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The Matoran language does not have a word for "Bio-mechanical". The interweaving of metal and muscle is simply a fact of life, one which nearly every being in the universe abides by. But there is one notable exception (Well, two, but Tren-Krom is not publicly known). These wholly organic creatures are known simply as Worms. Their ancestors came from Spherus-Magna, introduced accidentally by a careless great being. They have proven an enigma to Matoran scientists, being capable of growth, and creating odd objects known as "eggs". The Worms, able to eat anything remotely organic, have since proliferated, their bodies changing from traditional matter to protodermis in just a few generations, with a few side effects.
As a result of their odd origins, they have several unique abilities. First of all, their minds and biochemistry are incompatible with most forms of psionics and protodermic toxins. While gender is mostly just a personality quirk for the MU natives, the Worms display sexual dimorphism, with the males being far larger and reddish in color, while the females are smaller and blue.
The males are very strong, digging tunnels and protecting the females. Their chitinous armor is surprisingly effective. Most Rahi and weapons are designed to attack the hard metal casings of other bio-mechanical creatures, making the softer, more flexible, armor tricky to cut through. The worm's claws are thin and dextrous, allowing them to attack the gaps in a foes armor and attack the organic bits directly.
The females have a highly developed nervous system, which allows them to control limited amounts of electricity. They can float using electro-magnetism, and even interface with simple machinery. They also have basic telepathy, allowing the dim-witted worms to form a hive mind for more complex tasks. Some have even figured out how to use Bohrok shells as crude power armor.
For the most part, Worms live deep below the surface, feeding on fungus and Protodites in their dark tunnels. Worms are treated as an almost mythical creature, with a sighting of one on the surface said to be an ill omen. This is often true, as the Worms will surface if they sense an upcoming earthquake to avoid being crushed by cave-ins.
I made the smallest size with 5 skeins of Brown Sheep Cotton Fleece in Caramel and hook sizes E, H, and I.
my office is on the edge of both Chinatown and the leather district. but they really interweave quite a bit or, rather, Chinatown has spread! this area is very interesting and lively combining chinese markets and restaurants, avant garde businesses, upscale restaurants and sandwich joints and residences. if the young lady continues straight, she will come upon south station. but before she hits south station, my beloved starbucks is on the left!!!!
the young lady was very kind when i asked her if i could photograph her little dogs--so adorable in their coats. but then i just kept on shooting and that's when i got the shots i like most--except for one of the dogs which i will post at another time.
street photography is another one of my loves and another area that i would love to improve during this 365 project. i know, like anything else, practice makes perfect or, as i heard recently, practice makes practice--you choose!
The scene unfolds in a dark forest, where the entanglement of branches resembles wild calligraphy, scratching the sky and space with a cryptic language. The darkness weighs upon the limbs, partially consuming them into a silent void. A leaning tree, bathed in a spectral light, emerges as if from a temporal abyss, oscillating between revelation and erasure.
The ground, strewn with dead leaves, bears the texture of ash and dried blood, a relic of a vanished life. Here, nature does not present itself as a peaceful sanctuary, but as a threshold between dimensions. The darkness is not merely an absence of light; it is a substance, a living entity nestled in the gnarled framework of the woods.
There is a tension between stillness and latent movement, between the rigidity of the trunks and the invisible breath animating the scene. The forest thus transforms into a spectral territory, where light itself does not seem natural, but filtered through a prism of unreality.
The artwork evokes a sense of passage, of transition into an elusive elsewhere, where each branch could be a thread stretched between the visible and the invisible. Is this a vegetal ruin of a suspended world? A fossilized memory, ready to dissolve with the slightest breeze?
This landscape is not merely a fragment of reality: it is a rupture, a fracture in the fabric of the tangible, a visual whisper of a world in dissolution.
Necklace: Cheapo plastic costume jewelry ($4?)
Blue cotton/silk blend cardigan: Knit it myself (details below)
Black & White polka-dot maternity top: sewed it myself (heavily modified from a non-maternity T-shirt pattern), the materials cost about $6
Black maternity skirt: Thrifted ($2!)
Black Mary Jane flats: Privo by Clarks
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I started this cardigan in June 2008, but a bout with carpal tunnel relegated it to the unfinished object drawer for a few years. I dug it out recently, sewed it up and added the buttons. It's not a maternity pattern, so it should fit much better when I'm NOT 37 weeks pregnant!
The pattern is Pam Allen's Flutter Sleeve Cardigan from the Spring 2008 issue of Interweave Knits. I like negative ease, so I made the smallest size (36" finished bust). I used 4.5 balls of Classic Elite Classic Silk Yarn (cotton/silk/nylon blend) with needles size 2.5, 4 and 5.
Knitting by Danny Ouellette
His notes: This is based on the Sakiori II Vest pattern in Cheryl Oberle's book Folk Vests. The yarn used is Noro Iro, in colour way 47.
Knit on 7mm and 8mm needles, 48 inches long. The vest is based upon a Japanese peasent vest design. In her pattern the pieces are knit from the bottom up, and joined at the shoulders and in a seam at the back. The collar is then picked up around the front of the neck opening and then sewn down onto the front. My version is made side to side. The edging for one side is cast on with a single ball of yarn and knit in seed stitch on the smaller needles. After that I switched to the larger sized needle, and used new balls for the front and back of the piece, lining up the colours to keep the stripes continuous over the front and back. At the shoulder the yarns were wrapped around each other as for entarsia. The first and last few stitches (5 or 6 I think) were left in seed stitch.
When the front and back reached the width of the shoulders the front was placed on waste yarn and the back was continued till it reached half the width of the back. I then repeated the process to create the second side of the vest. I then grafted the back stitches together to join it seamlessly into one piece. The front stitches were then placed back onto the needles.
The bottom part of the fronts used the balls that were already attached to them. On the first row another ball was introduced to make the collar, which was knit accros the top stitches of the front, around the back of the neck, and then down the other part of the front on the other side. At this point there were 3 balls of yarn on the go. The collar was knit in seed stitch.
When the front was almost wide enough a new ball of yarn was attached and the whole piece worked in seed stitch in the smaller needles for about 1 or 1.5 inches.
Two side straps were created to join the pieces together. They were cast-on with waste yarn, then a long tail of the vest yarn was left to be used to graft it onto the vest. A few rows of seed stitch were made, then a piece with seed stitch at the two side and stockinette between. When the piece was almost long enough I switched back to seed stitch. I then removed the waste yarn and grafted each end onto the vest behind the seed stitch edging on the main vest.
I believe this took about 5 months to do.
my afghan design included in the Interweave book "Crochet at Home" edited by Brett Bara. made with over 25 different colors of cascade 220 and with no seaming, this blanket was so fun to make. i loved making it and i still love it.
En la playa, tumbado, mirando a la sombrilla, viendo el cielo a través de ella... de vacaciones... llega a parecer que la vida es eso, el objetivo es llegar a las vacaciones y relajarse, disfrutar... pero no, la vida está entretejida, la vida es todo y es, sobre todo, marrón, momentos entrelazados, con agujeros de vacaciones y momentos de relax, pero el meollo es otro, y es ahí donde debemos hacer esfuerzos para encontrar el equilibrio, porque, de no ser así, la vida no se sostiene, sólo con agujeros no hay sustento.
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On the beach, lying, looking at the umbrella, watching the sky trhough it... on holidays... it almost seems that life is that, the main objective is to get those holidays and relax, enjoy... but it is not, life is interweaved, life is everything and it is more brown, interweaved moments, with small blue holes... but the essence is another thing... and we should make efforts to get the balance within the brown life, without brown squeleton there's no life.
MAGIC DETECTIVE is a troupe of performers that interweave a story with magic tricks...they were passing out leaflets at PLACE DU REPUBLIC in PARIS.
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This is a steeple of a Hindu Temple bedecked with deities of Gods and Goddesses, interweaved with celestial motifs on it. The temple is located not far from a hospital in Sungai Buloh, 35km to the northwest of Kuala Lumpur.
I should and could have done it better.
I am not too pleased with my composition for this image but to marginalize it completely, I think it’s gonna be a waste. I was figuring out ways to give second life to this image when I was playing around with this and that in my editing. And finally I settled for sepia with close contender of B&W trailing only a step behind.
With sepia finish, I think it gives certain mood to it. It is to me a mixture of awe and foreboding. What more when the meticulously crafted ornamentation of divine beings on the steeple would impress upon one’s mind of the ancient works of art, and sepia is up to the anticipation.
Somehow or other, the clarity of the original capture is considerably good to begin with. Go take closer look in large view here. You’ll find some points to appreciate it.
Have a good day!
Prairie tunic from Spring 06 Interweave in Joseph Galler silk. Begun about a year ago...resurrected this weekend.
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
People either love them or hate them, the circles cladding the Library of Birmingham.
The design for the Library’s exterior echoes the gasometers, tunnels, canals and viaducts which fuelled Birmingham’s industrial growth. Featuring a series of interweaving circles of two different sizes, the overlapping aluminium rings extend across the building from the first to the eighth floor. Each imposing piece is formed of 5.4m diameter black rings, with silver circles of 1.8m diameter attached.
After an international design competition, run by the Royal Institute of British Architects, a shortlist of seven architects was announced on 27 March 2008. They were chosen from a list of over 100 architects. The architects chosen were: Foreign Office Architects, Foster and Partners, Hopkins Architects, Mecanoo, OMA, Schmidt hammer lassen and Wilkinson Eyre.
In early August 2008, Mecanoo and multi-discipline engineers, Buro Happold, were announced as the winner of the design competition. More detailed plans for the library were revealed by the council in conjunction with the architects at a launch event held on 2 April 2009.
The previous Central Library failed for the second time to gain status as a listed building. Work was scheduled to begin on demolishing the old library early in 2015 to make way for the redevelopment of Paradise Circus.
The Library of Birmingham is a public library in Birmingham, England. It is situated on the west side of the city centre at Centenary Square, beside the Birmingham Rep (to which it connects, and with which it shares some facilities) and Baskerville House. Upon opening on 3 September 2013, it replaced Birmingham Central Library. The library, which is estimated to have cost £188.8 million, is viewed by the Birmingham City Council as a flagship project for the city's redevelopment. It has been described as the largest public library in the United Kingdom, the largest public cultural space in Europe, and the largest regional library in Europe. 2,414,860 million visitors came to the library in 2014 making it the 10th most popular visitor attraction in the UK.
The library has nationally and internationally significant collections, including the Boulton and Watt archives, the Bournville Village Trust Archive, the Charles Parker Archive, the Parker collection of children's books, the Wingate Bett transport ticket collection, the Railway and Canal Historical Society Library; and the photographic archives of the Warwickshire photographic survey, Sir Benjamin Stone, John Blakemore and Val Williams; and is in the process of acquiring that of Daniel Meadows.
The specialist Shakespeare Memorial Room was designed in 1882 by John Henry Chamberlain for the first Central Library. When the old building was demolished in 1974 Chamberlain's room was dismantled and later fitted into the new concrete shell of the new library complex. When the Library of Birmingham was built, it was again moved, to the top floor. It houses Britain’s most important Shakespeare collection, and one of the two most important Shakespeare collections in the world; the other being held by the Folger Shakespeare Library. The collection contains 43,000 books including rare items such as a copy of the First Folio 1623; copies of the four earliest Folio editions; over 70 editions of separate plays printed before 1709 including three "Pavier" quartos published in 1619 but falsely dated. There are significant collections from the 18th, 19th and 20th centuries, a near complete collection of Collected Works, significant numbers of adaptations, anthologies and individual editions.
The Boulton and Watt Collection is the archive of the steam engine partnership of Matthew Boulton and James Watt, dating from its formation in 1774 until the firm's closure in the 1890s. The archive comprises about 550 volumes of letters, books, order books and account books, approximately 29,000 engine drawings and upwards of 20,000 letters received from customers. Boulton and Watt manufactured the screw engines for Brunel's SS Great Eastern and the archive includes a portfolio of 13 albumen prints by Robert Howlett documenting the construction of the Great Eastern, including a rare variant of the Brunel portrait of 1857.
designed for the book "crochet at home" by interweave. it's been over a year since i made these. it's nice to finally be able to upload the photos.
Russian musician Oleg more well known like LO SEEN.
Discover for yourself truly Russian electronical sound:
Montego Bay Scarf from the Summer 2007 Interweave Knits. I subbed in a merion/cashmere blend of sock yarn from The Knittery (cherries colorway). I love the end result; but, my mom claimed it, and I can't say no to my mom.
A gutted paracord long 4 bight Turk's head knot with pineapple knot interweave done with 0.9mm cord. More info in my blog post: stormdrane.blogspot.com/2014/10/fall-projects.html
I am really happy with how my Tangled Yoke Cardigan turned out.
I have a bad habit of bringing sweaters 85% to 95% completion then abandoning them for months. True to form, I made this last spring and had only the buttonhole band to knit and ends to weave in. As a result, I am fuzzy on the modification details.
What I do remember.... I made the length of the body and arms longer. I started the short rows sooner because I wanted more of a scooped neck. And I omitted the rolled band around the collar. I wanted a sleeker look.
This may have been my first time knitting with Rowan yarns. While, I love the resulting fabric, I did find that the Felted Tweed had the tendency to split.
I owe the success of this FO to Ravelry. I studied all of the Tangled Yokes to decide how to make this design my own.
Pattern: Koolhaas desiged by Jared Flood
Pattern Source: Interweave Knits, Holiday 2007
Yarn: Malabrigo Merino Worsted in Glazed Carrot, just over ½ skein (121 yards)
Needles: US 6 and 7 Denise Circular Needles and US 7 DPNS
I love the shades of orange and pink in this Malabrigo colorway (actually I feel that way about all of their colorways). It really feels organic as well as bright and cheery. blogged
CAMERA: Canon NEW F1
LENS: Canon fd lens 55mm f/1.4 S.S.C.
FILM: Kodak Profoto XL ISO 100 36 exp.
FILM DEVELOPMENT: Developing Colour Film with the C41 Process
FILM SCANNED: OpticFilm Plustek 7600 with SilverFast Software
SHOOTING DATE: 02/2013
DEVELOPER DATE: 02/2013
TECHNIQUE: Multiple Exposure unedited.
NUMBER OF EXPOSURES: 4
NO POST-PROCESSING
OBJECT: The club AURORA - Concert Hall
PLACE: Saint-Petersburg, Russia 2013
Tyrolean Stockings from Interweave Knits Fall 2007. I used 2 skeins of Green Mountain Spinnery Maine Organic Grey and had 11g left at the end.
Read here for more.
designed for the book "crochet at home" by interweave. it's been over a year since i made these. it's nice to finally be able to upload the photos.
Christmas: "A noisy party ... choose the silence to hear the voice of love".
Il Natale: “Una festa rumorosa...scegliamo il silenzio per sentire la voce dell’amore”.
Papa Bergoglio
Pattern: Gossamer Stars Scarf designed by Kat Coyle
Pattern Source: Interweave Knits, Summer 2008
Yarn: Fiesta La Luz in Orchid, 2.3 skeins
Needles: US 7 Denise Circular Needle
Ravelympics 2008
Event: Gift Knits Pentathlon, Scarf Stroke
Team Junkie
Date Started: 8/8/08 @ 8:00 AM
Date Finished: 8/12/08 @ 8:45 PM
30" x 30" x 3"
mixed media on canvas
SEVEN
A collection of new work from 7 of Portland’s most compelling image- makers. Featuring the work of Corey Arnold, Ryan Bubnis, E* Rock, Caleb Freese & Justin Gorman, Jason Greene, Sara Padgett, and Ryan Jacob Smith.
Opening reception:
First Thursday June 5th from 6- 9:30pm
@ Upper Playground / Fifty 24PDX Gallery
23 NW 5th Ave. Portland OR 97209
www.upperplayground.com/06/home.html
Contact the gallery for purchase inquiries
upperplaygroundpdx@gmail.com
ph# 503-548-4835
My cozy studio is featured in an article written by the lovely Linda Blinn in the Studios, Winter 2011 magazine published by Interweave. I pre-ordered & downloaded a digital issue for my iPad because I was too impatient to wait for my printed issue! Thanks Linda for such a beautiful write up. I'm honored to appear in such a wonderful publication.