View allAll Photos Tagged Intuition
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Kmart at the Palm Plaza in Temecula has reached the end of the line and is currently working on closing down, this is a small look at the store's closing sale
Random greeting card brand, I guess they weren't expecting this...
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Intuition Summer Festival 2009. Het was weer een topfeest. Hemelse trance onder een strak blauwe hemel. Jammer dat het geluid in de buitenarea niet echt top was. Binnen was het net een dampende sauna 's avonds. Dat bleek wel want alle lenzen besloegen, waardoor het focussen binnen lastig was. Al met al toch nog een aardig setje, dat de sfeer van de dag goed weergeeft. Beleef die topdag en jullie party-momenten nu nog één keer opniew, door de slideshow te draaien. Thx. again Paul voor de leuke foto's! En Menno en Alda, respect! Jullie zijn er weer ingeslaagd om een topfeest neer te zetten. Pachtige line-up met de beste trance van het moment! Klasse! En last but not least, thx. to all nice partypeople and dj's for the nice photo-opportunities. Het was weer fun om jullie allemaal ontmoet te hebben :) Vooral de mini-after in de camper van Anja was erg gezellig :) Leuk om nog even door te gaan tot 03.00 uur op de parkeerplaats. Thx. Frans & Ginny voor de music en ride home! Moeten we vaker doen :)
Laat je op- en aanmerkingen achter op de foto! Ik hoor het graag van jullie! Hiervoor moet je wel eerst een Flickr-account aanmaken. Kun je gelijk je eigen partypics van Intuition Summer Festival daar online zetten :) Doodeenvoudig en erg makkelijk! Een free account is gratis. Hiermee kun je tot 100 MB of 200 foto's per maand plaatsen op Flickr. Een pro-account kost je nog geen 15 Euro per jaar. En je kunt dan onbeperkt foto's uploaden in elk formaat.
Foto(s) van Intuition Summer Festival 2009 nabestellen voor maar 1 Euro? Geef het/de fotonummer(s) door. Stuur een mail naar: dutchpartypics@yahoo.com. Daarna volgen details en stuur ik je via e-mail de high res. foto zonder logo toe!
© Dutchpartypics | Korsjan Punt 2009. Powered by Nikon D50/D80 DSLR, Nikon AF-S 18 - 105 mm VR, f: 3.5 - 5.6, Nikon AF-S 55 - 200 mm VR, f 3.5 - 5.6, Nikon AF-S 70 - 300 mm, f 4 - 5.6, Tamron XR DI 17 - 35 mm, f 2.8 - 4.0, Tamron XR DI 28 - 75 mm, f: 2.8 - 4.0 en Sigma EX DC-HSM 10 - 20 mm, f 4.0 - 5.6. Flash: Nikon Speedlight SB600 / Sunpak PF30X, incl. omnibounce. Compact: Panasonic Lumix FX500 and Sony Cybershot DSC-H10.
NIKON: At the heart of the image! & DUTCHPARTYPICS: Pounding, vivid pictures! Make your photos come alive!
Most of us swim in a sea of indecision where our “logic” seems at odds with our intuition, and where we struggle to hear our truth. We have been taught to shut down our feelings and instincts, and listen intently to the expectations of others. Yet, the truth is, in order to have a vibrant, rich, and satisfying life, we have to fill ourselves up. www.soulworkclub.com/
Intuition Summer Festival 2009. Het was weer een topfeest. Hemelse trance onder een strak blauwe hemel. Jammer dat het geluid in de buitenarea niet echt top was. Binnen was het net een dampende sauna 's avonds. Dat bleek wel want alle lenzen besloegen, waardoor het focussen binnen lastig was. Al met al toch nog een aardig setje, dat de sfeer van de dag goed weergeeft. Beleef die topdag en jullie party-momenten nu nog één keer opniew, door de slideshow te draaien. Thx. again Paul voor de leuke foto's! En Menno en Alda, respect! Jullie zijn er weer ingeslaagd om een topfeest neer te zetten. Pachtige line-up met de beste trance van het moment! Klasse! En last but not least, thx. to all nice partypeople and dj's for the nice photo-opportunities. Het was weer fun om jullie allemaal ontmoet te hebben :) Vooral de mini-after in de camper van Anja was erg gezellig :) Leuk om nog even door te gaan tot 03.00 uur op de parkeerplaats. Thx. Frans & Ginny voor de music en ride home! Moeten we vaker doen :)
Laat je op- en aanmerkingen achter op de foto! Ik hoor het graag van jullie! Hiervoor moet je wel eerst een Flickr-account aanmaken. Kun je gelijk je eigen partypics van Intuition Summer Festival daar online zetten :) Doodeenvoudig en erg makkelijk! Een free account is gratis. Hiermee kun je tot 100 MB of 200 foto's per maand plaatsen op Flickr. Een pro-account kost je nog geen 15 Euro per jaar. En je kunt dan onbeperkt foto's uploaden in elk formaat.
Foto(s) van Intuition Summer Festival 2009 nabestellen voor maar 1 Euro? Geef het/de fotonummer(s) door. Stuur een mail naar: dutchpartypics@yahoo.com. Daarna volgen details en stuur ik je via e-mail de high res. foto zonder logo toe!
© Dutchpartypics | Korsjan Punt 2009. Powered by Nikon D50/D80 DSLR, Nikon AF-S 18 - 105 mm VR, f: 3.5 - 5.6, Nikon AF-S 55 - 200 mm VR, f 3.5 - 5.6, Nikon AF-S 70 - 300 mm, f 4 - 5.6, Tamron XR DI 17 - 35 mm, f 2.8 - 4.0, Tamron XR DI 28 - 75 mm, f: 2.8 - 4.0 en Sigma EX DC-HSM 10 - 20 mm, f 4.0 - 5.6. Flash: Nikon Speedlight SB600 / Sunpak PF30X, incl. omnibounce. Compact: Panasonic Lumix FX500 and Sony Cybershot DSC-H10.
NIKON: At the heart of the image! & DUTCHPARTYPICS: Pounding, vivid pictures! Make your photos come alive!
Охлювната черупка за SNAILICIOUS ястието от ноември - "Интуитивна стая". Изберете охлювната черупка за следващото ястие @ snailicious.net/vduhnovenie
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The snail shell for the SNAILICIOUS dish from November - "Intuition room". Select the snail shell for the next dish @ snailicious.net/inspiration
Intuition, Magique
Unconventional and iconoclastic graffitis, writings, posters, humanities, artistic alterations, paintings, portraits and sculptures in situ at @La Demeure du Chaos HQ @artprice.
Les graff, écrits, affiches, belles lettres, détournements, peintures, portraits et sculptures in situ décalés & iconoclastes de @La Demeure du Chaos HQ @artprice.
Les belles lettres graffées sur les murs et sculptures de @La Demeure du Chaos HQ @Artprice. Des idées ? écrire à belleslettres@demeureduchaos.org .
The humanities, graffitis on the walls and sculptures by @La Demeure du Chaos the HQ of @Artprice. Any ideas? Email humanities@demeureduchaos.org
...
Regard de thierry Ehrmann, auteur de la Demeure du Chaos / Abode of Chaos
Découvrez gratuitement l’intégralité de l’Opus IX de la Demeure du Chaos (504 pages)
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Free download of the entire Abode of Chaos' Opus IX (504 pages)
Secrets revealed of the Abode of Chaos (144 pages, adult only) >>>
"999" English version with English subtitles is available >>>
HD movie - scenario thierry Ehrmann - filmed by Etienne Perrone
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voir les secrets de la Demeure du Chaos avec 144 pages très étranges (adult only)
999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre
Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.
courtesy of Organ Museum
©2019 www.AbodeofChaos.org
The Altra Intuition is a zero drop women's running shoe that is fully cushioned and promotes a more efficient style of running. This generous toe box tells your toes you are tired of abusing them. Find this super comfortable women's running shoe at NaturalRunningStore.com/AltraIntuitionGrey
It is customary that boys are taught to obey the teachers.
© ILO / Mondal Nitai
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US.
In civilizations of a traditional nature, intellectual intuition lies at the root of everything; in other words, it is the pure metaphysical doctrine that constitutes the essential, everything else being linked to it, either in the form of consequences or applications to the various orders of contingent reality.
Not only is this true of social institutions, but also of the sciences, that is, branches of knowledge bearing on the domain of the relative, which in such civilizations are only regarded as dependencies, prolongations, or reflections of absolute or principial knowledge.
Thus a true hierarchy is always and everywhere preserved: the relative is not treated as non-existent, which would be absurd; it is duly taken into consideration, but is put in its rightful place, which cannot but be a secondary and subordinate one; and even within this relative domain there are different degrees of reality, according to whether the subject lies nearer to or further from the sphere of principles.
Thus, as regards science, there are two radically different and mutually incompatible conceptions, which may be referred to respectively as traditional and modern. We have often had occasion to allude to the 'traditional sciences' that existed in antiquity and the Middle Ages and which still exist in the East, though the very idea of them is foreign to the Westerners of today. It should be added that every civilization has had 'traditional sciences' of its own and of a particular type. Here we are no longer in the sphere of universal principles, to which pure metaphysics alone belongs, but in the realm of adaptations.
(…)
By seeking to sever the connection of the sciences with any higher principle, under the pretext of assuring their independence, the modern conception robs them of all deeper meaning and even of all real interest from the point of view of knowledge; it can only lead them down a blind alley, by enclosing them, as it does, in a hopelessly limited realm.
Moreover, the development achieved in this realm is not a deepening of knowledge, as is commonly supposed, but on the contrary remains completely superficial, consisting only of the dispersion in detail already referred to and an analysis as barren as it is laborious; this development can be pursued indefinitely without coming one step closer to true knowledge.
It must also be remarked that it is not for its own sake that, in general, Westerners pursue science; as they interpret it, their foremost aim is not knowledge, even of an inferior order, but practical applications, as can be deduced from the ease with which the majority of our contemporaries confuse science and industry, and from the number of those for whom the engineer represents the typical man of science.
(…)
Modern experimentalism involves the curious illusion that a theory can be proven by facts, whereas in reality the same facts can always be equally well explained by several different theories; some of the pioneers of the experimental method, such as Claude Bernard, have themselves recognized that they could interpret facts only with the help of preconceived ideas, without which they would remain 'brute facts' devoid of all meaning and scientific value.
Since we have been led to speak of experimentalism, the opportunity may be taken to answer a question that may be raised in this connection: why have the experimental sciences received a development in modern civilization such as they never had in any other?
The reason is that these sciences are those of the sensible world, those of matter, and also those lending themselves most directly to practical applications; their development, proceeding hand in hand with what might well be called the 'superstition of facts', is therefore in complete accord with specifically modern tendencies, whereas earlier ages could not find sufficient interest in them to pursue them to the extent of neglecting, for their sake, knowledge of a higher order. It must be clearly understood that we are not saying that any kind of knowledge can be deemed illegitimate, even though it be inferior; what is illegitimate is only the abuse that arises when things of this kind absorb the whole of human activity, as we see them doing at present.
(…)
One of the characteristics of the present age is the exploitation of everything that had hitherto been neglected as being of insufficient importance for men to devote their time and energy to, but which nevertheless had to be developed before the end of the cycle, since the things concerned had their place among the possibilities destined to be manifested within it; such in particular is the case of the experimental sciences that have come into existence in recent centuries.
There are even some modern sciences that represent, quite literally, residues of ancient sciences that are no longer understood: in a period of decadence, the lowest part of these sciences became isolated from all the rest, and this part, grossly materialized, served as the starting-point for a completely different development, in a direction conforming to modern tendencies; this resulted in the formation of sciences that have ceased to have anything in common with those that preceded them. Thus, for example, it is wrong to maintain, as is generally done, that astrology and alchemy have respectively become modern astronomy and modern chemistry, even though this may contain an element of truth from a historical point of view; it contains, in fact, the very element of truth to which we have just alluded, for, if the latter sciences do in a certain sense come from the former, it is not by 'evo-lution' or 'progress' - as is claimed - but on the contrary, by degeneration.
(…)
These are the two complementary functions proper to the traditional sciences: on the one hand, as applications of the doctrine, they make it possible to link the different orders of reality and to integrate them into the unity of a single synthesis, and on the other, they constitute, at least for some, and in accordance with their individual aptitudes, a preparation for a higher knowledge and a way of approach to it - forming by virtue of their hierarchical positioning, according to the levels of existence to which they refer, so many rungs as it were by which it is possible to climb to the level of pure intellectuality.
It is only too clear that modern sciences cannot in any way serve either of these purposes; this is why they can be no more than 'profane science', whereas the 'traditional sciences', through their connection with metaphysical principles, are effectively incorporated in 'sacred science'.
The ways leading to knowledge may be extremely different at the lowest degree, but they draw closer and closer together as higher levels are reached. This is not to say that any of these preparatory degrees are absolutely necessary, since they are mere contingent methods having nothing in common with the end to be attained; it is even possible for some persons, in whom the tendency to contemplation is predominant, to attain directly to true intellectual intuition without the aid of such means; but this is a more or less exceptional case, and in general it is accepted as being necessary to proceed upward gradually.
The whole question may also be illustrated by means of the traditional image of the 'cosmic wheel': the circumference in reality exists only in virtue of the center, but the beings that stand upon the circumference must necessarily start from there or, more precisely, from the point thereon at which they actually find themselves, and follow the radius that leads to the center. Moreover, because of the correspondence that exists between all the orders of reality, the truths of a lower order can be taken as symbols of those of higher orders, and can therefore serve as 'supports' by which one may arrive at an understanding of these; and this fact makes it possible for any science to become a sacred science, giving it a higher or 'anagogical' meaning deeper than that which it possesses in itself.
Every science, we say, can assume this character, whatever may be its subject-matter, on the sole condition of being constructed and regarded from the traditional standpoint; it is only necessary to keep in mind the degrees of importance of the various sciences according to the hierarchical rank of the diverse realities studied by them; but whatever degree they may occupy, their character and functions are essentially similar in the traditional conception.
What is true of the sciences is equally true of the arts, since every art can have a truly symbolic value that enables it to serve as a support for meditation, and because it’s rules, like the laws studied by the sciences, are reflections and 'applications of fundamental principles: there are then in every normal civilization 'traditional arts', but these are no less unknown to the modern West than are the 'traditional sciences'. The truth is that there is really no 'profane realm' that could in any way be opposed to a 'sacred realm'; there is only a 'profane point of view', which is really none other than the point of view of ignorance.
This is why 'profane science', the science of the moderns, can as we have remarked elsewhere be justly styled 'ignorant knowledge', knowledge of an inferior order confining itself entirely to the lowest level of reality, knowledge ignorant of all that lies beyond it, of any aim more lofty than itself, and of any principle that could give it a legitimate place, however humble, among the various orders of knowledge as a whole. Irremediably enclosed in the relative and narrow realm in which it has striven to proclaim itself independent, thereby voluntarily breaking all connection with transcendent truth and supreme wisdom, it is only a vain and illusory knowledge, which indeed comes from nothing and leads to nothing.
This survey will suffice to show how great is the deficiency of the modern world in the realm of science, and how that very science of which it is so proud represents no more than a deviation and, as it were, a downfall from true science, which for us is absolutely identical with what we have called 'sacred' or 'traditional' science. Modern science, arising from an arbitrary limitation of knowledge to a particular order-the lowest of all orders, that of material or sensible reality-has lost, through this limitation and the consequences it immediately entails, all intellectual value; as long, that is, as one gives to the word 'intellectuality' the fullness of its real meaning, and refuses to share the 'rationalist' error of assimilating pure intelligence to reason, or, what amount to the same thing, of completely denying intellectual intuition.
The root of this error, as of a great many other modern errors - and the cause of the entire deviation of science that we have just described - is what may be called 'individualism', an attitude indistinguishable from the anti-traditional attitude itself and whose many manifestations in all domains constitute one of the most important factors in the confusion of our time; we shall therefore now study this individualism more closely.
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excerpts from The Crisis of the Modern World by René Guenon
Chapter 4: Sacred and profane science
In this spread the cards come out in a pattern from the centre forming the cross and making petals around it like an opening rose bud. The eye is drawn to elements in the pattern, by colour and composition working on the intuition. In this display the Knight of Cups sits at the top of reading. He is the most beautiful Knight in the deck and makes the most wonderful promises. His emotional gifts and offers are displayed in the sacred chalice he readily presents. The water elemental is the one we go to for comfort and for joy. The Knight presents us with security and gives us the opportunity to progress to a better future. In himself he forms an iconic ticket to ride, a prepaid all inclusive travel pass to get us out of and away from any sticky situations.
The Knight is a great card to have in a reading if he is working positively for you. He is fuelled by fire and this fiery fuel does not mix well with his watery gifts. This knight does have a tendency to move on and to fire into explosive situations that lead to tears, heated words and end up leaving an eerie calm after the storm, or even a post volcanic eruption environment. Atop the reading the Knight of cups offers much, but he may not be around long enough to deliver on all the promises he makes. For my perception of the Knight of Cups he is linked to this quote.
Water, water, every where,
And all the boards did shrink;
Water, water, every where,
Nor any drop to drink.
The Rime of the Ancient Mariner, originally The Rime of the Ancyent Marinere, by Samuel Taylor Coleridge.
The Knight holds the promise of salvation, but not of any determined long last solution. In the Tarot pattern The Knight of Cups rides immediately above The Hanged Man. The Hanged Man can be a card of comfort and reassurance. His chosen attitude to take time out from the world gives him the comfort space of the Yogi, or student of meditation. With the root of the reading and the bottom of this line being the 8 Cups we can clearly see the path leading to the eventual need for solace. The 8 of Cups depicts an emotionally unfulfilling engagement that would be served best by the hurt party walking away from the situation. The Moon shown in the card in a waning Moon. This is the moon phase best suited to trimming back plants and to putting an end to emotionally draining life cycles.
The 8 of Cups also indicates the sort of deflation we get when we are let down by others, or defeated by ourselves. With these cards being so deeply rooted in the emotional landscape I would say that the weight of gloom and self-made doom on the retreating shadowy figure could be indicative of the let-down suffered by Charlie at the end of his alchemical adventure in the Chocolate Factory when he is told that he has forfeited the successful conclusion of his journey by indulging in the forbidden products. The three water cards in this column of cards indicate the depth and sincerity of emotions that are being shown. They help us to conjure up dream sequences, alchemical transformations of the acolyte on his way to becoming an adept and Fairy Tale traditions whose moral stories tell us how not to succumb to the pitfalls and mistakes that we would otherwise surely make. The continued desire to take time out and to wait for the one true dependable, “Golden Ticket,” being delivered builds up a sense of the source and of the progress possible from this moment onwards.
The deck used in this reading is the, “The Original Rider Waite Tarot Deck.” The illustrations were drawn by Pamela Colman Smith on commission from Arthur Edward Waite and printed by the William Rider & Son. The book and deck were published 1909-11. Today the cards are sometimes criticised for their colour and line production, but they were ground breaking in their use of allegorical pictures featuring rich symbology through the Major and Minor Arcana.
The backdrop to this picture was at taken at Scottish Pagan Federation Conference. We gathered in the courtyard at The Pleasance in Edinburgh when AVoD Lodge performed the closing rite and I was able to take a very small part and hand out cakes as a part of the sacrament offered to all those present. The next day I was with one of the Officers from the Quarters and when two things turned into one and this Tarot Reading was performed.
PHH Sykes copyright 2018
phhsykes@gmail.com
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[Images courtesy of Balmond Studio]
Last summer, BUILD met with engineer-architect-artist, Cecil Balmond at his London Studio to discuss his most recent projects and the thinking behind his experimental design process. Prior to opening Balmond Studio, his career spanned 40-plus years at Ove Arup & Partners where he worked on pioneering projects with renowned architects all over the globe. Balmond discussed the notion of architecture in a dynamic environment, the designer’s intuition, and his most recent projects. For part 1 of the conversation, hop over to ARCADE Magazine, Issue 36.1, available in print and on their website.
Tell us about your previous role as Deputy Chairman at Arup, where you led thousands of engineers and architects.
There were seven of us on the board of directors at Arup and I was head of building business globally with around 6,000 people under my supervision. When I joined, Arup was a company of about 5,000 people and when I left it was 11,000 people. The job was a huge bureaucratic task in one way, but on the other hand, I was the only director who had an active design group. My design group ranged from 25 to 60 people and we handled about 30 jobs per year. I would choose two or three of these projects and I’d personally lead the design.
It was at this time that I began setting up the Arup architectural practices in Beijing, Shanghai, and Turkey, as well as the sector architectures such as ARUP Sport and Arup Health. Arup Sport was a great success and we hired expert architects to lead the projects, like Richard Rogers and Norman Foster.
How would you characterize the spirit at Arup?
Arup was a special organization because really it was led by Ove Arup at the beginning, who was a philosopher and a mathematician more so than an engineer. He was a man of the world with open ideas. That way of being really filtered down to certain people, like myself and others, who, if I’m honest, believed in design, and not necessarily engineering or architecture. Design was a much wider thing to us. Architecture had its own expert skill zone, and when it comes to the real grit of architecture, the specifications, window schedules, and the engineering, there is a horrendous, humungous amount of calculating to be done. But those are the mechanical parts of it. A great engineer is simply wonderful to watch at work because they’re intuitive, and I don’t just mean structural engineers, but environmental engineers, lighting engineers, etc. They’re dealing with intangibles almost, and yet they have an intuition that influences the building in a very holistic way. This method of working significantly contributed to my thinking that there are no limits in design.
Was there a particular moment or project that encouraged you to formalize your practice as an engineer-architect-artist?
No, it’s like a lot of things in life, you drift. It’s a question of being an opportunist. Occasions occur where your instinct is primed to take advantage of key opportunities. If you are a creative person, you are pushing, not knowing what you are pushing at and then something comes up and you just jump, you take it, and I think my career has been a series of those jumps.
There was a cathartic moment at about age 35 when I was smoking outside my office and decided when I went back in I could never do the same thing again. It was that decisive, I just knew. But I didn’t know what was next. So, I went back in and threw out all my learning and started learning again. I went through a personal mentorship for the next five years. I studied at night, going back to the original treaties of mathematics, going back to the three forbidding books and six postulates of the Greek mathematician Euclid. I went back to the very first precepts set by the Greeks, like the philosophy of the point above a line, above a plane, the line being drawn through thepoint, above the plane, being parallel, and so on. The books written about those postulates engaged my mind totally. It provided me with a mobile sense of geometry. Those postulates soon led to the idea of proportion.
The next step took five to ten years and it involved believing in a mobile sense of geometry, where forms are constantly in motion and architecture is only a snapshot in time. This led to a proportional sense of space and ultimately an episodic treatment of design. This sequence was dependent on releasing my hand and thinking more freely. It required that I start thinking differently about design, that buildings don’t stop at the four corners, and that they don’t necessarily have to have a floor, a roof, and sides. It was a personal odyssey of unlearning and it is key to the work I’m doing today.
Is there a common way that you approach each design project?
The way I work is generally scale-less as an idea. I tend to start with a metaphor or a feeling, something really vague. Then comes a sketch of something in space, some notion of space, or more accurately the notion of the intersection of space between it, it’s interiority, and the relation of the context of where it is. Just purely conceptually and it’s nothing to see yet. It might just be a few lines or a blotch. Then comes the idea of what is it. Is it art, engineering, or an architecture piece? Then comes the functionality, then comes the choice of scale. Once you choose scale, the material locks in. If it’s very small its thread or wire. If its humongous, its steel or trusses. Then comes configuration of scale. Last of all would be structure — actual structure as it means to an architect today. The actual skeleton, the actual thing is the last thing. If you start with that at all, you’ve lost the building. You’ve lost the spirit, you’ve lost what the building can do. At the end of my book Informal, there is a very interesting table of the hierarchy of decision making that goes through my mind.
You note that challenging assumptions is critical to your work. What is a recent example where challenging an assumption made a significant difference to the outcome of the project?
Toyo Ito and I designed the 2002 Serpentine Gallery Pavilion together and we decided to start with a box. Upon looking at a map of London’s Hyde Park, where the Pavilion is located each year, we realized that the park is a collection of crisscrossing lines. Then came the idea that this pavilion is the gathering of lines. We started playing around with algorithms and the type of geometries similar to the movement of a ball around a billiard table until we hit upon a geometry that came back on itself and completed the box. This exercise allowed us to break the boundaries of the envelope and challenge the notion of the box. Even though it was a 50-foot by 50-foot structure, the viewers inside had no idea that they were in a box. Spatially, it was much bigger than the bounding box of its geometry.
Tell us about your discovery of aperiodic tile invented by the mathematician Robert Ammann.
20 years ago, I felt that architects and the graphic arts had no idea what mathematics does, so I started researching numbers. I quickly realized that the prime numbers have powerful sequences that are unpredictable. They look like a kind of music when I interpret them, and they’ve held my interest for years. The geometry of these tiles is based on the prime numbers and this is what makes them aperiodic in that their assembly results in a new pattern each time — they never repeat. Daniel Libeskind and I applied the tile to the V&A Spiral which is the proposal for an extension to the Victoria and Albert Museum in London.
Your QXQ project addresses the need for prefabricated, modular housing. In your experience, what are the hurdles of implementing prefabricated, modular housing on a mass scale?
It’s the biggest challenge in the industry and no one’s cracked it — not even Arup. Years ago, they went in with a huge contractor here in the U.K. who does housing and they spent a lot of money researching prefab design. The result ended up looking like every other prefab. And that’s the problem, because in the end, for mass production, you need corners and right angles, and once you have corners and right angles, to save money you close the surface and then you’ve got a box. You can go and cut corners and triangles out and make it look interesting, but it’s still a box. You haven’t cracked the sense of living.
In order to be successful, prefabrication shouldn’t start with conventional ideas. It would be great to think that prefab housing could inject a new idea of living in such prescribed spaces. No one has been successful at this yet and I tried a bit with the QXQ project. So many boxes have already been done and I don’t want to do another box. What can I add to it apart from cuteness and your sensibility of design? I was interested in refuge housing and wanted to investigate low technology, using my ideas to make things less expensive. I wanted to try to use architecture in adaptable ways using cheap materials but highly sophisticated design techniques to make an interesting statement while being functional. My design started with a dodecahedron and sliced off parts. This allows stacking in any direction and, interestingly, it created the idea of a colony of tightly fit modules rather than a collection of prefabricated homes. All the sudden, you’re into biomorphic design and while the architecture and structure are straight-forward, the services become challenging. Where do the ventilation, water, and sewer systems fit? We haven’t quite cracked it yet. We’re building two units as a test, but we really need to build 12 of them to check our assumptions, and we need to be building hundreds of units to be commercially viable. There are a number of interested clients from all over the world and a particular army was interested in 40,000 units. That’s the kind of scale we need to make the concept great, but we need to get the first one right.
Rem Koolhaas cites that, “through your work, engineering can now enter a more experimental and emotional territory.” Are academic engineering programs following your lead?
I know certain architecture and engineering programs have taken my books as curriculum. The Scandinavians were the first to take up Informal, then some universities in the States and in England started using the book. I think it’s impacted young architects more than the engineering community as I suspect that the engineers may be enticed by the work but are afraid to pick up the book because the thinking is so radically different.
How has a non-linear approach to design affected the other areas of your life?
I started organizing parts of my practice at Arup in a non-linear basis and it was very successful. Rather than applying top-down thinking, I began using an informal, emergent thinking. As an example, I deliberately don’t file my books, so I go searching my library and randomly pick a book, and then open up to the middle of the book and I read. That immediately kicks me into something I never even thought of. In the early ‘90s I became convinced that the world was non-linear. We simply fight it to be linear in order to understand it. But actually, it was not understandable in the first place.
You’ve had a synergistic relationship with artist Anish Kapoor, including your collaborations on the 2003 Marsyas exhibit at the Tate Modern, the Temenos sculpture in north England, and the Arcelormittal Orbit built for the 2012 summer Olympics. Tell me a bit about the balance you two have found working together.
Anish and I came together originally for the Marsyas exhibit at the Tate Modern. It’s not so much the mechanics of the form making with Anish, it’s more about the discussions we have of what does it mean. I think that’s the driving spur between us. The mechanics of how you make the form is part of whoever’s skill set it falls under. So, if the items involve big spans, I’m doing it. If it’s an issue of color and surface, he’s doing it. Creative tensions about what is good or not arise, but it’s precisely these discussions that lead to the power of the form. It’s about a visceral reading of the form and how it moves you physically.
In any of these designs, you’ve got non-linear architectures and engineering forms, but it seems like you’re typically able to use a standard kit-of-parts like steel channels and I-beams. Do you feel that the materials and parts ever limit the form factor?
No, because I always take the materials as a given out of pragmatism rather than thinking that I’m going to invent a new material or form. This isn’t to say that you compromise what you’re doing, but you need to rationalize how you’ll build a design and in that comes certain decisions to make about the material.
Do you have any structural inventions that you’re particularly proud of?
The roof of the Arnhem Centraal project in the Netherlands includes a giant column that’s approximately 100-feet wide. It twists in space to support the roof and ground floor planes and it’s one of my best inventions. I thought the design would be prohibitively expensive, but it wasn’t.
Sensibilities and Intuitions of the Master Designer; an Interview with Cecil Balmond, part 2 syndicated from thegardenresidences.wordpress.com
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Creativity
My life of creativity has lived with the difference between control and chaos; discipline and spontainity; and, planned and improvisation. In art, architecture, interior decoration, hanging drapes, disc jockeying, puppeteering, drafting and sketching I have always walked a tightrope but was at my best when I was loose, improvised, sketch and sing my way through. Even my drafting precision is best when left to my whim and whiles of intuition and spontaneity. I can work for many hours continuously and without eating or sleeping. As my art, design and writing is best when I write and not pre-plan nor compose but let God’s spirit guide. When I prepare sermons I plan, compose and make notes. I mark the bible with sticky backs at every page. But, when I preach it all goes away and I am led by the Holy Spirit to preach God’s word based on the research and prayer that has gone before. I pour my heart out in art, design, writing, conversation, and management. It is all the same creativity to me. Even public speaking and managing meetings. It is all-intuitive. I love gypsy and jazz music because it best reflects my spirit. I love open and creative mnemonic conversation, rhetoric, and singing words to make up melodies given from intuition. Rapp, Calypso, street gypsy, folk, and classic chant are like this. I can do this easily. In a Puerto Rico club a performer stood and took any suggestion given by the audience and immediately composed song and rhyme to perform. This is what I can do and to me it is the ultimate in creativity. It is also so tuned into mind and utterances given by God and keeps one’s ego out of the way. I take pleasure in the creative process and enjoy its seconds, moments, hours, and days. At Yale we discussed this issue and I came down strong ON process to which Professor Charles brewer and the class agreed I was abnormal. My products were so prolific and imaginative they could not conceive these done in an unplanned disciplined was and especially not appreciating the process rather than the product. I love the process and the moments I am living within my creation while creating the creation. When it ends I am now separated from it and it has its own life. Others may now possess and experience the creation. Perhaps they may enjoy and relive what I did to create the product. I have enjoyed other creations by other creators who I sensed created in this way but it is very rare. Most that I have known who do create do not have this experience. It is where I live and where I understand craft.
When I went to Saudi I knew how to deal with harshness from USA led Arabs. TCN (third country nationals) were tricky. My work ethic and morality was always surprising and disarming. Having labored in menial jobs for tips and crumbs I knew where they were comming from.
In ''Toward a Sociological Theory of Income Differences'' Mark Granovetter says that socioeconomic background affects mental ability; background and ability affect educational attainment; background, ability, and education affect occupational achievement; and all of the preceding variables affect earnings. This particularly resonates with my own experience. God has used these phenomena to His purposes, to win souls and bring comfort to the lost and suffering. God and His will did not guide by a concept, family or father but my career.
Labor is infinitely divisible into homogeneous units, as well-behaved neoclassical commodities are supposed to be. Labor, or course, is not well behaved and comes instead in inconvenient lumps called workers.
I had to leave the class of workers and “be” the class of master, manager, leader, and source of worker’s directions.
I had to behave and beleive differently.
My parents pictured themselves as labor and victums of a system. They had no ability to affect change.
Granovetter says that it is only important to know what the individual brings to the labor market in terms of educational credentials and training, etc. to understand income differences. It is the only thing a person can do who has no other connections, leverage, capital, assets, and ownership.
I believed that I could make a difference if I were to possess these attributes of educational credentials and training.
Granovetter rightly points out that the difficulty is that whether one's investment pays off depends on whether there is demand for what one's acquired skills can produce (characteristics of available jobs) and on whether one will be in a position to help meet that demand (the matching process). And, when I graduated Pratt and Yale demand was down for my skills and profession. It wasn’t until the early nineties that demand increased for these skills. By 1993 I was fifty-six and out of range to learn computer aided design.
I applied for civil service works in the same building I applied and received my FCC forth class broadcaster’s license in about 1955. At my interview I was told that I could apply for the civil service test and after several times I’d probably pass. But, m that did not determine if I’d gets hired. I was told, candidly, that of the many who pass the test few actually get any job assignments the selections are apportioned to people who have inside and special connections, political (Democratic party), Religious (Irish Catholic, etc.) or other very personal connections I had none of that! I simply dropped it. Years later, after several years of employment in KSA i traveled to Heidelberg Germany, fort Abram’s to apply for Core of Engineers, open advertisements and was told much the same the thing. Still not convinced, in 1990 I applied for Lee county government building department employment, and after interviews and applications lost a perfect position because of my age, I was too old; the acceptable candidate has all my qualifications and less but was twenty years my junior. I was so surprised to ten years later be hired by Mr. Robert Stewart after one simple interview.
People who obtain their jobs through personal contacts made more on average than those who obtained their jobs through application process did. On the demand side, there are few jobs for which large numbers of people are not qualified
I believed if I needed to be an honorable man. High principled with a code of ethics who does the right thing. However, this model is obsolete and irrelevant in the twenty- first century, and particularly in an ever increasingly technical culture.
There were always stirrings with in each company I worked. The question was always, how much are you willing to take to keep the job. Even when I later became the boss it was the same for me and I would convey this sentiment to those under me. The issues may have been political, relationships, behavioral, promises, etc. I never was so interested and I rather loose the job. I never regarded any company or situation so valuable as to it be worth my while to make the efforts. I could get another and always did.
However, I’d always work closely with my supervisor, boss, and employer to find out what was required and to do that, which was needed and requested. I certainly sought to improve my performance and better meet my supervisor and company’s objectives.
Christina and I concluded that those that succeed in cutting edge big business have a killer mentality. Killing themselves, families, and there competitors. They entered a market to gain a share of what has already been provided by another and in some other way. It correlated with those that had fought and won W.W.II. They were conquers and sought victories. It just seemed that we were out of our element as this was not the sort of personality or character that we were made of. With this in mind we embarked on a career supporting these killers and despots in positions well away these instincts. It was only in Saudi where I came so close to these owners and leaders and was really their accomplice. I knew them and there intents and helped them succeed.
Whatever talent I have was given by God to serve his purpose and at His pleasure. Whatever product or good comes from these talents are returned to God for His treasure. I am very grateful for a life of gifts and talents to serve God and bring people to Him.
Intuition Summer Festival 2009. Het was weer een topfeest. Hemelse trance onder een strak blauwe hemel. Jammer dat het geluid in de buitenarea niet echt top was. Binnen was het net een dampende sauna 's avonds. Dat bleek wel want alle lenzen besloegen, waardoor het focussen binnen lastig was. Al met al toch nog een aardig setje, dat de sfeer van de dag goed weergeeft. Beleef die topdag en jullie party-momenten nu nog één keer opniew, door de slideshow te draaien. Thx. again Paul voor de leuke foto's! En Menno en Alda, respect! Jullie zijn er weer ingeslaagd om een topfeest neer te zetten. Pachtige line-up met de beste trance van het moment! Klasse! En last but not least, thx. to all nice partypeople and dj's for the nice photo-opportunities. Het was weer fun om jullie allemaal ontmoet te hebben :) Vooral de mini-after in de camper van Anja was erg gezellig :) Leuk om nog even door te gaan tot 03.00 uur op de parkeerplaats. Thx. Frans & Ginny voor de music en ride home! Moeten we vaker doen :)
Laat je op- en aanmerkingen achter op de foto! Ik hoor het graag van jullie! Hiervoor moet je wel eerst een Flickr-account aanmaken. Kun je gelijk je eigen partypics van Intuition Summer Festival daar online zetten :) Doodeenvoudig en erg makkelijk! Een free account is gratis. Hiermee kun je tot 100 MB of 200 foto's per maand plaatsen op Flickr. Een pro-account kost je nog geen 15 Euro per jaar. En je kunt dan onbeperkt foto's uploaden in elk formaat.
Foto(s) van Intuition Summer Festival 2009 nabestellen voor maar 1 Euro? Geef het/de fotonummer(s) door. Stuur een mail naar: dutchpartypics@yahoo.com. Daarna volgen details en stuur ik je via e-mail de high res. foto zonder logo toe!
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It's been a long working month in Vancouver. Just wanted to share the nice view of my everyday walking home landscape.
The alarm never went off.
Mr Fox's foxy intuition saved the day.
He did have to get up in the middle of the night to turn the alarm off, but Mrs PB was not awoken from her slumber, so total disaster was averted.
When she woke up she set about neutralizing the threat.
She took the battery out the clock...
Now for the raccoon.
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
“The intuitive mind is a sacred gift and the rational mind is a faithful servant. We have created a society that honors the servant and has forgotten the gift.” - Albert Einstein
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Y en español para mis 'apañeros'.....
"La mente intuitiva es un regalo sagrado y la mente racional es un fiel sirviente. Hemos creado una sociedad que rinde honores al sirviente y ha olvidado al regalo". - Albert Einstein
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I hope you like it, couldn't sleep til I finished and uploaded!!
Dedicated to all those who spread the love.... Thank you!
Thanks for looking :-)
This is a self published, non traditional oracle card deck by Renee Keith. Some cards are horizontal. Images are all created by Renee Keith with mixed mediums including digital photography, image transfers, paintings, ink, and digital editing. The symbolism can mean different things to different people, so there is no wrong or right way to read the cards. just use your intuition!