View allAll Photos Tagged Imagination.
Banque de Montréal (119 rue Saint-Jacques Ouest)
« Le RedBall Project fait enfin escale à Montréal après avoir visité, depuis 2001, 11 pays et 18 villes, notamment Paris, Londres, Chicago, Toronto et Sydney. RedBall, de l’artiste new-yorkais Kurt Perschke, est l’oeuvre d’art de rue qui a connu la plus importante longévité dans le monde.1 RedBall Montréal envahira sept lieux différents au cours d’une période de sept jours, explorant avec perspicacité et intelligence les qualités uniques de l’architecture et l’espace urbain de Montréal. Par sa présence à la fois monumentale et ludique, cet énorme ballon rouge réinvente des espaces familiers et met en lumière des endroits que, par habitude, le citadin ne remarque plus. Cette expérience artistique réveille l’imagination collective par l’expérimentation sensorielle et visuelle. Utilisant l’opportunité des particularités architecturales, historiques et culturelles de la ville, RedBall Montréal traverse des lieux emblématiques, improbables, achalandés et historiques de Montréal pour créer une performance tout à fait unique et inoubliable. »
« Through the RedBall Project I utilize my opportunity as an artist to be a catalyst for new encounters within the
everyday. Through the magnetic, playful, and charismatic nature of the RedBall the work is able to access the
imagination embedded in all of us. On the surface, the experience seems to be about the ball itself as an object, but
the true power of the project is what it can create for those who experience it. [...] That invitation to engage, to
collectively imagine, is the true essence of the RedBallProject. The larger arc of the project is how each city responds
to that invitation and, over time, what the developing story reveals about our individual and cultural imagination. » –
Kurt Perschke
«RedBall Montréal s'installera dans des lieux familiers ou insolites, du Nord au Sud de la métropole. Cette installation in situ et nomade (un jour, un lieu) réveille notre regard avec humour et dérision, et le grain de folie et de poésie que l'on
aime tant aux Escales Improbables.»
Suivez le circuit RedBall Montréal du 31 août au 6 septembre
Dimanche 31 août – 10h à 17h
Biosphère, musée de l’environnement, au parc Jean-Drapeau. Présenté en collaboration avec le parc Jean-Drapeau. Les Escales Improbables de Montréal remercient également la Biosphère, musée de l’environnement, pour sa participation.
Lundi 1e septembre – 11h30 à 18h30
Place des Arts
Mardi 2 septembre – 11h30 à 18h30
Parterre (coin De Maisonneuve et Clark) dans le Quartier des Spectacles
.
Mercredi 3 septembre – 11h30 à 18h30
Berson Monuments (3884 boulevard Saint-Laurent)
Jeudi 4 septembre – 11h30 à 18h30
L'ancienne Gare Jean-Talon du Canadien Pacifique (métro Parc)
Vendredi 5 septembre – 11h30 à 18h30
Banque de Montréal (119 rue Saint-Jacques Ouest)
Samedi 6 septembre – 11h30 à 18h30
Espace La Fontaine dans le parc La Fontaine
Kurt Perschke est un artiste qui travaille dans la sculpture, la vidéo, le collage et l'espace public. Son travail le plus acclamé, RedBall Project, est un projet de voyage d’art public qui a eu lieu à Abu Dhabi, Taipei, Perth, en Angleterre, Barcelone, Saint-Louis (USA), Portland, Sydney, Chicago et
Toronto, et a reçu le National Award from Americans for the Arts Public Art Network.
Pour plus d'informations
escalesimprobables.com
redballproject.com
www.escalesimprobables.com/telechargement_public/CP_EIM_R...
Photoshop does!
Even my imagination... ;-)
70's Dorothy Bullitt dress
Photomontages and retouches I've created as concepts for ideal Silkstone Barbie; Photoshop CS3.
Original photos are taken from the web.
The major sources are:
vintagetextile.com
vogue.it
barbiecollector.com
I will remove them if requested.
Just made the sign out of Lego for a pamphlet holder I'm in the middle of making. Got a volunteer job at the Imagination Station in the Christchurch CBD where children can come make things out of Lego. Parents and adults can join in to.
Den of Imagination - Your Miniature Painting Service
We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!
We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.
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WEBSITE: denofimagination.com/
SHOP: shop.denofimagination.com/
TWITTER: Twitter.com/doiStudio
FLICKER: www.flickr.com/photos/97996892@N07/
PINTEREST: www.pinterest.com/denstudio/
INSTAGRAM: instagram.com/doiphoto/
Illustration (Ramon Raymond) aus:
Imagination / Vol. 2 Nr. 5
Greenleaf Publishing Company
(Evanston / USA) November 1951
ex libris MTP
One of my indoor succulent plants, blooming like crazy! Can anyone identify this for me?
The colours are so vibrant, I love it, hope you all do too! (Best on black)
In many cultures, the raven was a symbol of communication with the imagination, and subconcious. It was also viewed as sometimes being a mischievous trickster. At times the sun will strike its feathers at the right angle, and reveal an iridescent band of colour.
imagination quotes
(more inspirational quotes here www.embellishedminds.com/2824/inspirational-quotes/
The world is but a canvas to the imagination.
-Henry David Thoreau-
© All rights reserved
Images may not be copied or used in any way without my written permission.
This project is part of the Ars Electronica Garden Lviv. The Lviv region (former Austrian Galicia), which is currently located in the very western part of Ukraine, for a long time belonged to various states and empires. In the 20th century it had a dramatic history, being a part of the Habsburg Empire, the interwar Polish republic, the Soviet Union, and finally Ukraine. It suffered a massive loss of the local Jewish population, while Ukrainians and Poles were resettled and Sovietized. Lviv (former Lwow or Lemberg) was turned into a big Soviet industrial town, and many people from the region moved to the city to build a socialist urban modernity.
For more informations please visit:
ars.electronica.art/keplersgardens/en/future-from-the-past/
Credit: Bohdan
Inspired by all those days spent as a kid staring into the clouds playing the game to see what you can see in the clouds. Blogged here: blockpartypress.blogspot.com/2008/09/you-were-inspired-by...
Camera Club exercise to use imagination. Who would have thought there was so much engineering inside.
The current sign of the Imagination Pavilion at EPCOT. There is quite a bit of speculation that a version 4 of the attraction may not be to far down the road.
“I am enough of an artist to draw freely upon my imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.”
Paimpont forest, also known as Brocéliande, is in the French commune of Paimpont, near the city of Rennes in Brittany. As Brocéliande it had a reputation in the Medieval imagination as a place of magic and mystery. It is the setting of a number of adventures in Arthurian legend, notably Chrétien de Troyes's Yvain, the Knight of the Lion, and locals claim the tree in which the Lady of the Lake supposedly imprisoned Merlin can still be seen today. Other legendary places said to lie within the forest include the Val sans Retour, the tomb of Merlin, the Fountain of Youth, and Hotié de Vivianne (castle of the Lady of the Lake). The medieval chronicler Wace visited the forest but left disappointed:
"...I went there in search of marvels; I saw the forest and the land and looked for marvels, but found none. I came back as a fool and went as a fool. I went as a fool and came back as a fool. I sought foolishness and considered myself a fool."
For those living close to Paimpont, the Arthurian legend is very strong. Many names in the legend can be translated into Breton or French, for example the name Lancelot translates as "wanderer" or "vagabond" in Breton. There is also a strong influence from the Druids, and all around Brittany are standing stones or alignments, the most famous of which are nearby at Carnac; a group of the alignments at Kerlescan are nicknamed "the soldiers of Arthur."
Paimpont is a forest of broadleaf trees, oaks and beeches mainly, with areas of conifers either inside after clear-felling or on the periphery as transition with the moor, for example towards the west in the sector of Tréhorenteuc and the Val-sans-Retour (= Valley of no Return) which was devastated by several fires in particular in 1976, a year of great drought. It occupies mainly the territory of the commune of Paimpont, but extends to bordering communes, mainly Guer and Beignon in the south, Saint-Péran in the northeast, and Concoret in north. The forest of Paimpont is the largest remnant of an ancient forest occupying Argoat, the interior region of Brittany. It was more often called the forest of Brécélien, but its ancient character and other qualities underlined by many authors decided on its name of "forest of Brocéliande," tallying of the adventures of the legend of the Round Table. This flattering designation was reinforced by the birth of the Pays de Brocéliande at the end of the 20th century, an institution intended to facilitate the development of the communes of the west of the département.
The relative altitude of the forested massif contributes to give it a climate close to the oceanic climate of the coasts of Finistere. This mode, where west and south-west winds carry of clouds and regular rain supports the vegetation, dominates. The surplus of water feeds the many brooks occupying the bottoms of small valleys before flowing into the river Aff, then the Vilaine, to the area around Redon in the south of the department. The highest point is at 256 m in the western part called Haute forêt. Altitude decreases regularly while offering viewpoints towards the department of Morbihan; viewpoints which one finds the equivalents in the north on the commune of Mauron, port of the Côtes-d'Armor. It is not far from there that the Paimpont Biological Station of the University of Rennes 1, built in 1966 and 1967, dominates the lake of Chatenay. The varied forest and its surroundings constitute a framework favorable to many training courses in which the Rennes 1 biology students as well as foreign researchers take part. These buildings can accommodate approximately 70 people, and researchers work all the year on subjects generally very far away from the local biotope such as behavior of primates, represented by Cercopithecus, whose cries are familiar for the area but surprising to the walker little accustomed to this exotic fauna. The first researchers lengthily studied the ecology of the Armorican moors, the grounds, and the hydrology.
The forest belongs mainly to owners who maintain it and exploit it for timber and hunting; only in the north-eastern part, a small part (10%) is "domanial" and is managed by the National Forestry Commission. This situation prevents freedom of movement in the forest even with the access to the borough and its pond. The owners, however, signed a convention authorizing, from April 1 to the end of September, the use of some hiking trails in the forest. Among the responsibilities of the forest guards are watching for behaviors that threaten the forest, its flora, and its fauna. For example, behaviors that pose the risk of fire, and those that endanger the game, like dogs running loose. The gathering of mushrooms is not absolutely prohibited, but it is only tolerated near the approved trails. Because of its importance before the French Revolution, the forest was the responsibility of a royal jurisdiction called the National Forestry Commission, as the traditional jurisdictions of the seigneurs did not occupying itself with forest management. The wood was excessively exploited for the power supply of the charcoal blast furnaces for the nearby industry, at least in the 17th and 18th centuries; the assignment of the trees of first choice to the navy was a marginal role.
An extract of the files of the correctional court of Montfort:
"Having left the forging mills of Paimpont on Monday morning, he passed by the workshop of the carpenter who was far away from the forging mills but in the middle of the forest, he drank there with Julien Auffray his cousin and foreman of the carpenters." (Foreman of the carpenters and sawyers on contract to the naval yards elsewhere). Auffray interrogation, 1826.
The Matter of Britain is a name given collectively to the legends that concern the Celtic and legendary history of Great Britain, especially those focused on King Arthur and the knights of the Round Table. The 12th century French poet Jean Bodel created the name in the following lines of his epic Chanson de Saisnes:
Ne sont que III matières à nul homme atandant,
De France et de Bretaigne, et de Rome la grant.
The name distinguishes and relates the Matter of Britain from the mythological themes taken from classical antiquity, the "matter of Rome", and the tales of the paladins of Charlemagne and their wars with the Moors and Saracens, which constituted the "matter of France". While Arthur is the chief subject of the Matter of Britain, other lesser-known legendary history of Great Britain, including the stories of Brutus of Britain, Old King Cole, King Lear, and Gogmagog, is also included in the Matter of Britain: see Legendary Kings of the Britons.
Legendary history of Britain
It could be said that the legendary history of Britain was created in part to form a body of patriotic myth for the island. Several agendas thus can be seen in this body of literature.
The Historia Britonum, the earliest known source of the story of Brutus of Britain, may have been devised to create a distinguished genealogy for a number of Welsh princes in the 9th century. Traditionally attributed to Nennius, its actual compiler is unknown; it exists in several recensions. This tale went on to achieve greater currency because its inventor linked Brutus to the diaspora of heroes that followed the Trojan War, and thus provided raw material which later mythographers such as Geoffrey of Monmouth, Michael Drayton, and John Milton could draw upon, linking the settlement of Britain to the heroic age of Greek literature, for their several and diverse literary purposes. As such, this material could be used for patriotic mythmaking just as Virgil linked the mythical founding of Rome to the Trojan War in The Æneid. Geoffrey of Monmouth also introduced the fanciful claim that the Trinovantes, reported by Tacitus as dwelling in the area of London, had a name he interpreted as Troi-novant, "New Troy".
More speculative claims link Celtic mythology with several of the rulers and incidents compiled by Geoffrey of Monmouth in his Historia Regum Britanniæ. It has been suggested, for instance, that Leir of Britain, who later became Shakespeare's King Lear, was originally the Welsh sea-god Llŷr (see also the Irish sea-god Lir). Various Celtic deities have been identified with characters from Arthurian literature as well: Morgan le Fay was often thought to have originally been the Welsh goddess Modron (cf. the Irish goddess Mórrígan). Many of these identifications come from the speculative comparative religion of the late 19th century, and have been questioned in more recent years.
William Shakespeare seems to have been deeply interested in the legendary history of Britain, and to have been familiar with some of its more obscure byways. Shakespeare's plays contain several tales relating to these legendary kings, such as King Lear and Cymbeline. It has been suggested that Shakespeare's Welsh schoolmaster Thomas Jenkins introduced him to this material, and perhaps directed him to read Geoffrey of Monmouth[citation needed]. These tales also figure in Raphael Holinshed's The Chronicles of England, Scotland, and Ireland, which also appears in Shakespeare's sources for Macbeth. A Welsh schoolmaster appears as the character Sir Hugh Evans in The Merry Wives of Windsor.
Other early authors also drew from the early Arthurian and pseudo-historical sources of the Matter of Britain. The Scots, for instance, formulated a mythical history in the Picts and the Dál Riata royal lines. While they do eventually become factual lines, unlike those of Geoffrey, their origins are vague and often incorporate both aspects of mythical British history and mythical Irish history. The story of Gabhran especially incorporates elements of both those histories.
The Arthurian cycle
"Parsifal before the Castle of the Grail" - inspired by Richard Wagner's Opera Parsifal - painted in Weimar Germany 1928 by Hans Werner Schmidt (1859-1950)
The Arthurian literary cycle is the best known part of the Matter of Britain. It has succeeded largely because it tells two interlocking stories that have intrigued many later authors. One concerns Camelot, usually envisioned as a doomed utopia of chivalric virtue, undone by the fatal flaws of Arthur and Sir Lancelot. The other concerns the quests of the various knights to achieve the Holy Grail; some succeed (Galahad, Percival), and others fail (Lancelot).
The medieval tale of Arthur and his knights is full of Christian themes; those themes involve the destruction of human plans for virtue by the moral failures of their characters, and the quest for an important Christian relic. Finally, the relationships between the characters invited treatment in the tradition of courtly love, such as Lancelot and Guinevere, or Tristan and Iseult. In more recent years, the trend has been to attempt to link the tales of King Arthur and his knights with Celtic mythology, usually in highly romanticized, early twentieth century reconstructed versions.
Additionally, it is possible to read the Arthurian literature in general, and that concerned with the Grail tradition in particular, as an allegory of human development and spiritual growth (a theme explored by mythologist Joseph Campbell amongst others).
Sources wikipedia