...]
A bit of a graphical abstract from my lunchtime walk. The sun was out, but I only went around the local estate, so not a great deal of choice today.
Ref: D1870-029
Seen at Venloer Straße, Cologne, Germany.
More street photography from Cologne here: www.streetphotographycologne.com
Just a revisit to a old save doing some ENB and Comparison shots and a few other graphical enhancements.
The way of expressing my ideas and my perception of the reality is by means of the graphical design it is for my graphical design the form in which I can express to me in a creative way.
no graphical GROUP ICONS, INVITES, or AWARDS please (they will be [sadly] deleted) - just comments and critiques ---
please click here: www.flickr.com/photos/qmusaget/?details=1" to see HOW our streams should be preferably [or at least optionally] viewed ---
The idea was born to make a self-portrait on all four graphical corners of Amsterdam. I'm pointing to the Southernmost piece of asphalt on Amsterdam territory here...
Location: Holendrechterweg, Amsterdam (NL) The Southernmost point of Amsterdam next to the Holendrecht and Abcouder Meer.
Location: 52°16'42.7"N 4°57'32.2"E (click on the link to view the exact location on Google Maps)
Reason: During some of my recent urban biking sessions to explore Amsterdam and it's vicinity I discovered how vast the Amsterdam territory is. The Southernmost point of Amsterdam is also the border with the province of Utrecht. Love the idea to mark these 4 extreme locations with a self portrait. Pointing down here (South).
East, North, South, North:
Southernmost: Holendrechterweg, municipal and provincial boundary with Abcoude.
Easternmost: Uitdammerdijk, municipal boundary with Uitdam
Westernmost: Machineweg, municipal boundary with Halfweg
Northernmost: Oostzanerdijk, municipal boundary with Zaanstad.
Biking distanes to:
Easternmost point: 25.4 km (Uitdam) 1h23
Westernmost point: 27.9 km (Halfweg) 1h31
Northernmost point: 22.5 km (Zaandam) 1h15
Abcoude: Abcoude is a town and former municipality in the Netherlands, in the province of Utrecht. Since 2011 it has been part of the municipality of De Ronde Venen.
Area: 32.11 km²
Population: 8,657
Density: 285/km²
Elevation: -1 m
Remarkable: In the year 2022, the easternmost point of Amsterdam will shift considerably because we will then have to count the easternmost point of Weesp as the easternmost point of the municipality of Amsterdam. On 1 June 2019 the civil service offices of the municipality of Weesp merged with those of the municipality of Amsterdam in preparation of the merger of the two municipalities, which is supposed to happen on 24 March 2022. The southernmost point will then also be in Weesp.
Weather: Sunny, 16° C (max was 19° C this day)
To Listen ♫: Z8phyR - Twinkling Eyes (Youtube)
Self-portrait technics: Joby portable gorillapod placed on the front basket of my bicycle, timer set at 10 seconds.
Leonardo Da Vinci painted this woman at two ages is that he himself had a screenplay. The canvas is not only an aesthetic work but also an allegory of the myth of Isis.The whole composition of the painting, its decorations and tasks combine in an orderly and chronological way all the elements of the myth of Isis. Thierry Gallier zooms in on certain parts of the painting and shows us scenes, objects and characters. Thus the famous phallus of Osiris is found in the meanders of a path in the background of the painting. It's all there! We let ourselves be guided by the author, especially since in the preamble of the book, he had given us a quotation from Leonardo da Vinci which invited the observer to find realities in graphical representations that could have appeared at first glance as abstract or random. The Italian genius would have been a follower of the language of birds applied to painting. Mona Lisa is... Isis. The world's most famous painting chronologically tells the story of Isis and Osiris.
The woman depicted in the Mona Lisa might be both a Chinese slave, and Leonardo da Vinci's mother, according to a new theory from Angelo Paratico, a Hong Kong-based historian and novelist.
The identity of the sitter for the portrait hanging in Paris' Louvre museum has long been a matter of debate. If Paratico's theory is correct, it means the 15th-century polymath was half-Chinese.
However, the historian's claims are tenuous.
Paratico told the South China Morning Post: "I am sure up to a point that Leonardo's mother was from the Orient, but to make her an oriental Chinese, we need to use a deductive method.
"One wealthy client of Leonardo's father had a slave called Caterina. After 1452, Leonardo's date of birth, she disappeared from the documents. She was no longer working there. During the Renaissance, countries like Italy and Spain were full of oriental slaves."It is also necessary to rethink Western ethnocentrism in order to regain the invention of landscape painting in China and certainly to rediscover the contribution of Taoist alchemy in medieval alchemy with the important role of religious emissaries.
In support of his theory, Paratico, who is finishing a book entitled Leonardo da Vinci: a Chinese scholar lost in Renaissance Italy, also cited Austrian neurologist Sigmund Freud's 1910 assumption that the painting was inspired by the artist's mother, and claimed that certain aspects of Da Vinci's life and work suggest an oriental link.
Freud was the first to apply psychoanalysis to art, choosing for his subject the life and work of Leonardo da Vinci. Observing Leonardo's partly fused image of the Virgin and St. Anne, he inferred that the artist had depicted his two mothers, his biological mother and his stepmother. This very early analytic discourse on parent loss and adoption changed the course of the interpretation of art. Freud explored the psychology of art, the artist, and aesthetic appreciation. Confronting the age-old enigma of the Mona Lisa, he proposed a daring solution to the riddle of the sphinxlike smile of this icon of art. His paper prefigures concepts of narcissism, homosexuality, parenting, and sublimation. Lacking modern methodology and theory, Freud's pioneering insights overshadow his naive errors. In this fledgling inquiry, based on a childhood screen memory and limited knowledge of Leonardo's artistic and scientific contributions, Freud identified with this Renaissance genius in his own self-analytic and creative endeavor.
"For instance, the fact he was writing with his left hand from left to right... and he was also a vegetarian which was not common," he told the paper. "Mona Lisa is probably a portrait of his mother, as Sigmund Freud said in 1910. On the back of Mona Lisa, there is a Chinese landscape and even her face looks Chinese."
Users of China's Twitter-like Sina Weibo were quick to express their incredulity, posting dozens of parodies of the painting.
One user replaced her features with unlikely faces ranging from Chinese male comedian Zhao Benshan (pictured below) to British actor Rowan Atkinson, to a grimacing robot holding a Mona Lisa mask.
"I now understand why her smile looks so mysterious and concealed – it's typically Chinese," said another poster.
THE VULTURE phantasy of Leonardo still absorbs our interest. In words which only too plainly recall a sexual act (“and has many times struck against my lips with his tail”), Leonardo emphasizes the intensity of the erotic relations between the mother and the child. A second memory content of the phantasy can readily be conjectured from the association of the activity of the mother (of the vulture) with the accentuation of the mouth zone. We can translate it as follows: My mother has pressed on my mouth innumerable passionate kisses. The phantasy is composed of the memories of being nursed and of being kissed by the mother. 1
A kindly nature has bestowed upon the artist the capacity to express in artistic productions his most secret psychic feelings hidden even to himself, which powerfully affect outsiders who are strangers to the artist without their being able to state whence this emotivity comes. Should there be no evidence in Leonardo’s work of that which his memory retained as the strongest impression of his childhood? One would have to expect it. However, when one considers what profound transformations an impression of an artist has to experience before it can add its contribution to the work of art, one is obliged to moderate considerably his expectation of demonstrating something definite. This is especially true in the case of Leonardo. 2
He who thinks of Leonardo’s paintings will be reminded by the remarkably fascinating and puzzling smile which he enchanted on the lips of all his feminine figures. It is a fixed smile on elongated, sinuous lips which is considered characteristic of him and is preferentially designated as “Leonardesque.” In the singular and beautiful visage of the Florentine Monna Lisa del Giocondo it has produced the greatest effect on the spectators and even perplexed them. This smile was in need of an interpretation, and received many of the most varied kind but none of them was considered satisfactory. As Gruyer puts it: “It is almost four centuries since Monna Lisa causes all those to lose their heads who have looked upon her for some time.” 1 3
Muther states: 2 “What fascinates the spectator is the demoniacal charm of this smile. Hundreds of poets and writers have written about this woman, who now seems to smile upon us seductively and now to stare coldly and lifelessly into space, but nobody has solved the riddle of her smile, nobody has interpreted her thoughts. Everything, even the scenery is mysterious and dream-like, trembling as if in the sultriness of sensuality.” 4
The idea that two diverse elements were united in the smile of Monna Lisa has been felt by many critics. They therefore recognize in the play of features of the beautiful Florentine lady the most perfect representation of the contrasts dominating the love-life of the woman which is foreign to man, as that of reserve and seduction, and of most devoted tenderness and inconsiderateness in urgent and consuming sensuality. Müntz 3 expresses himself in this manner: “One knows what indecipherable and fascinating enigma Monna Lisa Gioconda has been putting for nearly four centuries to the admirers who crowd around her. No artist (I borrow the expression of the delicate writer who hides himself under the pseudonym of Pierre de Corlay) has ever translated in this manner the very essence of femininity: the tenderness and coquetry, the modesty and quiet voluptuousness, the whole mystery of the heart which holds itself aloof, of a brain which reflects, and of a personality who watches itself and yields nothing from herself except radiance….” The Italian Angelo Conti 4 saw the picture in the Louvre illumined by a ray of the sun and expressed himself as follows: “The woman smiled with a royal calmness, her instincts of conquest, of ferocity, the entire heredity of the species, the will of seduction and ensnaring, the charm of the deceiver, the kindness which conceals a cruel purpose, all that appears and disappears alternately behind the laughing veil and melts into the poem of her smile…. Good and evil, cruelty and compassion, graceful and catlike, she laughed….” 5
Leonardo painted this picture four years, perhaps from 1503 until 1507, during his second sojourn in Florence when he was about the age of fifty years. According to Vasari he applied the choicest artifices in order to divert the lady during the sittings and to hold that smile firmly on her features. Of all the gracefulness that his brush reproduced on the canvas at that time the picture preserves but very little in its present state. During its production it was considered the highest that art could accomplish; it is certain, however, that it did not satisfy Leonardo himself, that he pronounced it as unfinished and did not deliver it to the one who ordered it, but took it with him to France where his benefactor Francis I, acquired it for the Louvre. 6
Let us leave the physiognomic riddle of Monna Lisa unsolved, and let us note the unequivocal fact that her smile fascinated the artist no less than all the spectators for these 400 years. This captivating smile had thereafter returned in all of his pictures and in those of his pupils. As Leonardo’s Monna Lisa was a portrait we cannot assume that he has added to her face a trait of his own so difficult to express which she herself did not possess. It seems, we cannot help but believe, that he found this smile in his model and became so charmed by it that from now on he endowed it on all the free creations of his phantasy. This obvious conception is, e.g., expressed by A. Konstantinowa in the following manner: 5 7
“During the long period in which the master occupied himself with the portrait of Monna Lisa del Gioconda, he entered into the physiognomic delicacies of this feminine face with such sympathy of feeling that he transferred these creatures, especially the mysterious smile and the peculiar glance, to all faces which he later painted or drew. The mimic peculiarity of Gioconda can even be perceived in the picture of John the Baptist in the Louvre. But above all they are distinctly recognized in the features of Mary in the picture of St. Anne of the Louvre.” 8
But the case could have been different. The need for a deeper reason for the fascination which the smile of Gioconda exerted on the artist from which he could not rid himself has been felt by more than one of his biographers. W. Pater, who sees in the picture of Monna Lisa the embodiment of the entire erotic experience of modern man, and discourses so excellently on “that unfathomable smile always with a touch of something sinister in it, which plays over all Leonardo’s work,” leads us to another track when he says: 6 9
“Besides, the picture is a portrait. From childhood we see this image defining itself on the fabric of his dream; and but for express historical testimony, we might fancy that this was but his ideal lady, embodied and beheld at last.” 10
Herzfeld surely must have had something similar in mind when stating that in Monna Lisa Leonardo encountered himself and therefore found it possible to put so much of his own nature into the picture, “whose features from time immemorial have been imbedded with mysterious sympathy in Leonardo’s soul.” 7 11
Let us endeavor to clear up these intimations. It was quite possible that Leonardo was fascinated by the smile of Monna Lisa, because it had awakened something in him which had slumbered in his soul for a long time, in all probability an old memory. This memory was of sufficient importance to stick to him once it had been aroused; he was forced continually to provide it with new expression. The assurance of Pater that we can see an image like that of Monna Lisa defining itself from Leonardo’s childhood on the fabric of his dreams, seems worthy of belief and deserves to be taken literally. 12
Vasari mentions as Leonardo’s first artistic endeavors, “heads of women who laugh.” 8 The passage, which is beyond suspicion, as it is not meant to prove anything, reads more precisely as follows: 9 “He formed in his youth some laughing feminine heads out of lime, which have been reproduced in plaster, and some heads of children, which were as beautiful as if modeled by the hands of a master….” 13
Thus we discover that his practice of art began with the representation of two kinds of objects, which would perforce remind us of the two kinds of sexual objects which we have inferred from the analysis of his vulture phantasy. If the beautiful children’s heads were reproductions of his own childish person, then the laughing women were nothing else but reproductions of Caterina, his mother, and we are beginning to have an inkling of the possibility that his mother possessed that mysterious smile which he lost, and which fascinated him so much when he found it again in the Florentine lady. 10 14
The painting of Leonardo which in point of time stands nearest to the Monna Lisa is the so-called Saint Anne of the Louvre, representing Saint Anne, Mary and the Christ child. It shows the Leonardesque smile most beautifully portrayed in the two feminine heads. It is impossible to find out how much earlier or later than the portrait of Monna Lisa Leonardo began to paint this picture. As both works extended over years, we may well assume that they occupied the master simultaneously. But it would best harmonize with our expectation if precisely the absorption in the features of Monna Lisa would have instigated Leonardo to form the composition of Saint Anne from his phantasy. For if the smile of Gioconda had conjured up in him the memory of his mother, we would naturally understand that he was first urged to produce a glorification of motherhood, and to give back to her the smile he found in that prominent lady. We may thus allow our interest to glide over from the portrait of Monna Lisa to this other hardly less beautiful picture, now also in the Louvre. 15
Saint Anne with the daughter and grandchild is a subject seldom treated in the Italian art of painting; at all events Leonardo’s representation differs widely from all that is otherwise known. Muther states: 11 16
“Some masters like Hans Fries, the older Holbein, and Girolamo dei Libri, made Anne sit near Mary and placed the child between the two. Others like Jakob Cornelicz in his Berlin pictures, represented Saint Anne as holding in her arm the small figure of Mary upon which sits the still smaller figure of the Christ child.” In Leonardo’s picture Mary sits on her mother’s lap, bent forward and is stretching out both arms after the boy who plays with a little lamb, and must have slightly maltreated it. The grandmother has one of her unconcealed arms propped on her hip and looks down on both with a blissful smile. The grouping is certainly not quite unconstrained. But the smile which is playing on the lips of both women, although unmistakably the same as in the picture of Monna Lisa, has lost its sinister and mysterious character; it expresses a calm blissfulness. 12 17
On becoming somewhat engrossed in this picture it suddenly dawns upon the spectator that only Leonardo could have painted this picture, as only he could have formed the vulture phantasy. This picture contains the synthesis of the history of Leonardo’s childhood, the details of which are explainable by the most intimate impressions of his life. In his father’s home he found not only the kind step-mother Donna Albiera, but also the grandmother, his father’s mother, Monna Lucia, who we will assume was not less tender to him than grandmothers are wont to be. This circumstance must have furnished him with the facts for the representation of a childhood guarded by a mother and grandmother. Another striking feature of the picture assumes still greater significance. Saint Anne, the mother of Mary and the grandmother of the boy who must have been a matron, is formed here perhaps somewhat more mature and more serious than Saint Mary, but still as a young woman of unfaded beauty. As a matter of fact Leonardo gave the boy two mothers, the one who stretched out her arms after him and another who is seen in the background, both are represented with the blissful smile of maternal happiness. This peculiarity of the picture has not failed to excite the wonder of the authors. Muther, for instance, believes that Leonardo could not bring himself to paint old age, folds and wrinkles, and therefore formed also Anne as a woman of radiant beauty. Whether one can be satisfied with this explanation is a question. Other writers have taken occasion to deny generally the sameness of age of mother and daughter. 13 However, Muther’s tentative explanation is sufficient proof for the fact that the impression of Saint Anne’s youthful appearance was furnished by the picture and is not an imagination produced by a tendency. In 1910, after about a year from his trip to the US, Freud decided to write something on Leonardo da Vinci. The outcome of that decision was a novelette whose purpose was to expose a psychoanalytic study on Leonardo. Freud acknowledged that this endeavor was very tentative and his findings were based on a scarcity of biographical materials. Nevertheless, he established the framework of his book on a rumination about childhood that Leonardo left in one of his notebooks. Freud took that childhood contemplation and elaborated an artistic interpretation from it. First, here is Leo’s legacy to Freud:
It seems…that I was destined to occupy myself so thoroughly with a vulture, for it comes to my mind as a very early memory that, as I was in my cradle, a vulture came down to me, opened my mouth with its tails, and stuck me many times with its tail against my lips.
Freud, who was an erudite in religion and history, knew that the symbol for vulture was a hieroglyph for mother in ancient Egypt. Since Leonardo was an illegitimate child, Freud called him, romantically, the “vulture child.” Later on, Freud speculated that Leonardo had a very affectionate mother, and that passionate maternal love, coupled with the experience of not having a father, had an important influence on is early development. However, because of the over-protective and excessive love from her mother, Leonardo was subjected to too much femininity, which set the stage for his homosexuality. But that explained only the inception process of homosexuality. Full blown homosexual behavior comes later on in life, after the child finally becomes an adult and tends to repress his love for his mother and inadvertently identifies with her. Additionally, another important factor that plays a role in becoming a homosexual is anal eroticism. Anal eroticism comes from a fixation during the anal stage of psychosexual development.
This theory about the origins of homosexuality seems far-fetched. It was based on a vague account that Leonardo left behind, to which Freud found mainly an artistic interpretation. The book is replete with lyricism, so its appeal is understandable. Nevertheless, the conjectures Freud made are not entirely scientific.
The Evidence
In order to give some validity to Freud’s claims, we need to find if there is any evidence that support the fact that males from the homosexual community had (1) careless or missing fathers, (2) overly affective mothers, (3) strong maternal identification, and (4) some characteristics that relate to anal fixation.
Leonardo’s childhood was precisely as remarkable as this picture. He has had two mothers, the first his true mother, Caterina, from whom he was torn away between the age of three and five years, and a young tender step-mother, Donna Albiera, his father’s wife. By connecting this fact of his childhood with the one mentioned above and condensing them into a uniform fusion, the composition of Saint Anne, Mary and the Child, formed itself in him. The maternal form further away from the boy designated as grandmother, corresponds in appearance and in spatial relation to the boy, with the real first mother, Caterina. With the blissful smile of Saint Anne the artist actually disavowed and concealed the envy which the unfortunate mother felt when she was forced to give up her son to her more aristocratic rival, as once before her lover. 19
Our feeling that the smile of Monna Lisa del Gioconda awakened in the man the memory of the mother of his first years of childhood would thus be confirmed from another work of Leonardo. Following the production of Monna Lisa, Italian artists depicted in Madonnas and prominent ladies the humble dipping of the head and the peculiar blissful smile of the poor peasant girl Caterina, who brought to the world the noble son who was destined to paint, investigate, and suffer. 20
When Leonardo succeeded in reproducing in the face of Monna Lisa the double sense comprised in this smile, namely, the promise of unlimited tenderness, and sinister threat (in the words of Pater), he remained true even in this to the content of his earliest reminiscence. For the love of the mother became his destiny, it determined his fate and the privations which were in store for him. The impetuosity of the caressing to which the vulture phantasy points was only too natural. The poor forsaken mother had to give vent through mother’s love to all her memories of love enjoyed as well as to all her yearnings for more affection; she was forced to it, not only in order to compensate herself for not having a husband, but also the child for not having a father who wanted to love it. In the manner of all ungratified mothers she thus took her little son in place of her husband, and robbed him of a part of his virility by the too early maturing of his eroticism. The love of the mother for the suckling whom she nourishes and cares for is something far deeper reaching than her later affection for the growing child. It is of the nature of a fully gratified love affair, which fulfills not only all the psychic wishes but also all physical needs, and when it represents one of the forms of happiness attainable by man it is due, in no little measure, to the possibility of gratifying without reproach also wish feelings which were long repressed and designated as perverse. 14 Even in the happiest recent marriage the father feels that his child, especially the little boy has become his rival, and this gives origin to an antagonism against the favorite one which is deeply rooted in the unconscious. 21
When in the prime of his life Leonardo reencountered that blissful and ecstatic smile as it had once encircled his mother’s mouth in caressing, he had long been under the ban of an inhibition, forbidding him ever again to desire such tenderness from women’s lips. But as he had become a painter he endeavored to reproduce this smile with his brush and furnish all his pictures with it, whether he executed them himself or whether they were done by his pupils under his direction, as in Leda, John, and Bacchus. The latter two are variations of the same type. Muther says: “From the locust eater of the Bible Leonardo made a Bacchus, an Apollo, who with a mysterious smile on his lips, and with his soft thighs crossed, looks on us with infatuated eyes.” These pictures breathe a mysticism into the secret of which one dares not penetrate; at most one can make the effort to construct the connection to Leonardo’s earlier productions. The figures are again androgynous but no longer in the sense of the vulture phantasy, they are pretty boys of feminine tenderness with feminine forms; they do not cast down their eyes but gaze mysteriously triumphant, as if they knew of a great happy issue concerning which one must remain quiet; the familiar fascinating smile leads us to infer that it is a love secret. It is possible that in these forms Leonardo disavowed and artistically conquered the unhappiness of his love life, in that he represented the wish fulfillment of the boy infatuated with his mother in such blissful union of the male and female nature.
Graphical improvemente in Live for Speed. High resolution textures. Download: www.lfs.net/forum/post/1895083#post1895083
Aluminum, Silver, 1mm
Fabricated with laser cut,
manual assembly
Form derived from 2D graphical notation
I'm glad that the iconic sign of the Maddox restaurant in Brigham City, Utah turned just right for this image.
Considering all of the anger in the world today, being thankful is a much better course. No matter our circumstances, an attitude of gratitude is the best and surest way to peace.
View the entire Signs Album
View the entire Projects - Word and Images Set
View my - Most Interesting according to Flickr
Calligraphy in the snow
As I often said , upon arriving in a new country, one would give in completely to the existing culture and find it exilarating!And yet, there are times when one would feel a little bit outspoken, a little bit submerged. It is natural then to survive by looking for ancestral values. Thus this little piece on calligraphy.
I was accompanied by Harry, a newly made friend at the school where I taught photography. Later on, he introduced me to Louise, my wife to be! He was a good friend and we invited each other at our respective homes quite often. I was very grateful to him. I always wanted to tell him how I appreciated his friendship and how I was thankful for all the things he brought to me whether directly or indirectly! But shyness probably stopped me from telling him. In 1980, he passed away! I will always regret my shyness and I have decided then that I will always be forthright to people!
In the potter's workshop - The Cerama G9000 Graphical Temperature controller while the oven - a Skutt Automatic Kiln - is burning pottery
Part of my minimal graphical / illustrative Tribute poster series for Wes Andersons' Films.
The current completed movies are :
Bottle Rocket
The Royal Tenenbaums
The Life Aquatic ~ Zissou
The Life Aquatic ~ Hennesy
The Life Aquatic ~ Guitar A
The Life Aquatic ~ Guitar B
Soon to come :
Rushmore
The Darjeeling Limited
Fantastic Mr.Fox
You can purchase this design and the others in this series as a print or large poster at:
shop.ibraheemyoussef.com
One of my other photographic obsessions is graphical compositions and another is Crows, this merges the two somewhat.
America amazes me in that there are so many things which leave my jaw drop in terms of civil management like the quality of road surfaces and overhead wiring both of which seem quite seriously out of date and in bad state of disrepair, most urban areas display the same or similar traits.
Whatever it is about this area of the US, the Pacific North West, it seems to attract software developers, writers musicians and Crows. To my understanding there is the largest murder of crows in the entire country up here..
I wanted to take an image that would result in something graphical in particular if it invoked a western or rock music feel. I started to think about a playing card a few weeks ago and this image was the result today. As it turns out, it was important to me to make the white paper of the card look black in order to increase contrast.Black should be black, but the details in the black field are not black. Have a look at large sizes to see this. I hope you like the image even though its a bit of a cliché. It is a result of the application of a few software filters.
Graphical methods that were used in the pre-computer age enabled complex tasks to be performed with an acceptable degree of accuracy, by practitioners who were often unaware of the science behind their tools.
To use an improvised compass in no way undermines Mr. Smiths superb invention, but demonstrates what can be achieved with very simple tools.
Created within the constraints of IP192:
1 - a circle (choose as many as you like)
2 - string
3 - black and white
As you drive down a curvy road in the westfjords, you may suddenly get a stunning view on Rauðisandur ... that means "red sand beach". This is a vibrant sand beach and you can take a walk there for hours in one direction (what we did). The strong color seems to come from many different crushed shells of sea animals, so its not just fine sand.
I wondered how that endless beach looks like with maximum compression and 1,4x teleconverter from the 70-200 lens.
Странный Аттрактор
Полиуретан, оклеенный бумагой, роспись акварельными карандашами.
Авторская отливка, молд Садхана, 40 см, 2014 г.
У меня было два источника вдохновения — схемы математических объектов с одной стороны и некое природное явление с другой. Не могу сказать, что я хорошо понимаю, что такое странный аттрактор — я не математик. Но я всегда интересовалась хаосом в естественнонаучном смысле этого слова и пыталась разобраться по мере своих скромных возможностей. Насколько я могу уразуметь, странный аттрактор — это пространственная модель решения системы уравнений, причём эта система — хаотическая, с исключительно сложным поведением. Система никогда не повторяет себя, но при этом она вовсе не беспорядочна, её развитие представляет собой сложный высокоорганизованный паттерн, который и есть странный аттрактор. Например,
такие аттракторы причастны к возникновению турбулентностей.
Визуализации этих моделей очень красивы и по-своему безупречны, высокая абстракция в моём понимании. В росписи куклы я использовала некоторые мотивы, взятые из подобных схем - фрагменты, обрывки траекторий. Странный Аттрактор — создание Хаоса, она всегда разная, ни один мотив не повторяется, но все они подобны друг другу.
Второй источник — фактура и устройство осиного гнезда. В детстве я часто находила брошенные осиные гнёзда на бабушкином чердаке. На меня они производили впечатление предметов совершенно загадочных, фантастических — для меня тогда они были словно артефакты иных цивилизаций. По крайней мере, мне нравилось играть в подобном духе со своими находками.
Оклеивая фигуру крафт бумагой, я пыталась воспроизвести поверхность и слоистую структуру осиного гнезда. Это был очень увлекательный процесс.
Strange Attractor
resin, paper, painted with aquarelle pencils.
Artist casted mold Sadhana, 40 cm, 2014
Two things inspired me to create her — mathematics on one side and nature on the other. Strange attractor is a mathematic object belonging to description of an chaotic system. Something like a turbulence. I got my inspiration from graphical schemes of attractors. Very abstract and beautiful things. Some fragments I use in drawing on the doll's body.
Other source is a wasp paper nest. I collected them when I was a child, there was a lot of empty wasp nests near my grandma's home. I adored them very much, for me this small paper things was like an alien artefact.