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Izunuma-Uchinuma, two interconnected freshwater lakes supporting fringing peat swamps, reedbeds, and submerged vegetation. One of the few Japanese localities for wild rice, an important food source for wintering Anatidae (ducks, geese, swans, etc.). The 559 ha National Wildlife Protection & Nature Conservation Area was designated as Ramsar Site in 1985.
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.
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.
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
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
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
The Three of Swords is the card of heartbreak, grief, sorrow, loss, trauma, and separation. Three swords pierce a heart, while it rains in the background. The three swords represent the pain inflicted by words, actions, and intent on our emotional and physical selves. Though this may seem dreary and dire, the storm will not last forever, and the sun will come out.
The Three of Swords reminds us that love and pain are often interconnected. Sometimes we have to experience heartbreak in order for us to learn the difficult lessons that we need to succeed in a future relationship. The Three of Swords also reminds us that the pain we experience is not forever. We can take the swords out, and we will heal.
Upright Three of Swords as Love Outcome
If you are asking about what is the outcome of a relationship, and you draw the Three of Swords, that means that you will learn an important karmic lesson from this relationship. It is astrologically associated with Saturn in Libra. Saturn is the planet of karma, burden, and responsibility. Libra symbolizes the scales of karmic justice. Drawing this card is usually an indication that you’re in a karmic relationship. These relationships are never easy, but we learn so much about ourselves and humanity through these relationships.
The Three of Swords as love outcome is a sign of learning from mistakes. Although this relationship is dissatisfying, in the long run it will teach you, not only what you don’t want, but what you do want out of a relationship. Oftentimes we find ourselves in disappointment because we lacked understanding of what we wanted, and what those “wants” really entail. Sometimes we learn that what we saw as less desirable was exactly what we needed to feel comfortable in our own skin, heal, and grow. The number 3 in numerology is all about learning lessons and growing pains. Whether this relationship teaches you about betrayal, knowing your worth, or even the value of money, your soul came out of this wiser than it was before.
If you are wondering about a potential relationship, the Three of Swords as love outcome means the relationship will not be easy. Your relationship styles may be very different from your person. As a result, you could end up with misunderstandings to incidents that may leave you feeling disrespected. This may be unintentional, or your person may be doing it on purpose to hurt you. Your person could be insecure and put you in third-party situations as a control tactic. If you feel like your person is purposefully manipulating you to keep you insecure, you deserve better.
If you are in a new relationship, the Three of Swords as love outcome means both of you still need healing. This is the energy of the saying, “hurt people tend to hurt people.” One or both of you might need to process and heal from a past relationship or a childhood trauma before entering into new relationships. Before this happens, you might end up unintentionally hurting your partner, or becoming easily hurt by your partners. Saturn in Libra can be heavy on the heart. Protect your heart.
If you are in an existing relationship, the Three of Swords as love outcome means it’s probably time to re-evaluate the relationship. You may have reached a point where you have realized that you are in a karmic relationship. This card’s astrological association with Saturn, the planet of karma, is an indication of that. The unhealthy dynamics of this relationship may have shone a light on the karmic lessons you need to learn in this lifetime. That being said, you don’t have to stay with a karmic partner to “graduate” your lesson. Know when to walk away, it’s time to use your soul lessons for a more emotionally fulfilling relationship.
If you are currently in separation with each other, the Three of Swords as love outcome means feeling helpless and lonely. If you are separated by distance, you may feel anxious and even depressed because you’re not sure how this long-distance relationship will turn out. You could be arguing about your future all the time, or there could be concerns about a third party situation. If you are inquiring about an ex you’re interested in reconciling with, your person is heartbroken over your breakup. They could also be heartbroken over the fact that they broke your heart. Maybe they’ve come to the realization that hurting others only hurts ourselves.
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Reversed Three of Swords as Love Outcome
If you are asking about what is the outcome of a relationship, and you draw the Three of Swords reversed, that means that there is disappointment with how things turned out. However, when drawn in the reverse, you and your person could be determined to heal the relationship. If they were in the wrong, they want to apologize and mend things. If you were in the wrong, they’re trying their best to forgive you. Your person just wants to move on from that painful event so you can move forward together. If your person has unhealthy behavioral patterns or habits, they are hoping to improve themselves for the sake of the relationship.
The Three of Swords reversed as love outcome is a sign of healing from a painful period in a relationship. Because it is astrologically associated with Saturn, there are undertones of burden and responsibility. Your person may feel like any mistakes they have made are a burden to them. They have acknowledged that it’s their responsibility to ensure that the relationship is repaired. Libra is an energy of wanting to do right by you, and be fair in their dealings from now on. They’re worried that you will never forgive them.
If you are wondering about a potential relationship, the Three of Swords reversed as love outcome means one or both of you are still healing from past relationship. Drawing this card in reverse may also indicate being on guard. One or both of you may be worried about getting hurt. Usually, it’s unhealthy to enter into relationships in an unhealed state, especially if one party is just using the other as a rebound. However, when we see this card in reverse, it could be a signal that this relationship in itself can heal you both. Take it slow as proper healing always takes time.
If you are in a new relationship, the Three of Swords reversed as love outcome means healing each other from a previous relationship. If you feel like you’ve started off on the wrong foot, drawing this card in the reverse is a positive sign. There’s still hope. Don’t be afraid to be vulnerable with your person, as it could strengthen your bond with each other. Make sure you always remember that your current partner is not your ex. So don’t project your fears about your past partners to your current person, as Libra advises us to be fair.
If you are in an existing relationship, the Three of Swords reversed as love outcome means you’re healing from a rough patch in your relationship. There could have been a Tower moment in your relationship. When this card is drawn in the reverse, it indicates that you’re slowly moving past the most intense part of processing what happened. Saturn in Libra represents a period where the guilty party takes responsibility for the part that they played in what happened. The wrong party might still feel disappointment, and that’s okay. Your person may feel deep regret if they are the guilty party.
If you are currently in separation with each other, the Three of Swords reversed as love outcome means you’re both healing from shared difficulties. If you are separated by distance, you may have gone through a trying time together. Long-distance relationships are never simple or easy. However, both of you are trying to heal from these past hurts and move past them. If you are inquiring about an ex you’re interested in reconciling with, they’re trying to heal from the break up. Whether this means they’ll be open to reconciliation will depend on whether they still see hope in your relationship, or whether they feel moving on would be a better option for them.
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Conclusion
For love readings, the Three of Swords represents pain and heartbreak. Though no one wants to go through pain and experience grief, it is often a necessary part of growth. Pain is here to teach us valuable lessons, so that we may be more open to receiving true, healthy love.
If you find yourself needing further clarity in your relationship matters that go beyond reading for yourself, Sibyl offers unlimited tarot readings on love & relationships, as a neutral and objective third party.
www.sibyltarot.com/2022/08/29/tarot-card-meaning-three-of...
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
The Kerala backwaters are a chain of brackish lagoons and lakes lying parallel to the Arabian Sea coast (known as the Malabar Coast) of Kerala state in southern India. The network includes five large lakes linked by canals, both manmade and natural, fed by 38 rivers, and extending virtually half the length of Kerala state. The backwaters were formed by the action of waves and shore currents creating low barrier islands across the mouths of the many rivers flowing down from the Western Ghats range.
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, 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
JEFFREY CHEUNG
3/15/2012
I am an architecture student in Toronto, Ontario currently studying in Ryerson’s architectural science program. I am in my fourth year and I heard about Pruitt-Igoe from my professor as we based a core studio project on the ideas submission. Before doing this project in the fall semester, the history of Pruitt-Igoe was not known and after undergoing this competition, I have gained a lot more knowledge about modern architecture and am interested in the current site’s future. The most interesting thing about the site is the potential it has to be able to get redeveloped and to assist in the revitalization of the downtown area. My connection to public housing is that I have experienced some while in Hong Kong and know the types of conditions of the environment. For modern architecture, I have only studied and read about it and occasionally experienced it through observation on site visits. I hope that my conceptual approach and design intent are able to re-create new experiences on a once highly populated area.
Design Idea
The design proposal is to revitalize the downtown area of St. Louis surrounding the Pruitt Igoe site by implementing interconnected spaces through redevelopment and a catalyst building. Through analyzing the surrounding context and location of markets, the proposed catalyst building to be incorporated is to be a mixed-use market type building. With this catalyst, it will lead to the development of some urban agriculture which can lead to continued growth of different types of buildings to further support and develop the site. Stores are proposed to go along Cass and Jefferson Avenue to act as a starting point for future development. Green spaces and farmland will allow for circulation within the site and to the existing surrounding buildings to promote interconnected spaces. The creation of interconnected spaces will give the proposed interventions a way to be connected to each other to revitalize the location.
For transportation to the site, there will be a transportation hub for those who wish to take public transportation. For those travelling by car, there will be a ramp along 23rd street which provides direct access to underneath the site for on-site parking. The mixed use market building will consist of the two lower floors being a farmers market for the sale of local produce grown nearby. The third floor will be an office space; fourth floor will be an outdoor terrace and educational area of the history of Pruitt-Igoe and the present form while the top floor will be a restaurant. The ground floor area will have a plaza space which takes over a section of Cass Avenue to provide pedestrian-only zones for market spaces and interaction. To accommodate for the vehicular traffic along Cass Avenue, it will go below grade for a section of the road without causing interference to the plaza space above.
"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.
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.
The Kerala backwaters are a chain of brackish lagoons and lakes lying parallel to the Arabian Sea coast (known as the Malabar Coast) of Kerala state in southern India. The network includes five large lakes linked by canals, both manmade and natural, fed by 38 rivers, and extending virtually half the length of Kerala state. The backwaters were formed by the action of waves and shore currents creating low barrier islands across the mouths of the many rivers flowing down from the Western Ghats range.
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
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
Along with the FP was offered an accessory meter that interconnected with the camera's shutter speed dial. A later version Koni Meter II is much smaller and positioned on a mounting plate that attaches under the shutter speed dial, but functions very similarly. Both are CdS celled meters, which require a battery for to operate them.
The sagebrush ecosystem is the largest interconnected habitat type in the country. Home to more than 350 species of plants and animals and bridging portions of 13 states, America’s sagebrush country sustains iconic plants and wildlife, and a uniquely western way of life.
These pictures were taken outside of Bend, Oregon, near a sage-grouse mating site, or lek.
Credit: Sarah Levy/USFWS
Address: Na Poříčí 24, Praha 1
Year: 1921–1923; 1937–1938; 1991–1994 (reconstructed)
Architects: Josef Gočár; František Marek; Vojtěch Obadálek
Archa palace is composed of two interconnected buildings built during the course of the 20th century. The first building, known as Legiobanka, was built for the Czechoslovak Legions Bank in 1921–1923. It was designed by Josef Gočár in the so-called National style (also called Rondocubism), which can be considered the local variant of the international art deco movement. The architect collaborated with sculptors Otto Gutfreund and Jan Štursa, while the interior decoration was partially executed by the painter František Kysela. There used to be a concert hall and later a theater in the basement.
The bank was enlarged in 1937–1938 by another building designed by Gočár’s protégé, František Marek, in the Functionalist style. The addition respects the aesthetic weight disposition of Gočár’s building and creates a harmonious whole of two different architectural approaches. The second building is known as Zlatý klas (The Golden Stalk) on account of the decoration on the second floor in the form of forged ears of grain made by Josef Kaplický. It also houses a shopping arcade where there used to be a cafe and fast-food restaurant called automat U Rozvařilů.
In 1990, after the revolution, both buildings were bought by ČSOB bank and reconstructed. The theater was modernized and became Theater Archa, from which the name of the whole building is now derived.
After the last reconstruction in 2008–2009, a 26,000 m2 multipurpose office space was created inside the buildings and is currently under the administration of CPI Property Group.
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.
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.
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.
"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.
Studio 12 Architecture transformed a small footprint of undeveloped property near Precita Park into two tall, gracefully interconnected single family homes.
Anchor/Anchorite Church
Four interconnected sandstone caves on a backwater portion of R.Trent.
The name Anchor Church is derived from the term Anchorite, because it is thought to have been the cell of an Anchorite hermit, St Hardulph, who lived and prayed here in the 6th and 7th century.
In the Middle Ages, the caves were used by a monk named Bernard, who died here whilst doing penance for his involvement in some unknown crime. Records of the caves exist from 1658 when it is mentioned in Repton church records.
The Burdett family of Foremarke Hall enlarged the caves to the present size in the 18th century, fitting a door in 1845 and some additional brickwork, including a set of steps to the main entrance. Sir Francis Burdett used the caves as a summerhouse and held picnics there.
"Escape the bustle of the City exploring interconnected Moore Park, Park Drive and Vale of Avoca ravines. These natural areas and their streams provide a haven for wildlife, including raccoons, chipmunks, rabbits, skunks, snakes, frogs, many bird species, and even deer. Today, municipal by-laws protect these ravines and the City is restoring much of the vegetation."
On another social distance solo walk through Toronto this time following the City of Toronto's Discovery Walks.
Scenes taken along the "Central Ravines, Belt Line & Gardens" Discovery Walk
www.toronto.ca/services-payments/streets-parking-transpor...
Image taken with my OnePlus
We all are interconnected, so be kind to all sentient beings :)
Made with playing cards from thrift store decks. Four significant of the Four Noble Truths in Buddhism, H.H. Dalai Lama image from last year's Tibetan calendar
“Speaking of the larger environment, God made all things interconnected, mutually intertwined, and interdependent. He used this method and these rules to maintain the survival and existence of all things and in this way mankind has lived quietly and peacefully and has grown and multiplied from one generation to the next in this living environment up to the present day. God balances the natural environment to ensure mankind’s survival. If God’s regulation and control were not in place, no man could maintain and balance the environment, even if it was created by God in the first place—this still can’t ensure mankind’s survival. So you can see that God handles it all perfectly!” (Continuation of The Word Appears in the Flesh).
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.
Clarke, D., Hollingsworth, H., 2002. Elaborating a model of teacher professional growth. Teaching and teacher education 18, 947–967.
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
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.
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.