INTERCONNECTEDNESS photos on Flickr

Fragments of Consciousness (Detail II) by Wang Lang

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Digital image on canvas (2013)

Large: 90 x 90 cm

Small: 60 x 60 cm

In this self-portrait, Wang Lang has expressed an important Buddhist concept: "I" am merely fragments of consciousness. Here the "I" refers to our collective concept of self as separate from others, from the surrounding environment, from the universe. When we think of ourselves as "I" or "me", we lose the sense of overarching connection between all things, the complete interconnectedness of all things. This is what the Buddhists might refer to as a discriminating mind or biased thinking.

According to Buddhist philosophy, in the endless cycle of Samsara (life, death and rebirth), "you" or "I" become the aggregate of consciousness and karma accumulated from past existences, so the "I" or "me" is constructed out of all the consciousness built up from past to present. From this perspective our core essential being is a collection of many past states of consciousness and individual instances of awareness, hence our identity is a fragmented collection of consciousness.

Since our own self-awareness is a reflection of our own limited comprehension, experiences, perceptions and biases, we are but mere fragments in the grand scheme of a higher wisdom that transcends individual consciousness. The "I" is simply a tiny array of pieces in a larger puzzle that can only be arranged fully and completed through enlightenment.

Site Curator,

Chris Harry

The Park as Lover by hhschueller

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Gerrit Frohne-Brinkmann, Crying Tiger, 2021

The Lantz'scher Park in Düsseldorf is hosting an intriguing exhibition titled "The Park as Lover," which opened on June 9, 2024. This unique event, curated by Katharina Klang, invites visitors to experience the park from the perspective of its non-human inhabitants, challenging traditional views of nature and culture. The exhibition is a blend of art and nature, where sculptures and performances become a medium to explore symbiotic relationships and the creative abilities of all beings. It's a thought-provoking journey that questions the learned subject-object assignments and celebrates the interconnectedness of all species.

AI Generated Text

cleaning facades by arnds photos

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captured in the city of amsterdam, this photograph reveals a man meticulously cleaning his shop window, while the facade of the building across the street reflects in the glass. his focused efforts to maintain the storefront create a mirror image of the urban architecture, blending his diligent work with the city's external beauty. this scene underscores the interconnectedness of personal labor and public spaces, where individual actions contribute to the collective urban experience.

Tlingit Haida Tsimshian Eyak Alaska State Museum ~ Juneau, Alaska by 1coffeelady

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Southwest Alaska

Tlingit Haida Tsimshian Eyak

People of the Rain Forest

The Native people of Southeast Alaska, the world's northernmost temperate Eyak-thrive in a uniquely rich ecosystem, the world's northernmost forest. The mountainous shoreline of fjords & islands gathered ocean moisture in glaciers & icefields, in rivers thick with salmon, & in the deep moss of forests with towering spruce, hemlock & cedar trees, some a thousand years old.

Salmon feed the people, the wildlife, & the forest itself, bringing nutrients upriver to spawning grounds where the bodies of fish will ultimately fertilize the trees. The interconnectedness of this system lives in the cultures of the people, too. Tribes here are renowned for their complex societies, ceremonies, & spiritualism, the richness of their history, oral traditions, & the objects they make that reflect this abundant environment. Their distinctive artistic styles are acclaimed worldwide.

Respect & balance are basic values. People, & animals, plants & inanimate objects are part of one system. Everything has spirit worthy of respect. With proper treatment of salmon & animals taken for food, they return to feed the people again. This system of sustainability supported the people here for thousands of years, until the arrival of industrial resource development.

Bowtie-joined Pallet Chalkboard / Tableau Noir En Bois De Palettes by Recyclart

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www.1001pallets.com/2017/02/bowtie-joined-pallet-chalkboa...

Here is my Bowtie-Joined Pallet Chalkboard made of wooden pallets. I made the legs and frame from pallet wood. Next, I made the chalkboard using plywood painted with chalkboard paint. The board is 1 m 10cm by 60cm. I cut the boards to the size I wanted and trimmed the rear boards, so they don't protrude from behind.

Bowtie-Joined Pallet Chalkboard:

I mitered the frame and glued it together, clamping with a strap. One corner didn't line up perfectly, so I reinforced the angle with a bowtie insert. After painting the background with chalkboard paint, I nailed it to the back of the frame. I made the support legs by just making two triangles that I screwed together. They are interconnected by the support tray/chalk rail where canvases rest. Additionally, I hid them behind the chalkboard piece. The project took me about three hours, and two pallets were needed for the frame and feet. This project had nothing technical except the bow tie in the wood. The knot itself was cut into another board, dyed with walnut husk.

Toujours dans la catégorie cadeau pour les enfants, Voici un tableau noir réalisé en bois de palettes (pieds + contour du tableau), le fond servant pour le tableau en lui même est une planche de multiplex 12mm récupérée.

Le tableau fait 1m10 sur 60cm, les planches du cadres ont été découpées d’abord à la bonne taille, l’arrière a été ensuite légèrement défoncé afin que le multiplex ne dépasse pas derrière. Pour l’assemblage, c’est simplement de la colle, le cadre était tenu par une sangle. le noeud en haut à droite a été placé afin de renforcer l’angle car les deux morceaux de bois ne s’alignaient pas parfaitement. Après avoir peint le fond avec de la peinture pour tableau, il a été cloué à l’arrière du cadre.

Les pieds sont quand à eux deux triangles vissés. ils sont reliés entre eux par la rigole sur laquelle le tableau est déposé mais également par une planche cachée derriere le tableau. Le projet m’a pris en tout plus ou moins 3h, et deux palettes ont été nécessaires pour le cadre + les pieds.

Ce projet n’avait rien de technique à part éventuellement le noeud papillon dans le bois. Le noeud en lui même a été coupé dans une autre planche, teint avec du brou de noix. l’emplacement dans le tableau a quand a lui été fait au ciseaux a bois.

Great idea for a kid's room! Looks like fun! Here's another Frame idea to check out!

Janet Echelman's Aerial Sculpture - M1008707 by Sean Sweeney

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A monumental, aerial sculpture is suspended over Boston’s Rose Kennedy Greenway from May through October 2015 as the signature contemporary art installation in the Greenway Conservancy’s Public Art Program.

The sculpture for Boston spans the void where an elevated highway once split downtown from its waterfront. Knitting together the urban fabric, it soars 600 feet through the air above street traffic and pedestrian park.

The form of “As If It Were Already Here” echoes the history of its location. The three voids recall the “Tri-Mountain” which was razed in the 18th-century to create land from the harbor. The colored banding is a nod to the six traffic lanes that once overwhelmed the neighborhood, before the Big Dig buried them and enabled the space to be reclaimed for urban pedestrian life.

The sculpture is made by hand-splicing rope and knotting twine into an interconnected mesh of more than a half-million nodes. When any one of its elements moves, every other element is affected. Monumental in scale and strength yet delicate as lace, it fluidly responds to ever-changing wind and weather. Its fibers are 15 times stronger than steel yet incredibly lightweight, making the sculpture able to lace directly into three skyscrapers as a soft counterpoint to hard-edged architecture. It is a physical manifestation of interconnectedness and strength through resiliency.

In daylight the porous form blends with sky when looking up, and casts shadow-drawings onto the ground below. At night it becomes an illuminated beacon. The artwork incorporates dynamic light elements which reflect the changing effects of wind. Sensors around the site register fiber movement and tension and this data directs the color of light projected onto the sculpture’s surface.

“Here in Boston, I’m excited to visually knit together the fabric of the city with art,” said Echelman. “The creation of the Greenway was a seminal event in the unfolding of our city, so I’m delighted and humbled to be a part of its transformation into a vibrant cultural destination.”

The work invites you to linger, whether seen amidst the skyline from afar, or lying down on the grassy knoll beneath. It embraces Boston as a city on foot, where past and present are interwoven, and takes our gaze skyward to feel the vibrant pulse of now. It invites you to pause, and contemplate a physical manifestation of interconnectedness – soft with hard, earth with sky, things we control with the forces beyond us.

By the Numbers:

– The sculpture includes over 100 miles of twine

– Longest span is 600 ft

- Highest point of attachment is 365 ft

– There are over half a million knots (~542,500)

– The sculpture weighs approximately 1 ton

– The sculpture can exert over 100 tons of force

– Projected plan area of the sculpture is 20,250 sq ft, or almost half an acre

AM16 Seminar: The Shifting Global Economic and Political Landscape: Fragmentation or Integration? by International Monetary Fund

The discussion will address a key question at the heart of the international economic and political landscape: have the benefits of globalization been oversold? Slow global growth and increasing inequality, civil conflict and refugee flows, and the rise of political figures espousing nationalist and protectionist positions pose difficult challenges to global interconnectedness. Panelists will offer fresh perspectives on these emerging issues.

Asia - Philippines / Luzzon by RURO photography

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Poverty is the state for the majority of the world’s people and nations. Why is this? Is it enough to blame poor people for their own predicament? Have they been lazy, made poor decisions, and been solely responsible for their plight? What about their governments? Have they pursued policies that actually harm successful development? Such causes of poverty and inequality are no doubt real. But deeper and more global causes of poverty are often less discussed.

Behind the increasing interconnectedness promised by globalization are global decisions, policies, and practices. These are typically influenced, driven, or formulated by the rich and powerful. These can be leaders of rich countries or other global actors such as multinational corporations, institutions, and influential people.

In the face of such enormous external influence, the governments of poor nations and their people are often powerless. As a result, in the global context, a few get wealthy while the majority struggle.

Interconnectedness 2018 Aleksandr Osvald August von Turro-Lebardov EKA81 2018-107 17.12.2018 (2) 3 by Aleksandr Osvald August von Turro-Lebardov

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'#interconnectedness' 2018 #seotus #studying #synergy #students #threads #stringart #installation #blue #architecture #indoor #estonia #tallinn #contemporaryart #art #АЪ EKA81 2018-107 17.12.2018 (2)

Technical and Artistic Photographers by John Suler

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For a moment, let’s supposed there are two basic personality types in photography.

The “technical” type are those people who focus their efforts on and enjoy the technical aspects of photography. They can tell you all about camera equipment. Stretching their budgets if they have to, they themselves continually strive for bigger and better stuff. They want to understand the science of light and optics. In digital photography, they are familiar with computers, photo editing programs, and even the arcane world of color spaces. They probably don’t mind being called “geeks” but would like to be seen as professionals. These are the go-to people when you want advice on buying equipment and dealing with computer hardware or software problems. They are logical, analytical, realistic, and practical thinkers. They believe in order, pay attention to details, and like having control over all aspects of their work. As sticklers for rules and procedures, they believe in the right and wrong ways to do photography. For them, authority matters. Other people might find them a bit compulsive and inflexible. Sometimes they might even drive themselves crazy with their own perfectionism. They strive for tack sharp photos, perfect white balance, and no clipping in the shadows or highlights. Realistic images and the control offered by studio photography are attractive to them, as well as the practical challenges and outcomes of event photography. They’re not particularly interested in and maybe even look down on “artsy” photographs. Their photo archive is well-organized, with a comprehensive set of keywords and precisely defined file names.

The artistic type are those people who are, in many ways, the exact opposite. They’re not particularly interested in the technical or scientific aspects of photography. They see photography as art, as a vehicle for personal and emotional expression. They think of themselves and want to be seen as artists. They’re more interested in creativity, experimentation, innovation, and play, rather than standards and rules. Indifferent to or even rebellious against authority, they want to be independent, to do their own thing. They like images that are emotional, ambiguous, unusual, idiosyncratic, shocking, or based more on fantasy and imagination that reality. Blurry, strangely colored, and shadow or highlight clipped photos are fine with them, as long as the effect looks cool. In their photography they want to remain open to new experiences, to let go, to be receptive, spontaneous and fluid. Other people might see them as sensitive, moody, unpredictable, introspective, nonverbal, impractical, or disorganized. The artistic types shudder at the thought of doing wedding or commercial photography. Having a well-organized archive of images and a logical system of filenames isn’t on their list of priorities, if they even bother keeping lists.

You might know people who fit these descriptions. If they come from different types, it probably wouldn’t be a good idea to get them together. They won’t have a lot in common, even though they’re both into photography. They might not even like each other very much or respect each other’s work.

More than likely, you probably know people who are somewhat similar to one of these two types, but not exactly. They might have some of the traits of the technical as well as the artistic type. This might also be true of you. I deliberately portrayed these two kinds of photographers in a rather extreme fashion, as two opposite poles on a continuum of artistic/technical temperaments. We might think of all photographers as falling somewhere on that continuum, some towards the technical pole of the dimension, others more towards the artistic end.

We also might think of these two kinds of photographers as “pure” types in the sense that they contain specific but very different clusters of personality traits. These pure types account for only some people. The personalities of most photographers will involve unique clusters of traits that come from both column A and column B. However, as we often find in psychological studies of personality types, certain traits do tend to cluster together.

The differences between the technical and artistic photographer can be explained in terms of cerebral lateralization – what the popular press often describes as “left versus right brain.” The left side of the cerebral cortex tends to involve thinking that is more logical, analytical, objective, sequential, detail-oriented, concerned with reality, and focused on language, facts, patterns, and order. The right side involves thinking that is visual, emotional, subjective, intuitive, spatial, holistic, and based on symbols, metaphors, and imagination.

Of course, these distinctions are a simplification of the much more complex reality of brain functioning. Some research suggests that many brain activities, especially the more complex ones, are spread out across a variety of areas. And even if there is a clear distinction between some functions of the left and right cerebral cortex, there’s a large nerve pathway between them, the corpus callosum, that intertwines their activities. Given this interconnectedness within the brain, it’s no surprise that we only occasionally see the pure types of technical or artistic photographers, while most of the time people lean in the direction of right or left brain thinking while retaining some of the functions of the opposite side.

What’s interesting about photography is how it calls for a robust engagement of both sides of the brain. It draws on a variety of brain processes associated with both technical and artistic thinking. The technical photographer might be more concerned about precision in creating an image, while the artistic photographer will rely more on instinct. However, most photography will require us to draw on the visual thinking of the right brain while also employing the left brain to master the technical aspects of working the camera and processing the image. To produce good photos, technical photographers will need to draw on a right brain appreciation of visual design and composition, whereas artistic photographers will need to tap left brain thinking in order to learn the tools of the trade that help them actualize their artistic visions.

* This image and essay are part of a book on Photographic Psychology that I’m writing within Flickr. Another more easy to navigate version of the book is located at this web site

Wien, 3. Bezirk, Linke Bahngasse/Anton-von-Webern-Platz (Universität für Musik und Darstellende Kunst, Università per Musica e Arte Scenica, Universidad para Música y las Artes escénicas, Université pour la Musique et le Spectacle vivant) by alfred lex

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(for further information please go to the end of page and by clicking on the link you will get them!)

University of Music and Performing Arts Vienna

Motto tradition and innovation

Founded in 1817

State sponsorship

Location Vienna, Austria

Rector Werner Hasitschka

About 3,000 students

Employees about 850 of which about 140 professors

www.mdw.ac.at site

The University of Music and Performing Arts 2007

Columned hall to staircase, Kaiserstein

Pillar staircase around open shaft, Kaiserstein

Institute building and former main building, including the Academy Theater, Lothringerstraße 18

The University of Music and Performing Arts Vienna (mdw) is an Austrian university located in third District of Vienna highway (Landstraße), Anton-von-Webern-Platz 1. It claims to be the greatest art university in Austria and greatest university of music worldwide. Approximately 3,000 students are supported by more than 850 teachers. It is since 2002 structured into 24 institutions offering the artistic, artistic-scientific and purely scientific doctrine. Since 2002 Werner Hasitschka is rector.

History

Already 1808 was discussed on the establishment of a conservatory of Music according to Parisian model (Conservatoire de Paris). The 1812 founded Society of Friends of Music in Vienna this venture had set as it main task, so that already in 1817 a singing school could be launched, which laid the headstone for such an institution. Thus the year 1817 is considered the official founding year of the mdw. In 1819 with the Engagierung (engagement) of violin professor Joseph Böhm instrumental lessons have been started.

With short interruptions during the 19th Century the curriculum was expanded massively, so that in the 1890s more than 1,000 students could be counted. In 1909, this private institution was nationalized on resolution of the emperor and was now kk Academy of Music and Dramatic Art.

With the nationalization it also received an own house: in collaboration with the Vienna Konzerthaus Society from 1912 in Liszstraße a building together with a sample stage (today Academy Theater) was built, into which already in January 1914 could be moved. After World War I, the institution was called State Academy (1919). In 1928, the Academy has been extended to a drama seminar (Reinhardt-Seminar) and a music educational seminar. Between 1938 and 1945 it was continued as a Reichshochschule (Academy of the German Reich) by exclusion of Jewish teachers and students.

After the war, in 1946 the institution again became an art school, from 1970 to 1998 it was called University of Music and Performing Arts, since 1998 it is a university.

In 1952 Walter Kolm-Veltée established special training for film design. In 1960, a film class, led by Hans Winge, was added. In 1963, the two courses were combined into the newly founded "Film and Television Department". There were other additional courses, and since 1998, the department is also known as the Vienna Film Academy.

Building

In addition to its headquarters, the mdw-campus at Anton-von-Webern-Platz in the third district, are other branches in 3rd District in Ungargasse 14, am Rennweg 8, in the Metternichgasse 8 and 12 as well as in the Lothringerstraße 18. In the first district of Vienna teaching locations are situated at Karlsplatz 1 and 2, at the Schubertring 14, at the corner of John Street/Seilerstätte and in the Singerstraße 26. Furthermore, in the 4th District in Rienößlgasse 12, in 13th district in the Schoenbrunn Palace Theater as well as at the Palais Cumberland in the Penzingerstrasse.

Campus

The monumental functional purpose building in the sober, classicist forms of Hofbauamtes located at the former Wiener Neustadt channel (rapid rail line), is located at the Anton-von-Webern-Platz 1. 1776 there on the suggestion of Emperor Joseph II. an animal hospital was built in the former Jesuit dairy farm. 1821-1823 followed a new building by Johann Nepomuk Amann, being planned a sprawling complex. The main building with a long façade extends to the left Bahngasse, there are numerous additions. A major contract received the Kaisersteinbrucher master stonemasons, the spacious entrance hall with Tuscan columns, pilasters and mullioned pillars, the spacios pillar staircase around open shaft, all made of light Kaiserstein with typical blue translucent embeddings - a special room for friends of the emperor stone (Kaiserstein). By 1996, the building was the seat of the University of Veterinary Medicine and its predecessor institutions.

In 1996 the building was chosen as the new seat of the University, and completely renovated by architect Reinhardt Gallister. The historic structure was preserved, elements such as glass, wood and stone are the defining stylistic devices and modern technology and equipment was connected with good room acoustics. Studios, classrooms and halls can be rented externally, too.

Disciplines of study

Composition and Music Theory

Conducting

Sound engineer

Instrumental study

Church Music

Educational Studies

Singing and opera directing

Performing Arts

Film and Television

Doctoral Studies

Summer Campus

The isa - International Summer Academy is the musical summer campus of the University of Music and Performing Arts Vienna. More than 200 students from over 40 nations are taking part in two weeks of master classes of the highest calibre in the Semmering region and in Vienna. The summer campus was founded in 1991 as an initiative of Michael Frischenschlager. The isa arose from the euphoria over the fall of the Iron Curtain with the aim, exceptionally talented young students, mainly from the Central and Eastern European countries (CEE countries), allow musical encounters and build international relationships. Since 2005 Johannes Meissl is artistic director of the isa.

Institutions

Institute for Composition and Electro-Acoustics

Institute for Music Conducting

Institute for Analysis, Theory and History of Music

Institute for Keyboard Instruments (podium/concert)

Institute for Bowed and other String Instruments (podium/concert)

Leonard Bernstein Institute for Wind and Percussion instruments

Joseph Haydn Institute for Chamber Music and Special Ensembles

Institute for Organ, Organ Research and Church Music

Institute for Singing and Music Theater

Institute for Drama and Acting Direction (Max Reinhardt Seminar)

Institute for Film and Television (Film Academy Vienna)

Institute for Music Education

Institute for Music and Movement Education and Music Therapy

Institute of Musical Style Research

Institute of Popular Music

Institute Ludwig van Beethoven (keyboard instruments in music pedagogy)

Hellmesberger - Institute (string & other bowed instruments in Music Education)

Institute Franz Schubert (wind and percussion instruments in Music Pedagogy)

Institute Antonio Salieri (singing in Music Pedagogy)

Institute Anton Bruckner (music theory, ear training, ensemble direction)

Institute for Folk Music Research and Ethnomusicology

Institute for Viennese Sound Style (Musical Acoustics)

Institute for Music Sociology

Institute of Culture Management and Cultural Studies (IKM)

Science

Apart from artistic training form the scientific institutions (or full professors and university lecturers with great teaching qualification - venia docendi) a significant part of the university's work. A special feature of the MDW is the high interconnectedness of science and art. The right to award doctorates is the foundation of a university, and is realized at the MDW in the PhD graduate program. Departments of scientific work in this connection are:

Dramaturgy

Film Studies

Gender Studies

History and Theory of Popular Music

Gregorian chant and liturgy

Historical Musicology (including analysis, music theory and harmonic research)

Stylistics and performance practice

Cultural Business Operations

Musical Acoustics

Music Education

Sociology of Music

Music Theory

Music Therapy

Systematic musicology within interdisciplinary approaches

Folk Music Research, Ethnomusicology

Known graduates

Claudio Abbado

Barbara Albert

Peter Alexander

Christian Altenburger

Maria Andergast

Walter Samuel Bartussek

Johanna Beisteiner

Erwin Belakowitsch

Achim Benning

Zsófia Boros

Thomas Brezinka

Florian Brüning

Rudolf Buchbinder

Friedrich Cerha

Gabriel Chmura

Mimi Coertse

Luke David

Yoram David

Jacques Delacôte, French conductor

Jörg Demus

Helmut German

Johanna Doderer

Iván Eröd

Karlheinz Essl

Matthias Fletzberger

Sabrina Frey

Beat Furrer

Rudolf Gamsjäger

Raoul Gehringer

Nicolas Geremus

Wolfgang Glück

Wolfgang Glüxam

Eugen Gmeiner

Walter Goldschmidt

Stefan Gottfried

Friedrich Gulda

Robert Gulya

Ingomar Auer

Christoph Haas (born 1949), Swiss conductor

Georg Friedrich Haas

Hans Hammerschmid

Gottfried Hemetsberger

John Hiemetsberger

Robert Holl

Mariss Jansons

Leo Jaritz

Mariama Djiwa Jenie, concert pianist and dancer

Thomas Jöbstl

Thomas Kakuska

Bijan Khadem-Missagh, violin

Angelika Kirschschlager

Hermann Killmeyer

Patricia Kopatchinskaya

Leon Koudelak

Bojidara Kouzmanova

Tina Kordić

Klaus Kuchling

Rainer Küchl

Gabriele Lechner

Wolf Lotter

Gustav Mahler

Edith Mathis

Zubin Mehta

Tobias Moretti

Tomislav Mužek

Helmut Neumann

Josef Niederhammer

Ernst Ottensamer

Erwin Ortner

Rudolf Pacik

Harry Pepl

Günter Pichler

Josephine Pilars de Pilar

Peter Planyavsky

Stefanie Alexandra Prenn

Armando Puklavec

Carole Dawn Reinhart

Gerald Reischl

Wolfgang Reisinger

Erhard Riedlsperger

Jhibaro Rodriguez

Hilde Rössel-Maidan

Michael Radanovics

Sophie Rois

Gerhard Ruhm

Kurt Rydl

Clemens Salesny

Heinz Sandauer

Klaus-Peter Sattler

Wolfgang Sauseng

Nicholas Schapfl

Agnes Scheibelreiter

Heinrich Schiff

Michael Schnitzler

Peter Schuhmayer

Christian W. Schulz

Wolfgang Schulz

Ulrich Seidl

Fritz Schreiber

Kurt Schwertsik

Ulf-Diether Soyka

Christian Spatzek

Arben Spahiu

Götz Spielmann

Othmar Steinbauer

Hermann Sulzberger (b. 1957), Austrian composer

Roman Summereder

Hans Swarovsky

Jenő Takács

Wolfgang Tomböck

Karolos Trikolidis, Greek-Austrian conductor

Mitsuko Uchida

Timothy Vernon (b. 1948), Canadian conductor

Eva Vicens harpsichordist from Uruguay, lives in Spain

Annette Volkamer

Johanna Wokalek

Adolf Wallnöfer

Gregor Widholm

Bruno Weil

Hermann Wlach

Paul Zauner

Herbert Zipper

de.wikipedia.org/wiki/Universit%C3%A4t_f%C3%BCr_Musik_und...

Midi-Coulisses - Margie Gillis - Viriditas by davidcwong888

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VIRIDITAS

The meaning of the word Viriditas describes Nature’s divine healing power, transferred from plants to humans.

The piece is an exploration of experiential wisdom, of our interconnectedness with nature, and of the need for flourishing feminism consciousness in our world today.

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Margie Gillis

margiegillis.org/margie-gillis-bio-2/#1501084358479-c8287...

BIOGRAPHY

Internationally acclaimed modern dancer/choreographer, Margie Gillis has been creating original works for over forty years.

In 1979, Margie Gillis was invited to teach and give lectures in China, thus becoming the first artist from the West to introduce modern dance in that country after the Cultural Revolution.

Two years later, she founded her own company, the Margie Gillis Dance Foundation with the mission to support and present her artistic work.

Her repertoire now includes more than one hundred pieces, which she performs as solos, duets and group pieces.

Her international tours have taken her to Asia, India, Europe and the Middle East as well as across North and South America.

In parallel to her solo work and on a regular basis, Margie Gillis collaborates on projects initiated by her peers.

She has worked with some of the most important dance artists and companies of her time.

Teaching is also an important aspect of her career.

She offers workshops for dance professionals and students in various cities throughout the world, including New York where she has taught at the prestigious Juilliard School.

She also gives lectures on dance and the role of art in society. With her unique approach of “Dancing from the Inside Out”, she teaches her art form to professionals and aficionados.

She also mentors fellow artists of excellence and new dancers alike.

Margie Gillis is a socially committed artist.

She has been spokesperson for a number of organizations dedicated to the fight against AIDS as well as for OXFAM and the Planned Parenthood Foundation.

She is a fierce defender of environmental causes.

Margie Gillis is an Honorary Cultural Ambassador for both the Quebec and Canadian governments.

In 1988, she was the first modern dance artist to be awarded the Order of Canada. In 2001, she received a Career Grant from the Conseil des arts et des lettres du Québec for her exceptional contribution to Quebec culture.

In the fall of 2008, Margie Gillis was chosen by the Stella Adler Studio of New York to receive their first MAD Spirit Award for her involvement in various social causes, and she was awarded the Walter Carsen Prize for Excellence in the Performing Arts by a jury of her peers at the Canada Council for the Arts. In June of 2009, Margie Gillis was appointed Knight of the Ordre national du Québec.

In May 2011, she received the Lifetime Artistic Achievement Award from the Governor General’s Performing Arts Award Foundation. In July 2013, she was promoted to an Officer of the Order of Canada.

In 2017, Margie received a Distinguished Artist Award (Dancer/ Choreographer) from the Montreal 2017 International Society for the Performing Arts.

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Troy Ogilvie

troyogilvie.squarespace.com/meet

Troy Ogilvie dances, teaches, choreographs and directs.

She currently dances solos by Margie Gillis and Itzik Galili, teaches primarily in New York Cirty, creates choreography wherever will have her, and is a Creative Director for The McKittrick Hotel’s (home of Sleep No More) SUPERCINEMA parties.

Troy has danced for and collaborated with choreographers – Andrea Miller, Sidra Bell, Zoe Scofield, Gabriel Forestieri, Idan Sharabi, Itzik Galili, Shannon Gillen, Margie Gillis (as a participant in The Legacy Project/Le Projet Heritage), Austin McCormick, Harumi Terayama, Malcom Low, Patricia Noworol, and Belinda McGuire; violinist – Liv Heym; theater company – Punchdrunk; and director – Peter Sellers.

In 2013, Troy toured internationally with the LA Philharmonic, performing the role of "Mary" in Peter Sellars' "The Gospels According to the Other Mary,"composed by John Adams. She also collaborated with violinist Liv Heym in "Music in Dialogue with Movement", creating a duet inspired by tango and tarantella. In 2014, she performed in The Metropolitan Opera’s production of “Prince Igor” with choreography by Itzik Galili. From 2013-2015, Troy performed as Lady Macbeth alongside Nicholas Bruder’s Macbeth in Punchdrunk’s “Sleep No More.” Troy has continued with Sleep No More’s special events team as rehearsal director, assistant to the choreographer, performer, and choreographer.

In 2015, Troy performed inPatricia Noworol’s “Replacement Place” at New York Live Arts and toured the piece to Germany.

Troy is currently working with zoe I juniper on a new work, “Clear & Sweet.”

As a dancer for Gallim Dance (2007-2012), Troy was an original cast member in I Can See Myself in Your Pupil (2008), BLUSH (2009), Wonderland (2010), For Glenn Gould (2011), Mama Call (2011), and Sit, Kneel, Stand (2012).

As rehearsal director for Gallim Dance, Troy rehearsed Andrea Miller's work with NYU Tisch, Ballet Hispanico, The Juilliard School, The Steps Ensemble, The School at Jacob's Pillow, New Jersey Dance Theater Ensemble and Vancouver's Art's Umbrella.

She taught Gallim Dance master classes at Wesleyan University, Barnard University, and Skidmore College. Working with Sidra Bell Dance NY (2007-2010) resulted in solo work, Overtures (2009), as well as Chimeras (2008), House Unrest (2009), Revue (2010), and Beautiful Beast: The Other Face (2010).

As a teacher, Troy has offered her classes at Gina Gibney 280 Broadway, the Movement Invention Project, The Performing Arts Project (Panorama), Rutgers University, New Jersey Dance Theater Ensemble, and Brooklyn’s Dancewave.

She has choreographed on Contemporary Dance Wyoming, less than greater than (2016), and has choreographed solos in collaboration with Lauren Wingenroth as a fulfillment of Barnard graduation Galatea (2015), for Andrea Murillo as a part of The Current Sessions, Volume IV, Issue II legacy part one (2014).

Troy is a Founding Collaborator, Faculty Member and was Program Manager of the Movement Invention Project (Artistic Director, Alexandra Wells).

Troy is the Assistant to the Artistic Director and Board Member of Springboard Danse Montreal.

A native of New Jersey, Troy began dancing with ballet, tap, jazz, and musical theater and graduated from The Juilliard School in 2007.

Sad Luchadora - Limited Edition of 25 - One Color Screen Print - A5 - Artwork by Karl Addison by Karl Addison

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Sad Luchadora - Limited Edition of 25 - One Color Screen Print - A5 - Artwork by Karl Addison

Paper Color: White - Matt

Ink Color: Black

Edition: 25

Size: A5

Weight: 250g/m2

Artwork by Karl Addison

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As Karl Addison’s art and vision evolves—from blank slate, to paper, to mural, to installation, to unoccupied public space—our understanding and comprehension of the world around us begins to unfold as well. We may not notice his input, infiltrating our subconscious—our everyday—but it’s there. A beautiful woman’s face composed of negative space watching peacefully over a cemetery in Wedding, a fragile old Jewish woman towering over a decommissioned factory in Berlin, an urban zoo of imagined creatures deposited all over the globe, an abandoned room filled with 4,500 fat babies…Addison’s art and commentary on history and culture are everywhere, becoming part of the collective unconscious.

Through his travels to Italy, Israel, Japan, throughout the US, and his current residence in Berlin, Addison’s overarching theme of people and the spaces they occupy and interact with has taken shape. By focusing on pieces, which work to become part of public space rather than interrupt it, his intent to create regenerative art through murals and other mediums is being actualized. He has achieved this both independently and collaboratively with other contemporary artists and painters, most notably James Boullough. Addison’s recent and current collaborative projects also highlight his more narrowed focus of interconnectedness, “connecting humanity around the world with different cultures from different places,” he wants us to value tiny lines, details, to appreciate a world view and hopefully, start extolling minute details of our own.

It takes an extraordinary person, one with talent, courage, and patience, to express himself the way Addison does. To project his voice and vision for the world to see—to rip it out of a sketch book or a blank page in his mind—and produce it. To take it beyond the two-dimensional and spray paint, wheat paste, bomb, the side of a building with an illimitable piece of art. To exhibit in public space—on walls, on clothing, in art galleries—what a beautiful fucking thing. Art—“a new mode of obtaining power of mind over mind” leaving the watching to the watched.

- written by jennifer weitman

Eye Dazzler II 2015 --- Will Wilson (Navajo) by Caffe_Paradiso

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Inspired by a wool eye dazzler rug woven by his grandmother in the 1970s, Wilson made his rug with 76,050 4mm glass beads, taking over 1000 hours of artistic labour. The work speaks to the notion of digital arising from both human hands and new media. At the centre of this classic handwoven Navajo rug design, two central QR codes link to short videos that affirm the continuance of Diné cosmologies and ecologies as well as the multi-dimensional and interconnectedness with earthly, celestial, human and spiritual relations that Indigenous peoples carry.

Tiny Bubbles, side view close-up by Thaneeya McArdle

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Title: Tiny Bubbles (side view close-up)

Size: 6" x 9"

Medium: Ink on Paper

Artist: Thaneeya McArdle

The theme of this highly charged drawing is the mythic concept of existence and consciousness. An array of variously-sized bubbles floats across a black starry cosmos. Inside the bubbles are elaborately-detailed psychedelic eyes, each one bursting with a special uniqueness. The composition of this piece represents the interconnectedness of life amidst our apparent individualities. This drawing is incredibly detailed! My abstract artwork is very process-oriented and carries a spiritual meaning related to the mystery of existence and a reverence for the unfolding process of life. The designs in this drawing arose spontaneously in a stream-of-consciousness manner. While working on drawings that are this detailed, I become so immersed in the work that drawing the images becomes a meditative process through which I strive to achieve balance amidst chaos (similar to the concept of mushin). The colors and designs arise spontaneously and reflect my interest in tribal and aboriginal art, specifically in the act of storytelling through nonrepresentational means. My abstract art is also heavily inspired by my world travels, particularly my visits to remote tribal villages in the Kutch region of India, as well as my visits to temples and roadside shrines in Sri Lanka, India, and Nepal.

You can see the full image in my photostream <a href="http://www.flickr.com/photos/thaneeya/2845738534/" here.

Isabella Kirkland by Christopher Michel

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Isabella Kirkland stands at the intersection of art and natural history, a painter who has dedicated her life to documenting the fragile and often overlooked corners of the living world. From her home in Sausalito, she lives aboard the Yellow Ferry, an historic 1888 paddlewheel boat moored in Richardson Bay. The water around her residence serves as a constant reminder of nature’s rhythms, a daily tide chart written across the pilings and reflected light. Each day she makes her way to a floating studio nearby, a space surrounded by the same waters that shape her daily life and provide the shifting light in which she paints.

Kirkland’s art is driven by a devotion to species that most people never notice, and to others that are perilously close to vanishing. Her paintings emerge from long hours of research and observation. She studies preserved specimens in natural history collections, pores over taxonomic records, and spends time in the field. Out of this careful study come works that are both meticulous in detail and emotionally resonant. Her canvases teem with life. Fish, insects, orchids, lichens, and deep sea creatures appear together in arrangements that suggest both abundance and fragility.

One of her most celebrated projects, the “Taxa” series, grouped species by their ecological status: extinct, endangered, threatened, or newly discovered. Seen together, the panels resemble devotional altarpieces. Each species is presented as worthy of reverence, and their collective presence carries a sense of mourning as well as wonder. Other series have focused on pollinators, tropical organisms, and overlooked plants. Each body of work is an act of preservation, pulling subjects from the margins of field notes and placing them firmly in the cultural imagination.

Her choice to live on the Yellow Ferry and to paint in a floating studio is as deliberate as the choice of her subjects. Life on the water roots her in an environment that requires constant awareness of natural cycles. The tides lift and lower her home each day, storms rattle the harbor, and seabirds sweep overhead. In her floating studio, the light shifts across the bay and fills the room where she works. The setting has become both sanctuary and observatory, a place where art and ecology meet in real time.

Her practice is slow, layered, and deliberate. She begins with a concept, then sketches species into arrangements that reflect both science and imagination. Each organism is painted with fidelity to its anatomy, yet the compositions carry a sense of poetry. What emerges is not simple illustration but meditation, a luminous reminder of the interconnectedness of life and the precariousness of its continuance.

Kirkland’s paintings have found their way into museums, collections, and conservation dialogues. Scientists look to her work as a way of showing biodiversity that goes beyond charts and data tables. For broader audiences, her canvases open a door into the extraordinary richness of the natural world. They invite a kind of seeing that lingers. Viewers often stand before her paintings for long stretches, absorbing the tension between beauty and loss, awe and lament.

Living and painting on the water has given her life a clarity of focus. The rhythms of Richardson Bay echo in her brushwork, in her patience, in her determination to bear witness. She paints not to instruct but to offer presence, a sustained act of attention in a distracted world. In her hands, art becomes a vessel for memory, science becomes an act of devotion, and the living world becomes something to hold, even as it slips away.