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Clarke, D., Hollingsworth, H., 2002. Elaborating a model of teacher professional growth. Teaching and teacher education 18, 947–967.
"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.
📜 The Sette Sale, or "Seven Halls," represent the interconnected corridors which formed the large cistern for the Baths of Trajan. In reality, however, the title is a misnomer as the cistern contained nine halls which would once have been filled with water from a branch of a nearby aqueduct. Nevertheless, this impressive structure had a capacity of 8 million-plus liters by some estimates, was built contemporaneously with the imperial thermae it fed, and was located slightly uphill some 75 meters from the baths themselves.
Don't miss these all-new DESIGN Insights post highlighting Phase II of my ongoing efforts to build all of Ancient Rome, circa mid-4th century CE!
😎 These insights are EXCLUSIVE to Corinthian patrons, and peel back the curtain months before these designs will be shared publicly. The renderings, on the other hand, are shared with patrons of all tiers.
Support this unprecedented project on Patreon!
Link below ➡️🔗⤵️
www.patreon.com/posts/design-insights-94265831?utm_medium...
#Artist #SupportArtists #SupportOnPatreon #FineArt #VisualArt #VisualArtist #SmallBusiness #SmallBusinessOwner #ArtHistory #WorldHistory #AncientHistory #ChicagoArtist #SPQR #ImperialRome #AncientRome #Rome #Roma #FestinaLente #LEGO #LEGOArchitecture #LEGOArt #LEGOArtist #InstaLEGO #WorldHeritage #Antiquity #GrecoRoman #Esquiline #SetteSale
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.
Earth Designs Garden Design and Build were asked to created a landscape and propose garden design in Romford, Essex here are the details of the project.
The Wildlife Garden in Romford, Essex RM6 4YH
Brief: The plot in this project was a small, tired looking, sub-urban back garden. Its boundaries were a mish-mash of different fences with an unattractive and rickety wall along its back perimeter. The existing flooring consisted of reasonably good quality concrete paving, which the clients were happy to utilise in the redesign to reduce costs.
The clients requested a low maintenance space and specifically did not want lawn.
Solution: This is a fairly fluid design, featuring a series of interconnected circular areas of hard flooring to provide ample room for seating and relaxation while maximising the available planting space.
The existing fences and wall were removed and replaced along the entire boundary with new shiplap panels. A new shiplap gate was erected in the left hand corner of the space to allow access to an alley beyond.
The centre of the space features a gravel circle edged with red brick, to create an area large enough to accommodate a table and chairs for alfresco dining. This area also features a 12ft crab apple tree planted off centre within the gravel. 'Growing' from this main circle is a crescent of red half-bricks retaining a bed of loose cobbles.
Also adjoining the main circle is a smaller, brick-edged circle of crazy paving close to the house, constructed using the client's exiting paving and edged with red brick. This smaller circle has a crescent of loose cobbles adjoining it to the right. In the top right of the space we find a second circle of brick-edged crazy paving. This is joined to the main gravel circle by a railway sleeper bridge running over a crescent shaped butyl-lined pond. The pond itself is also brick edged and features two 'geyser'-style spouts, one on either side of the sleeper bridge.
The area in the bottom right hand corner of the garden has been set aside for a small storage unit, utilising the clients existing paving to create a cost-effective hard standing.
A wild-life oriented planting scheme provides the finishing touches to the space. Featuring hot colours, reds and yellows with splashes of purple, the flora was been chosen to provide year round interest and consists almost exclusively of perennials and evergreen shrubs and trees to keep maintenance to a minimum.
Testimonial: "Earth Designs have transformed a desolate concrete wasteland that we never used into a beautiful space in which we spend time almost every day. Katrina listened carefully to what we wanted and her first design was just perfect for us.
The build team worked hard to make sure every detail was to our satisfaction. If we move and need another garden transformation, we'll be using Earth Designs again."
If you dig this and would like to find out more about this or any of other of our designs, please stop by our web-site and have a look at our work.
Earth Designs is a bespoke London Garden Design and build company specialising in classic, funky and urban contemporary garden design.
Our Landscape and Garden build teams cover London, Essex and parts of South East England, while garden designs are available nationwide.
Please visit www.earthdesigns.co.uk to see our full portfolio. If you would like a garden designer in London or have an idea of what you wan and are looking for a landscaper London to come and visit your garden, please get in touch.
Follow our Bespoke Garden Design and Build and Blog to see what we get up to week by week, our free design clinic as well as tips and products we recommend for your garden projects www.earthdesigns.co.uk/blog/.
Earth Designs is located in East London, but has built gardens in Essex, Hertfordshire and all over the South East. Earth Designs was formed by Katrina Wells in Spring 2003 and has since gone from strength to strength to develop a considerable portfolio of garden projects. Katrina, who is our Senior Garden Designer, has travelled all over the UK designing gardens. However we can design worldwide either through our postal garden design service or b
y consultation with our senior garden designer. Recent worldwide projects have included garden designs in Romania. Katrina’s husband. Matt, heads up the build side of the company, creating a unique service for all our clients.
If you a not a UK resident, but would like an Earth Designs garden, Earth Designs has a worldwide design service through our Garden Design Postal Design Vouchers. If you are looking for an unique birthday present or original anniversary present and would like to buy one of our Garden Design Gift Vouchers for yourself or as a present please our sister site www.gardenpresents.co.uk. We do also design outside of the UK, please contact us for details.
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.
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
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.
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.
“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.
"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.
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
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.
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
“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.
The coherence that has placed the elements into their proper place that has been captured at the right time was such a rewarding shot, something that can really put an initiative to get into street photography even more.
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
The Workman-Temple family relates to the pioneer interconnected Workman and Temple families that were prominent in: the history of colonial Pueblo de Los Angeles and American Los Angeles; the Los Angeles Basin and San Gabriel Valley regions; and Southern California — from 1830 to 1930 in Mexican Alta California and the subsequent state of California, United States.
The Workman-Rowland Party was long considered the "first wagon train of Americans to travel overland to Los Angeles," but the party could not use wagons because of the difficult Old Spanish Trail route, nor were they solely Americans.
-Wikipedia
Fujica ST705w with the MC/ARAX 35mm tilt-shift lens on cross-processed Kodak Elite Chrome 100 slide film.
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
in your own little leitmotif way. in your own innocent way. in your own engrossed way.
..notes to self, yes. Essence of Rhythm ※
"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.
This graphic shows how Media Readers, Media Creators, Social Media, and World Wide Web all interconnect.
Blacksmith Lane, Grenoside, Sheffield.
Horse Troughs.
Two interconnected large stone troughs, in their original position. Situated at the junction of Blacksmith Lane, Main Street with join to Hill Road. Both Hill Road and Blacksmith Lane are very steep and the troughs are sited at the top of these inclines. Water to the troughs is fed from the top end of the right hand trough, with interconnection into the second one.