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"Risograph Reverie" is an enchanting series of risograph graphics by Duncan Rawlinson. This collection engages the viewer with its distinctive blend of form and color, representing a compelling dialogue between the abstract and the photorealistic, the expected and the surprising.

 

Rawlinson's approach is a testament to the transformative capacity of art, where photography meets artificial intelligence to create something entirely unique. Each piece begins its journey as a photograph, a frozen moment in time, which is then fed into an AI tool that reshapes it into a vibrant dance of neon-colored geometric forms. The light magenta and azure hues act as commanding players on this visual stage, setting the tone for the playful motifs and mismatched patterns to unfold within a uniquely compelling 6:17 aspect ratio.

 

What's even more mesmerizing about this series is its perfect symmetry, creating a harmonious continuity when placed side by side. Each graphic functions as a tile, seamlessly connecting with its neighbors to form a larger, interconnected canvas that amplifies the visual impact. The result is a dynamic, infinite spectacle where each piece, while powerful as a standalone, is part of a greater, mesmerizing whole.

 

In "Risograph Reverie," Rawlinson bridges the tactile world of risograph printmaking with the endless possibilities of the digital realm. The collection, tactile and tangible, vibrates with the unique energy of risograph art, while the individual graphics, designed under the algorithmic direction of an AI, add a modern and innovative twist.

 

Navigating through this series is an invitation to lose oneself in a world where neon-colored geometric forms come to life, where patterns blend flawlessly, and where every piece is an integral part of a captivating, cohesive narrative. This is Rawlinson's celebration of contemporary art - a space where color and form, reality and imagination, and technology and traditional printmaking coexist in a fun and harmonious dance of creativity.

 

Duncan.co/risograph-reverie

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Leadership Challenges in Interconnected World by Girija Pande. .

 

"Risograph Reverie" is an enchanting series of risograph graphics by Duncan Rawlinson. This collection engages the viewer with its distinctive blend of form and color, representing a compelling dialogue between the abstract and the photorealistic, the expected and the surprising.

 

Rawlinson's approach is a testament to the transformative capacity of art, where photography meets artificial intelligence to create something entirely unique. Each piece begins its journey as a photograph, a frozen moment in time, which is then fed into an AI tool that reshapes it into a vibrant dance of neon-colored geometric forms. The light magenta and azure hues act as commanding players on this visual stage, setting the tone for the playful motifs and mismatched patterns to unfold within a uniquely compelling 6:17 aspect ratio.

 

What's even more mesmerizing about this series is its perfect symmetry, creating a harmonious continuity when placed side by side. Each graphic functions as a tile, seamlessly connecting with its neighbors to form a larger, interconnected canvas that amplifies the visual impact. The result is a dynamic, infinite spectacle where each piece, while powerful as a standalone, is part of a greater, mesmerizing whole.

 

In "Risograph Reverie," Rawlinson bridges the tactile world of risograph printmaking with the endless possibilities of the digital realm. The collection, tactile and tangible, vibrates with the unique energy of risograph art, while the individual graphics, designed under the algorithmic direction of an AI, add a modern and innovative twist.

 

Navigating through this series is an invitation to lose oneself in a world where neon-colored geometric forms come to life, where patterns blend flawlessly, and where every piece is an integral part of a captivating, cohesive narrative. This is Rawlinson's celebration of contemporary art - a space where color and form, reality and imagination, and technology and traditional printmaking coexist in a fun and harmonious dance of creativity.

 

Duncan.co/risograph-reverie

Studio 12 Architecture transformed a small footprint of undeveloped property near Precita Park into two tall, gracefully interconnected single family homes.

 

www.studio12arch.com/

Nike Air Max 95, Frequency Pack, Men’s Size 13, Black, Yellow, AV7939-001, UPC 00091209658352, 2018, Nike Air Max Frequency Pack, radio-inspired graphic insoles, custom insoles with mixtape graphics, interconnected music and sneaker industries, ‘90s-inspired yellow and black color scheme, yellow waffle-pattern rubber outsole, loop lace system, Padded tongue with NIKE Air Max logo graphic detail, Cushioned inner sole, Traction rubber air bubble outsole, visible Air Unit in the and forefoot heel, unique lacing system, nylon eye stays, leather and mesh upper, AM 95 logo found on the tongue, asymmetrical lacing system, chunky black midsole, Solid rubber modified Waffle outsole, 777

Takin Aghdashloo, Oliver Banyard, Chris Gruggen, and Andrew McGill

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Leadership Challenges in Interconnected World by Girija Pande. .

 

I took this snap when I got back home, yesterday, after another amusing, bizarre and, at times, disturbing day in Kidderminster's town centre. The snap was meant to go with some humorous text but, while I think this town is a bit of a joke, too much of what goes on here really isn't funny.

 

This morning, I woke up in the early hours. It was still dark. I could see the moon and a star and I got into thinking like you often can when you see such things. It's dawn, now.

 

Thinking. It's really looking, now, that many people's inability to understand themselves and their environment does them harm. The Internet is, of course, an interconnected network of networks and I can sort of see mainstream culture a bit like that: a multitude of relationships of all sorts, which, sooner or later, reveal all sorts of connections, many of which could be improved drastically if information and communication were improved by first getting people to see who they are and why.

 

We're both within that network and, of course, therefore, part of it. We're influenced by it and we influence it. Are any of us truly independent of it, in terms of how it can influence our thinking about ourselves and our environment, so that we could ultimately improve ourselves and our environment?

 

Are any of us both independent and capable enough of influencing this culture in ways that could change it, if it does need to change? Maybe we need a new culture, that most of us can't even begin to think about, right now, partly because we may have been heavily influenced by a mainstream culture that thinks it benefits from conservative and limiting ideas and has thought that for a long time, with the danger that we could have so many blind spots, now, that we're kept within a mainstream culture and mindset which many of us may be unable to even ever begin to see.

 

On the basis of much that I do see around me and much that I know, people will put up all manner of irrational barriers to protect against effective and insightful communication. It seems to me that we've got to start making known and accessible all manner of techniques that have traditionally mystified the world around us and even our conception of ourselves and our environment with, for example, many of the techniques of depth psychology which the advertising industry has used on us to persuade us of myths in an attempt to get us to so often act irrationally.

 

I'm sure that we really do need to learn to understand ourselves and our environment much better through much better information, communication and relationships, subverting the diversionary processes of mainstream culture that I don't think are doing people any good whatsoever, in the main. I really think people need these abilities, again, to get on top of their issues and their environment, and I think I've hinted at a way to do that.

 

I think it's always going to be the case that, if people are prevented by conservative and limiting ideas and processes from having insight and awareness into themselves and their world, even thinking clearly about beginning that process is going to be tough. People need to get to grips with their core drives and motivations in a way where they're comfortable with them, with the option to do things about it all. If that doesn't happen, you're always going to subject people to a multitude of tensions, diversions, abuses and frustrations which, because too many people are unlikely to adequately understand them in a way where they can address them effectively all this will often lead to damaging psychosocial issues, and sometimes quite severe ones, plunging many people into a bigger mess, with a series of maladaptations to their environment eventually spilling out into their environment. Understanding yourself and your environment, therefore, should mean you're in a better state to improve and develop both.

 

Thinking about all this, then, I'm thinking that mainstream culture has clearly failed miserably, in so many ways that too many people can't even begin to see, and I'm thinking that the solution to it all is an approach based around many, though not all, open-source and social media ideas.

 

Current approaches to life, information, communication and relationships, that I see a lot of around me, have more to do with proprietary and mainstream ideas, I think. They're approaches and ideas that are a failure.

 

You see the abuse of information, the processes behind it and their effects, pretty much all around you, in Kidderminster. It's partly down to the area being essentially run from top to bottom on the basis of influence, which is similarly abused. The common phrase is: 'It's not what you know, but who you know'. An old family friend once joked: 'It's not what you know or who you know. It's what you know about who you know'. In a way, he had a point, although not such a literal one, when you really think of Kidderminster, a town pretty much submerged in a set of damaging myths.

 

People here, with their senses, their perceptions and any intelligence they might have are pretty much limited and diminished by psychosocial processes from life and their environment. They are easily assimilated into a culture that makes it more likely that they will continue the age-old practises of abusing and being abused by the processes around the abuses of information, resulting in further abuses of information, itself, which is all essentially based on a system driven, maintained and protected by influence along with its ability to abuse information.

 

There are people, here, in the legal system, for example, who I think are the least corruptible in the area. But they're still vulnerable to becoming involved and influenced, at the very least, into compromising themselves, their beliefs, and their positions, by the very same processes and abuses.

 

Don't make the mistake of being simplistic in thinking about this. In an area like Kidderminster, with its culture, practices and driving forces being so influential in people's thinking, while also appearing to be unresolvable, even people you'd think of as otherwise being outstanding individuals, can quite easily see 'justifications' in bending and even breaking the very laws and processes they hold dear, because they can sometimes see no other option. Compare this even with some local religious leaders who are so stumped by it all that they're on the verge of giving up. Meanwhile, you ask many people in Kidderminster if they're all right and, against overwhelming evidence to the contrary, they'll say, 'yeah'. Some of them actually do believe that. Some of them lie. But very few know anything like the full exgent of their issues and the issues around them. People at all levels clearly need to start talking, and talking with one another, across simple demographics. The thinking, the culture and the psychosocial issues transcend simplistic demarcations - it's across the board.

 

The thinking of most, if not all the people, here, is easily influenced to a greater or lesser extent - leading to, and being led by - these local and mainstream ideas, processes and drives. It originates in, leads to, and compounds, poor skills when applied to information: poor information gathering, poor analysis, poor interpretation, poor verification, poor dissemination, poor feedback, poor reception, and so on. And I see those influences, and people's potential and actual vulnerabilities to it all, across the board. For example, the belief of some of the key influencers in the area, that all this may be confined to a simple demographic, is nonsense, especially when you realise that that very idea, in the face of the evidence I see, along with my understanding of the culture here, suggests that their thinking, too, however well-intentioned it appears to be, is part of, and vulnerable to it all, as well.

 

I've used the word 'abuse' a lot in this post. The psychological and social effects of what can happen to people and processes within such a culture, should be evident, by now. But maybe I should say more. There's ideas within how people can talk when they're consumed by the environment and negative psychosocial issues.

 

You can hear some sort of dehumanizing aspect in what they say, sometimes, their approach to that, and their responses to it. It's usually most evident when the thinking, processes, drives, psychosocial issues and lack of skills and incentives are rising to the surface, usually when a false sense of self, position or context feels threatened.

 

At such times, the most abusively-minded people wouldn't want many of those skills, anyway, well, not the good ones, and especially not in anyone else, though many such people are skilled, in a distorted sense, with much of it, which is why much abuse is difficult to uncover, highlight and eradicate. Again, information to the abusively-minded isn't about effective communication, it's all about power. It isn't about good information, it's all about bad power.

 

The elements of dehumanization are in the ideas of the culture, easily summoned up, almost at will. A mistake many people make, I think, is to focus on defending a group or individual being targeted, for example, race: black people, Eastern Europeans, and so on.

 

While it's important to protect people's rights when faced with racism, for example, to focus on racism and not the general dehumanising idea which can, and is, easily applied to other groups and individuals, reminds me stories of boats with leaks and people trying to sort the problem by scooping too little water overboard.

 

That dehumanising idea and all that goes into it, can lead to even victims becoming perpetrators, people not pursuing their rights to justice, inadequate support and the survival of it all, because the need to maintain the system of influence results in all sorts of key information, that could be the starting point for changing things, being suppressed, distorted and abused further.

 

In Kidderminster, many people can be more concerned with important information getting out, than they may be with dealing with real issues, compounding the many problems, here. A basic idea on one side of town applied in one sense to one individual can be applied elsewhere, potentially resulting in severe verbal, physical, psychological and sexual abuse, where you'll always find somewhere that dehumanizing idea.

 

It happens and many people don't bother with the formal, official processes, because they have a sense that the system's not quite right in many ways. That compounds the abuse. There can seem to be not much to gain, because it can take such an effort within such a culture. Pursuing an abuse may lead to further abuses along the way and also after any sort of resolution. Many people just try to get on with it, often damaged, to a greater or lesser extent, and that's the way many people have almost had to come to accept the way things can be in Kidderminster, not least because there's a multitude of conservative and limiting ideas to keep it all in place.

 

Some people in Kidderminster tell me that the issues which afflict the town can be found everywhere, and I agree to a certain extent. But there's others, including people with a broad overview of the town, who say that they've been to many, many places and that there's just 'something' about Kidderminster. Whoever's right on that may not be that important. All I know is that there's a lot of stuff going on with the culture and the people of Kidderminster that needs looking into.

 

If the central issue here isn't the abuse of information, for all sorts of bogus reasons, in all sorts of bogus ways, with all manner of implications and consequences, then it's at least one of them. There's ways to address all of that. I'm pretty sure I have some effective answers, but before anyone who might one day think of approaching me with a view to talking about what I know and think, there'd be a number of people with abusive approaches to information that would reach them first, distorting anything I'd have to say, even the content of these posts, compounding the influences and drives I can see and hear so clearly.

 

If some of the officials are right, and the mindset in Kidderminster hasn't essentially progressed in 500 years, maybe this has all been played out multiple times before, but not in the age of social media, which may, this time, be the crucial difference. I'm not holding my breath, though.

 

So, as seems likely, these posts turn out not to be used here, are there any lessons for the wider world in all this? Are there any lessons for social media? Should all this be a talking point, leading to some sort of open-source approach, making effective use of social media? Maybe. I think so, anyway.

This forlorn and overgrown structure in Cleveland’s Gordon Park is the former Cleveland Aquarium, which once occupied this complex of two interconnected buildings. Opened in 1953, the aquarium was an outgrowth of the Cleveland Natural History Museum, and included 50 exhibits of freshwater and marine species. However, the building’s story goes back to 1937, when it was built by the City of Cleveland with support from the New Deal-era Works Progress Administration as a bath house for the park, which at the time included a beach. However, the inconvenient location far from the beach led to the facility becoming disused, leading to its use as a trail side museum before becoming the Cleveland Aquarium. In 1967, an addition twice the size of the original building was added to the facility, which included the iconic Octagonal rotunda with its wavy roof, and an entrance with aqua-colored panels that mimicked waves on the surface of the lake. The aquarium, however, ran into financial trouble during the 1970s, and though it was popular, the attendance and higher cost of admission were not enough to save it from bankruptcy, and the aquarium closed in 1985, with all animals being transferred to the Cleveland Metroparks Zoo after the aquarium ceased operating in 1986. The aquarium was used for a brief time as a dog training facility and K9 kennel for the Cleveland Police Department for a few years, until deteriorating conditions in the 1930s wing led to the facility becoming abandoned. Today, the aquarium is in very rough shape, and stands forlorn as a bleak reminder of the city’s decline overlooking the Cleveland Memorial Shoreway in the midst of a park and neighborhood that has seen better days.

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Leadership Challenges in Interconnected World by Girija Pande. .

 

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Leadership Challenges in Interconnected World by Girija Pande. .

 

At the end, everything is interconnected.

This is the Season of Spiders and we have a garden full of them!

Nike Air Max 95, Frequency Pack, Men’s Size 13, Black, Yellow, AV7939-001, UPC 00091209658352, 2018, Nike Air Max Frequency Pack, radio-inspired graphic insoles, custom insoles with mixtape graphics, interconnected music and sneaker industries, ‘90s-inspired yellow and black color scheme, yellow waffle-pattern rubber outsole, loop lace system, Padded tongue with NIKE Air Max logo graphic detail, Cushioned inner sole, Traction rubber air bubble outsole, visible Air Unit in the and forefoot heel, unique lacing system, nylon eye stays, leather and mesh upper, AM 95 logo found on the tongue, asymmetrical lacing system, chunky black midsole, Solid rubber modified Waffle outsole, 777

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This forlorn and overgrown structure in Cleveland’s Gordon Park is the former Cleveland Aquarium, which once occupied this complex of two interconnected buildings. Opened in 1953, the aquarium was an outgrowth of the Cleveland Natural History Museum, and included 50 exhibits of freshwater and marine species. However, the building’s story goes back to 1937, when it was built by the City of Cleveland with support from the New Deal-era Works Progress Administration as a bath house for the park, which at the time included a beach. However, the inconvenient location far from the beach led to the facility becoming disused, leading to its use as a trail side museum before becoming the Cleveland Aquarium. In 1967, an addition twice the size of the original building was added to the facility, which included the iconic Octagonal rotunda with its wavy roof, and an entrance with aqua-colored panels that mimicked waves on the surface of the lake. The aquarium, however, ran into financial trouble during the 1970s, and though it was popular, the attendance and higher cost of admission were not enough to save it from bankruptcy, and the aquarium closed in 1985, with all animals being transferred to the Cleveland Metroparks Zoo after the aquarium ceased operating in 1986. The aquarium was used for a brief time as a dog training facility and K9 kennel for the Cleveland Police Department for a few years, until deteriorating conditions in the 1930s wing led to the facility becoming abandoned. Today, the aquarium is in very rough shape, and stands forlorn as a bleak reminder of the city’s decline overlooking the Cleveland Memorial Shoreway in the midst of a park and neighborhood that has seen better days.

Internet Society Global INET 2012, Geneva, Switzerland. Photo by Dan Anderson, Imagining the Internet Center, School of Communications, Elon University, Elon, North Carolina, USA...Copyright Elon University. CC BY-ND. This Creative Commons license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to Elon University.

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Leadership Challenges in Interconnected World by Girija Pande. .

 

This is one of three interconnected lakes at Draper Twin Lakes Park in Oakland Township, Michigan.

"Risograph Reverie" is an enchanting series of risograph graphics by Duncan Rawlinson. This collection engages the viewer with its distinctive blend of form and color, representing a compelling dialogue between the abstract and the photorealistic, the expected and the surprising.

 

Rawlinson's approach is a testament to the transformative capacity of art, where photography meets artificial intelligence to create something entirely unique. Each piece begins its journey as a photograph, a frozen moment in time, which is then fed into an AI tool that reshapes it into a vibrant dance of neon-colored geometric forms. The light magenta and azure hues act as commanding players on this visual stage, setting the tone for the playful motifs and mismatched patterns to unfold within a uniquely compelling 6:17 aspect ratio.

 

What's even more mesmerizing about this series is its perfect symmetry, creating a harmonious continuity when placed side by side. Each graphic functions as a tile, seamlessly connecting with its neighbors to form a larger, interconnected canvas that amplifies the visual impact. The result is a dynamic, infinite spectacle where each piece, while powerful as a standalone, is part of a greater, mesmerizing whole.

 

In "Risograph Reverie," Rawlinson bridges the tactile world of risograph printmaking with the endless possibilities of the digital realm. The collection, tactile and tangible, vibrates with the unique energy of risograph art, while the individual graphics, designed under the algorithmic direction of an AI, add a modern and innovative twist.

 

Navigating through this series is an invitation to lose oneself in a world where neon-colored geometric forms come to life, where patterns blend flawlessly, and where every piece is an integral part of a captivating, cohesive narrative. This is Rawlinson's celebration of contemporary art - a space where color and form, reality and imagination, and technology and traditional printmaking coexist in a fun and harmonious dance of creativity.

 

Duncan.co/risograph-reverie

Consisting of over thirty interconnected-buildings or cells, constructed over the centuries along the hill face, the monastery complex also comprises the ancient Chamba Ling temple.

 

Zanskar. Sept 2012

  

Travel Diary: bnomadic.wordpress.com/2013/09/01/karsha-gompa/

Explore an incredible interconnected 3D world, brimming with primate platforming and bug-splattering shooter action. Leap with the agility of a tamarin as you journey into the Northern wilderness on scenic routes through forests, fjords and mountains. Along the way you will chase mysterious electrical fireflies, discover a secret underground world of dancing ants, rescue innocent birds, and restore the tamarins’ once idyllic natural habitat.

 

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Leadership Challenges in Interconnected World by Girija Pande. .

 

Watching the interconnected relationship of children, especially siblings is insightful. Capturing that relationship is magical.

 

I usually don't do any layout work on photos...but these shots just had to go together. Not sure if this works the way I intended. The unassembled photos have also been uploaded so you can enjoy each on its own.

This is a modular design for interconnected diagonal cube frames. Each corner is an individual diagonal cube with tetrahedral symmetry. Tutorial for the cube: www.youtube.com/watch?v=Pj0fEmtxXSw&t=17s

 

The sides of the cube (from which the cube frames stem) can be built to have either counter-clockwise or clockwise polarity, regardless of the adjacent sides' polarity. However for simplicity, I made it so that each cube has the same polarity for all sides.

 

The shape in total took 4,734 Zen magnets:

12 corner cubes: 171 * 12 = 2052

16 frame sticks: 138 * 16 = 2208

18 connections: 30 * 18 = 540

subtract 66 because some magnets are counted twice

 

total: 2052 + 2208 + 540 - 66

= 4734 Just short of the 22 sets I own

 

I also did the math and the completed shape would take a little less than 6,858 magnets (31.75 sets), so if anyone with that many wants to complete the shape, be my guest. ;)

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#BEATLES #PRESERVATIVE #DIMENSION #WHENWILLYOUCOMEHOME #MAYONAISE #MORNING #CHILDRENOFTHESUN #TRANSFORMATION #KILLINGMOON #RICOCHET #GOBLINCORE #AKIRA #ALCHEMYOFTHEHEART #TANGERINEDREAM #WONTGETFOOLEDAGAIN #VIRGO #CARRYON #DREAMSPACE #DESIRE #LAPIS #HOLYSPIRIT #OLYMPIANS #MOONBOAT #LATERALUS #GEOMANTIC #CLOSETOME #PERCEIVING #REQUESTS #WAITINGMAN #DIVINE #1999 #UNDERGROUND #WATERCOLOR #INFORMATION #PALESHELTER #PRESENT #VALLEY #EYEINTHESKY #LAKEISLAND #BRASSINPOCKET #PITCHTHEBABY #PAST #CLOSERTOTHEHEART #EVOLVING #UNTITLEDLOVESONG #RETURNTOINNOCENCE #OMNIVERSE #FULL #SLOWDIVE #PROSERAINBOW #DISINTEGRATION #EQUALITY #CHANGESIV #PRINCE 💜♑♐🐦💟🐈🐢🐉🌈😍💚🍀💙🔵💕🌝🌼️🌸🌟🔥🌀⚡❄️💧☀️🌞🌌🌕🌻 #WELL #IT S #NOTHING #VERY #TRY #BE #NICE #PEOPLE #AVOID #EATING #FAT #READ #A #GOOD #BOOK #EVERY #NOW #THEN #GET #SOME #WALKING #LIVE #TOGETHER #HARMONY #WITH #ALL #CREEDS #NATIONS -- 💜♑♐🐦💟🐈🐢🐉🌈😍💚🍀💙🔵💕🌝🌼️🌸🌟🔥🌀⚡❄️💧☀️🌞🌌🌕🌻#VIBRANT #PANORAMIC #AT #FOCUS #LARGE #GLOWING #AN #ITS #ROOTS #INTERTWINED #FILLED #BOOKS #IS #SITUATED #ON #SURROUNDED #BY #VAST #COLORFUL #SWIRLING #GALAXIES #NEBULAE #CITADELS #SANCTUARIES #REFUGES #HAVENS #POINTS #DETAILS #GRAND #TWISTING #LEADS #INTO #VORTEX #PLANETS #BIOLUMINESCENT #PLANTS #GLOW #GROW #AROUND #ILLUMINATING #HIDDEN #PATHWAYS #DOORWAYS #SUCH #AS #DRAGONS #WYVERNS #PROTECT #DOTTED #REFLECTIVE #POOLS #MAJESTIC #CASCADES #INCORPORATE #PATTERNS #SYMBOLS #THROUGHOUT #THINGS #BIOLUMENESCENT #GROWING #LIKE #AWE #WONDER #RESURRECTION #MEDITATION #WAYSTATION #SUGGESTING #DEEP #MOOD #SHOULD #EVOKE #SENSE #THEME #FOCAL #POINT #ILLUMINATED #OTHER #BODIES #GROUND #SURFACE #ADORNED #MULTITUDE #EACH #DISPLAYING #FANTASTICAL #NEON #COLORS #MESMERIZING #REACHING #HEAVENS #CONNECTION #INTERCONNECTEDNESS #INCLUDE #ADDING #SCENE #FEELINGS #LIBRARYCASTLE #DRAGONGUARDIAN #SPIRITOFLIFE #RAINBOWISLAND #LABYRINTHTEMPLE #CHAOSORDER #DREAMEARTH #COSMICOCEAN #AURAOFPROTECTION #BUTTERFLYWORLD #PEACEPROTECTION #TEMPLEIMAGINATION #HAVEN #1 #BRIGHT #AURORACORE #ATLANTIS #LUCIDITY #NATURECORE #ALCHEMICAL #MINDSCAPE #DREAMCORE #LOTUS #PURPLE #OMNIVERSAL #PYRAMID #SERENDIPITY #AVALOKITEŚVARA #VIVID #SPACETIME #AWAKENING #TREASURE #SHAKTI #SPACESHIP #ANDROMEDA #ELYSIUM #PSYCHOLOGICAL #TROVE #MYTHICAL #SEASCAPE #PURE #INSPIRATION #TRANSCENDENTAL #MIRROR #RAINBOWCORE #BUDDHISM #ANGELCORE #DREAMY #SURREALISM #ORACLE #VERDANT #ATLANTEAN #RESOLUTION #AQUARIUS #SAGITTARIUS #SPARKLING #VAPORWAVE #FOUNDATION #COTTAGECORE #SHAMBHALA #EARTHCORE #PROTECTIVE #RESTORATIVE #DUALITY #DOOR #STAIRCASE #SPRING #CROWNED #HEALTH #LEO #STRENGTH #REMAINING #FASCINATING #FIELD #KING #WAY #LOVER #WEST #REFRACTION #JUSTICE #EAGLE #TURQUOISE #PSYCHEDELIA #TRANSCENDENTALISM #ACCEPTANCE #SUNDAY #INFINITE #TIMEBANDITS #DRAGONFOREST #SOULGALAXY #RISING #FLYING #ELEVENDIMENSIONS #DIMENSIONS #REALMS #AENIMA #MATTEKUDASAI #NEWYORKCITYINTHEFUTURE #GODLOVESAMERICA #BEAT #CITYOFSTARS #EVANGELINE #DISCIPLINE #STORYTELLINGPROSE #RADIANCEANGELIC #ALIENFAIRY #FLOWS #CROSSOFCHANGES #WEFLOAT #COCTEAUTWINS #NEVERENOUGH #PRIMUS #INDULCEJUBILO #UPTHEHILLBACKWARDS #DEMONDAYS #BRINGONTHEDANCINGHORSES #EVERYBODYWANTSTORULETHEWORLD #LETTHEBELLSRING #SMASHINGPUMPKINS #ODEATH #FASCINATIONSTREET #KARAJAN #KATEBUSH #MYGIRLS #THISISTHEPICTURE #THETRAVELER #PJHARVEY #ROLLINGSTONES #CINNAMONROAD #NOONERECEIVING #PETERGABRIEL #ALLALONE #DONTGIVEUP #WONDERFULLAND #DARKLANDS #WOMANINCHAINS #TODAY #CLOSETOTHEEDGE #GLORIA #FULLMOONINMYPOCKET #LASTDANCE #POWEROFSOUL #DOLPHINDANCE #NOTDARKYET #ELDER #OVERTHEHILLSANDFARAWAY #INTHEAEROPLANEOVERTHESEA #FEELS #LEONARDCOHEN #ACEOFSWORDS #BEETHOVEN #RAKIM #ECHOANDTHEBUNNYMEN #IDONTKNOW #MOTHERSOFTHEDISAPPEARED #THISMORTALCOIL #TALKINGHEADS #DEARGOD #ARMYDREAMERS #YOUMAKEMYDREAMS #ELEPHANTTALK #BABEYOUTURNMEON #REBELREBEL #CHORONZON #SUPERMAN #THIEVESINTHETEMPLE #OM #DREAMSNEVEREND #TANGRAM #TANGERINE #PEARLJAM #RUBYCON #DIO #THINGSHAVECHANGED #LYREOFORPHEUS #RENEWEDPURPOSE #SOMENEWTHINGS #PICTURESOFYOU #ROADTONOWHERE #PLAINSONG #TOTALLYWIRED #SIGNOTHETIMES #APRILSKIES #CHEROKEELANE #TOBEFREE #TNTFORTHEBRAIN #GETSMETHROUGH #TEENAGEWILDLIFE #MISSYOU #RHYTHMSECTIONGATLINBURG #SINCE #MUCH #PLEASE #865-436-4342 #PRODUCT #ORDERS #A-3 #TOURISTATTRACTION #SHIRTS #BLUEGRASS #BARKATTHEMOON #BEACHSCENE #OFMONTREAL #LETSDANCE #OZZYOSBOURNE #SEAOFSTARS #SILVERDRAGON #MEMORYCASTLE #TRANSMUTATION #RAINBOWDRAGON #RAINBOWWIZARD #HOME ⭐ #WHENDOVESCRY #LOVINGTHEALIEN #HEAVENLYRAINBOW #HERECOMESTHESUN #FORWHATITSWORTH #HEAVENORLASVEGAS #VALHALLA #ILLUSTRATIONS #ORGANIZATION #MYTHOLOGY #VISIONS #FAERIES #MIDDLE #COMESEEUS #AREA 👑 #FLEETWOODMAC #PIERCETHEVEIL #BILLYJOEL #PHOSPHORESCENT #FRANKSINATRA #DIRTYDANCING #FORRESTGUMP #FOOTLOOSE #POISON #LOSTBOYS #RAGEAGAINSTTHEMACHINE 💚💙💚💙💜💚💙💜💚💙💜💚💙💜💚💙💜💚💜 #RAINBOWINN #ENERGYPROTECTION #DEFENSEDRAGON #MOTH #DRAGONPEOPLE #RIVEROFDREAM #MEDICINEHEALING #SNAKECAT #TURTLEDRAGONPEOPLE #RUNNINGONEMPTY #ROLLWITHTHECHANGES #SOBER #DONTLOOKBACK #TAKEITONTHERUN #AROUNDTHEWORLD #HARDERBETTERFASTERSTRONGER "WELL, IT'S NOTHING VERY SPECIAL. TRY BE NICE PEOPLE, AVOID EATING FAT, READ A GOOD BOOK EVERY NOW AND THEN, GET SOME WALKING IN, LIVE TOGETHER IN PEACE HARMONY WITH PEOPLE ALL CREEDS NATIONS." MEANING

 

Comic: "We Are All One Crazy Interconnected Web." Ink brush pen on paper 2010.

 

Originally published on Intent.com.

"Risograph Reverie" is an enchanting series of risograph graphics by Duncan Rawlinson. This collection engages the viewer with its distinctive blend of form and color, representing a compelling dialogue between the abstract and the photorealistic, the expected and the surprising.

 

Rawlinson's approach is a testament to the transformative capacity of art, where photography meets artificial intelligence to create something entirely unique. Each piece begins its journey as a photograph, a frozen moment in time, which is then fed into an AI tool that reshapes it into a vibrant dance of neon-colored geometric forms. The light magenta and azure hues act as commanding players on this visual stage, setting the tone for the playful motifs and mismatched patterns to unfold within a uniquely compelling 6:17 aspect ratio.

 

What's even more mesmerizing about this series is its perfect symmetry, creating a harmonious continuity when placed side by side. Each graphic functions as a tile, seamlessly connecting with its neighbors to form a larger, interconnected canvas that amplifies the visual impact. The result is a dynamic, infinite spectacle where each piece, while powerful as a standalone, is part of a greater, mesmerizing whole.

 

In "Risograph Reverie," Rawlinson bridges the tactile world of risograph printmaking with the endless possibilities of the digital realm. The collection, tactile and tangible, vibrates with the unique energy of risograph art, while the individual graphics, designed under the algorithmic direction of an AI, add a modern and innovative twist.

 

Navigating through this series is an invitation to lose oneself in a world where neon-colored geometric forms come to life, where patterns blend flawlessly, and where every piece is an integral part of a captivating, cohesive narrative. This is Rawlinson's celebration of contemporary art - a space where color and form, reality and imagination, and technology and traditional printmaking coexist in a fun and harmonious dance of creativity.

 

Duncan.co/risograph-reverie

The building consists two interconnected towers which are rising out of the side to reveal a shifting juxtaposition of solid and void that varies depending on ones angle of view. At the bottom of the towers within the spectacular atrium new public space is allocated. The roof of the atrium is made of glass ceiling that provides views of the twisting towers rising towards the sky.

Internet Society Global INET 2012, Geneva, Switzerland. Photo by Dan Anderson, Imagining the Internet Center, School of Communications, Elon University, Elon, North Carolina, USA...Copyright Elon University. CC BY-ND. This Creative Commons license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to Elon University.

Joined by President and CEO Dean Garfield of The Information Technology Industry Council, King & Spalding Partner J.C. Boggs, National Security Council Cybersecurity Director Ari Schwartz, and U.S. Department of Commerce General Counsel Kelly Welsh, as well as leading government and industry experts and policymakers, Governor Markell spoke at the 2014 Cybersecurity Summit: Risks & Benefits in an Interconnected Economy. This event kicked off National Cybersecurity Awareness Month with a discourse on cybersecurity risks and benefits in an interconnected economy.

 

Photo courtesy of Gregory Johns Photography.

Reading, thinking, and writing are interconnected activities in studying history.

As Human they are interconnected for future hopes.....

Image title: Incredibly interconnected

 

Description: This photograph illustrates the interconnection of the human brain which enables motor learning and, thus, is a basis for physiotherapy to function. Here, the researcher is presenting a novel walking rehabilitation approach, a combination of motor imagery and rhythmic music. Motor imagery involves a person imagining movements. During motor imagery about walking, similar brain networks are activated as when walking is executed. Actual walking can be enhanced by using instrumental music at a regular beat. An underlying mechanism for that is synchronisation of the brain’s rhythmic-auditory and motor circuits. On these grounds, this research project aimed at investigating the effects and mechanisms of rhythmic-cued motor imagery on walking in people with a neurologic disorder called multiple sclerosis. We hypothesised that the connections between the brain’s rhythmic-auditory and motor networks would be strengthened by the rhythmic-cued motor imagery practice; moreover, we suggested that to induce walking improvement in participants.

 

Barbara Seebacher

School of Health Sciences

 

Internet Society Global INET 2012, Geneva, Switzerland. Photo by Dan Anderson, Imagining the Internet Center, School of Communications, Elon University, Elon, North Carolina, USA...Copyright Elon University. CC BY-ND. This Creative Commons license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to Elon University.

Three paintings in Harvey Taylor's show from his Interconnected series - all works are 152cms X 122 cms - oil on canvas

At this point we entered the various interconnected docks via Langton Lock.

Smart Home, i.e. a house that contains appliances that are interconnected and can be assessed and controlled remotely, is not a recent ambition. In fact, the creation of the first home automation device took place in 1966. It comprised of four large cabinets (6’ x 2’ x 6’), that controlled temperature and appliances, and could save shopping lists, recipes, and other family memos.

 

Fast forward to 2020 and many of us still have similar ambitions for Smart Homes. However, technologies such as Machine Learning can enable not only simple automation, but intelligent automation. That means that in addition to controlling devices remotely, when the experience is well designed the users can enjoy personalised automation and delegate some of the low-risk decision making to the applications (apps) controlling those devices.

 

My research focuses on developing methodologies to simplify and enable a wider use of Machine Learning in the design those apps that will be controlling most appliances in a Smart Home, and by doing so, augmenting the user experience with a more intelligent version of automation and ultimately freeing the users from the burden of some mundane tasks.

 

Artlab Gallery

November 25 - December 9, 2021

 

I left parts of myself everywhere* transforms the gallery into a moving image environment. The interconnected installations speak to the experience of dislocation and fractured relationship to body, language, and place. They trace the deep yet precarious connections that emerge between human and nonhuman bodies and ecosystems; connections that are constantly both found and severed. The exhibition maps an experiential space that is both permeated with vitality and haunted by personal and ecological loss.

 

Eeva Siivonen’s experimental moving image practice engages with strategies of documentary, essay, and found footage film practices. She employs these strategies to construct affective and immersive moving image installations and single-channel works. Her practice describes subjective experience in ways that resist separation between self and other, interior and exterior, human and nonhuman, and living and nonliving. The ethos of her practice is to create space for empathy by embracing the impossibility of gaining knowledge of ourselves and others, and our place in the world.

 

Eeva Siivonen is originally from Helsinki, Finland. She has received MFA degrees in Video Art from Syracuse University and Documentary Film from Aalto University in Helsinki. She exhibits her work internationally at film festivals and gallery exhibitions. Most recently, her work has been screened at San Francisco Cinematheque’s Crossroads festival, DOBRA International Festival of Experimental Cinema in Rio de Janeiro, and Transient Visions Festival of Moving Image in Johnson City, NY. She has also received multiple international residency fellowships and recently spent two months in the Sangre de Cristo Mountains as an artist-in-residence at the Helene Wurlitzer Foundation in Taos, New Mexico.

 

*The exhibition title is borrowed from the poem “St. Thomas Aquinas” by Serbian American poet Charles Simic.

 

Artlab Gallery

JL Visual Arts Centre

Western University

London, Ontario, Canada

 

© 2021; Department of Visual Arts; Western University

Seamlessly Looping Background Animation Of Interconnected Particle Streams. Checkout GlobalArchive.com, contact ChrisDortch@gmail.com, and connect to www.linkedin.com/in/chrisdortch

The Kerala Backwaters are a network of interconnected canals, rivers, lakes and inlets, a labyrinthine system formed by more than 900 km of waterways, and sometimes compared to the American Bayou. In the midst of this landscape there are a number of towns and cities, which serve as the starting and end points of backwater cruises. National Waterway No. 3 from Kollam to Kottapuram, covers a distance of 205 km and runs almost parallel to the coast line of southern Kerala facilitating both cargo movement and backwater tourism.

 

The backwaters have a unique ecosystem - freshwater from the rivers meets the seawater from the Arabian Sea. In certain areas, such as the Vembanad Kayal, where a barrage has been built near Kumarakom, salt water from the sea is prevented from entering the deep inside, keeping the fresh water intact. Such fresh water is extensively used for irrigation purposes.

 

Many unique species of aquatic life including crabs, frogs and mudskippers, water birds such as terns, kingfishers, darters and cormorants, and animals such as otters and turtles live in and alongside the backwaters. Palm trees, pandanus shrubs, various leafy plants and bushes grow alongside the backwaters, providing a green hue to the surrounding landscape.

 

Vembanad Kayal is the largest of the lakes, covering an area of 200 km², and bordered by Alappuzha (Alleppey), Kottayam, and Ernakulam districts. The port of Kochi (Cochin) is located at the lake's outlet to the Arabian Sea. Alleppey, "Venice of the East", has a large network of canals that meander through the town. Vembanad is India’s longest lake.

 

HOUSE BOATS

The kettuvallams (Kerala houseboats) in the backwaters are one of the prominent tourist attractions in Kerala. More than 2000 kettuvallams ply the backwaters, 120 of them in Alappuzha. Kerala government has classified the tourist houseboats as Platinum, Gold and silver.

 

The kettuvallams were traditionally used as grain barges, to transport the rice harvested in the fertile fields alongside the backwaters. Thatched roof covers over wooden hulls, 30 m in length, provided protection from the elements. At some point in time the boats were used as living quarters by the royalty. Converted to accommodate tourists, the houseboats have become floating cottages having a sleeping area, with western-style toilets, a dining area and a sit out on the deck. Most tourists spend the night on a house boat. Food is cooked on board by the accompanying staff – mostly having a flavour of Kerala. The houseboats are of various patterns and can be hired as per the size of the family or visiting group. The living-dining room is usually open on at least three sides providing a grand view of the surroundings, including other boats, throughout the day when it is on the move. It is brought to a standstill at times of taking food and at night. After sunset, the boat crew provide burning coils to drive away mosquitoes. Ketuvallams are motorised but generally proceed at a slow speed for smooth travel. All ketuvallams have a generator and most bedrooms are air-conditioned. At times, as per demand of customers, electricity is switched off and lanterns are provided to create a rural setting.

 

While many ketuvalloms take tourists from a particular point and bring them back to around the same point next morning there are some specific cruises mostly in the Alappuzha area, such as the one night cruise from Alappuzha to Thotapally via Punnamada Lake two nights cruise from Alappuzha to Alumkavadi,[8] one night cruise from Alappuzha to Kidangara, and one night cruise from Alappuzha to Mankotta. There are numerous such cruises.

 

Beypore, located 10 km south of Kozhikode at the mouth of the Chaliyar River, is a famous fishing harbour, port and boat building centre. Beypore has a 1,500 year-tradition of boatbuilding. The skill of the local shipwrights and boat builders are widely sought after. There is a houseboat-building yard at Alumkadavu, in Ashtamudi Kayal near Kollam.

 

FERRY SERVICES

Regular ferry services connect most locations on both banks of the backwaters. The Kerala State Water Transport Department operates ferries for passengers as well as tourists. It is the cheapest mode of transport through the backwaters.

 

ECONOMIC SIGNIFICANCE

Connected by artificial canals, the backwaters form an economical means of transport, and a large local trade is carried on by inland navigation. Fishing, along with fish curing is an important industry.

 

Kerala backwaters have been used for centuries by the local people for transportation, fishing and agriculture. It has supported the efforts of the local people to earn a livelihood. In more recent times, agricultural efforts have been strengthened with reclamation of some backwater lands for rice growing, particularly in the Kuttanad area. Boat making has been a traditional craft, so has been the coir industry.

 

Kuttanad is crisscrossed with waterways that run alongside extensive paddy fields, as well as fields of cassava, banana and yam. A unique feature of Kuttanad is that many of these fields are below sea level and are surrounded by earthen embankments. The crops are grown on the low-lying ground and irrigated with fresh water from canal and waterways connected to Vembanad lake. The area is similar to the dikes of the Netherlands where land has been reclaimed from the sea and crops are grown.

 

WIKIPEDIA

  

some cubist forms interconnected.

Artlab Gallery

November 25 - December 9, 2021

 

I left parts of myself everywhere* transforms the gallery into a moving image environment. The interconnected installations speak to the experience of dislocation and fractured relationship to body, language, and place. They trace the deep yet precarious connections that emerge between human and nonhuman bodies and ecosystems; connections that are constantly both found and severed. The exhibition maps an experiential space that is both permeated with vitality and haunted by personal and ecological loss.

 

Eeva Siivonen’s experimental moving image practice engages with strategies of documentary, essay, and found footage film practices. She employs these strategies to construct affective and immersive moving image installations and single-channel works. Her practice describes subjective experience in ways that resist separation between self and other, interior and exterior, human and nonhuman, and living and nonliving. The ethos of her practice is to create space for empathy by embracing the impossibility of gaining knowledge of ourselves and others, and our place in the world.

 

Eeva Siivonen is originally from Helsinki, Finland. She has received MFA degrees in Video Art from Syracuse University and Documentary Film from Aalto University in Helsinki. She exhibits her work internationally at film festivals and gallery exhibitions. Most recently, her work has been screened at San Francisco Cinematheque’s Crossroads festival, DOBRA International Festival of Experimental Cinema in Rio de Janeiro, and Transient Visions Festival of Moving Image in Johnson City, NY. She has also received multiple international residency fellowships and recently spent two months in the Sangre de Cristo Mountains as an artist-in-residence at the Helene Wurlitzer Foundation in Taos, New Mexico.

 

*The exhibition title is borrowed from the poem “St. Thomas Aquinas” by Serbian American poet Charles Simic.

 

Artlab Gallery

JL Visual Arts Centre

Western University

London, Ontario, Canada

 

© 2021; Department of Visual Arts; Western University

"Risograph Reverie" is an enchanting series of risograph graphics by Duncan Rawlinson. This collection engages the viewer with its distinctive blend of form and color, representing a compelling dialogue between the abstract and the photorealistic, the expected and the surprising.

 

Rawlinson's approach is a testament to the transformative capacity of art, where photography meets artificial intelligence to create something entirely unique. Each piece begins its journey as a photograph, a frozen moment in time, which is then fed into an AI tool that reshapes it into a vibrant dance of neon-colored geometric forms. The light magenta and azure hues act as commanding players on this visual stage, setting the tone for the playful motifs and mismatched patterns to unfold within a uniquely compelling 6:17 aspect ratio.

 

What's even more mesmerizing about this series is its perfect symmetry, creating a harmonious continuity when placed side by side. Each graphic functions as a tile, seamlessly connecting with its neighbors to form a larger, interconnected canvas that amplifies the visual impact. The result is a dynamic, infinite spectacle where each piece, while powerful as a standalone, is part of a greater, mesmerizing whole.

 

In "Risograph Reverie," Rawlinson bridges the tactile world of risograph printmaking with the endless possibilities of the digital realm. The collection, tactile and tangible, vibrates with the unique energy of risograph art, while the individual graphics, designed under the algorithmic direction of an AI, add a modern and innovative twist.

 

Navigating through this series is an invitation to lose oneself in a world where neon-colored geometric forms come to life, where patterns blend flawlessly, and where every piece is an integral part of a captivating, cohesive narrative. This is Rawlinson's celebration of contemporary art - a space where color and form, reality and imagination, and technology and traditional printmaking coexist in a fun and harmonious dance of creativity.

 

Duncan.co/risograph-reverie

Leadership and Innovation in a Globally Interconnected World

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