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I just came across this gorgeous gray invitation by kate spade. Perfect for a sophisticated soiree, this card might be best used as an invitation to a friend's birthday bash.
Decorate your party space with a color palette of simple grays, creams and pale pinks for a simple, yet elegant affair that's sure to let your guest of honor shine.
Gray and white dot cake -- Cakegirls
Simple gray invitation by kate spade -- FineStationery
Cream hydrangea arrangement and table cards -- The Knot
Pretty crystal votive holders -- Neiman Marcus
Ladylike frock in light pewter -- J.Crew
Gray and cream dining room -- Better Homes and Gardens
Mural depicting Black Lives Matter movement and George Floyd protests seen in Dartmouth, Nova Scotia, Canada on August 16, 2020.
bithbox # 186
"It's April so let's kick off the set with "Come January"
After more than two C-19 years, last Saturday we finally enjoyed live music again in a venue rather than streamed live over the internet. It was a delight that Dorset's finest, Ninebarrow, played TheExchange at Sturminster Newton, a small but excellent hall with around 300 seats.
Friends for many years and then marriage partners, they first started playing music about a decade ago. In 2016 they gave up their full-time jobs to concentrate on Ninebarrow. Jay (on the left) was a G.P. and Jon a teacher. Since then they have become not just well-known in Dorset (with several songs based around the local area) but have also become one of the top 'new' folk-orientated acts throughout Britain. You can read much more about them, their music, their walking holiday and their woodland project here www.ninebarrow.co.uk/
This is what music should be all about. Compare and contrast to the Saturday night tv musical "talent" shows.
"it matters not
who you love,
where you love,
why you love,
when you love,
or how you love,
it matters only
that you love."
- john lennon
"experimenting with patterns and colors"
markers & color pencils on graphic paper
2005 oct
© woolloomooloo / woolloomooloosky. all rights reserved.
It's never a question about gender, sex, color, religion or whatever.
It's Always a question about Love.
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Earings Feather + Nose piercing jangka.design
:
- Random Matter Xavia Choker
- Random Matter Xavia Necklace
- Random Matter Xavia Earrings
:
- Saudade x Lowen Barbara
- Jack Spoon. Oriana Glow Eyeshadow
- Jack Spoon. Corinne Star Eyeshadow
- Jack Spoon. IMFF Eyeshadow
- SU! Cursed Romance Eyeliner
- [REVERIE] Marion Lipstick
:
- MILKBATH Red Wine Burlesque Set
- Muse Sugar Coated Shoes
:
- Violent Seduction Mid Fishnet
:
- Foxcity Teese Photobooth
Finally finished these. I think they're some of my best work. All custom sculpting by me. Custom fabric by me painted by me. If anyone wants to do a defiance collab, comment. Nim Shindu fig and raider figs coming soon. :D. Enjoy!
The Friends meeting I attend reached unity to go forward with a Black lives Matter mural on the front of our building. We'll be finishing it next Sunday.
When Black people get free, everybody gets free by Alicia Garza
#BlackLivesMatter doesn’t mean your life isn’t important–it means that Black lives, which are seen as without value within White supremacy, are important to your liberation. Given the disproportionate impact state violence has on Black lives, we understand that when Black people in this country get free, the benefits will be wide reaching and transformative for society as a whole. When we are able to end hyper-criminalization and sexualization of Black people and end the poverty, control, and surveillance of Black people, every single person in this world has a better shot at getting and staying free. When Black people get free, everybody gets free. This is why we call on Black people and our allies to take up the call that Black lives matter. We’re not saying Black lives are more important than other lives, or that other lives are not criminalized and oppressed in various ways. We remain in active solidarity with all oppressed people who are fighting for their liberation and we know that our destinies are intertwined.
And, to keep it real–it is appropriate and necessary to have strategy and action centered around Blackness without other non-Black communities of color, or White folks for that matter, needing to find a place and a way to center themselves within it. It is appropriate and necessary for us to acknowledge the critical role that Black lives and struggles for Black liberation have played in inspiring and anchoring, through practice and theory, social movements for the liberation of all people. The women’s movement, the Chicano liberation movement, queer movements, and many more have adopted the strategies, tactics and theory of the Black liberation movement. And if we are committed to a world where all lives matter, we are called to support the very movement that inspired and activated so many more. That means supporting and acknowledging Black lives.
...require sensitive treatment.
PS! Treat yourself to Dressed in Black but remember to press F11 for full screen viewing!
"Mind over matter,
I'm in tatters thinkin' about her.
Taste my disaster,
It's heavy on my tongue."
Model: Ashley Martin
Fall 2014
"Teacher: Now George, you get up and tell this class a short story, but don't begin it with 'Once upon a time' nor end it with 'They lived happily everafter'. Give us something up to date."
"Bright Young High School Student: There was once a young couple that was very much in love with each other, and they got married, and lived together, for awhile, and then, they took a trip to Reno, Navada, and got a divorce"
From the Walter F. Kromp Collection (COLL/2637) at the Archives Branch, Marine Corps History Division
OFFICIAL USMC PHOTOGRAPH
“What lies behind us and what lies before us are tiny matters compared to what lies within us.”
Ralph Waldo Emerson
The plumage of the immature Bald Eagle is brown, speckled with white until the fifth year, when it reaches sexual maturity.
Fort William First Nation Pow Wow
Don't use this image on websites, blogs or other media without explicit permission.
© All rights reserved
Its diffcult to get over a past relationship... matters of heart are very tricky.. when you are in love ..life seems to be beautiful and blessed but a heartbreak leaves behind pricking memories ....
Mehrere hundert Menschen nehmen an der diesjährigen "Black Lives Matter" Demonstration von Berlin Mitte nach Kreuzberg teil.
Die Demonstration startet mit einer Kundgebung in der Mohrenstraße, deren Umbenennung Aktivisten seit Jahren aufgrund des rassistischen Kontextes des Namens fordern. In Reden und auf Schildern wird der Alltagsrassismus, unter dem Schwarze Menschen in Deutschland leiden, thematisiert. In Sprechchören erklären sich die Teilnehmer angesichts der jpngsten Entscheidungen auf EU-Ebene auch mit Geflüchteten solidarisch, ebenso wird an den in einer Dessauer Polizeizelle unter ungeklärten Umständen zu Tode gekommenen Oury Jalloh gedacht.
IR HDR. IR converted Canon 40D (Lifepixel.com) . Canon 17-55 F2.8 IS lens. Shot at ISO 100, F8, AEB +/-3 total of 7 exposures processed with Photomatix. Levels adjusted in PSE.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
It's been so long
Since my baby has been here
And I'm so lonely
I remember when she was
My one and only
But I gess it doesnґt matter anyway
When I think of
All the times I maded her cry
I hope she knows by now
That I was a little high
And I am sorry
But I gess it doesnґt matter anyhow
If I have the time
I will try and find my mind
The years have quickly gone by
And there's no time
For a lonely guy
Concrete matters. Moderna Museet, Stockholm
www.modernamuseet.se/stockholm/en/exhibitions/concrete-ma...
My artspace is where ever I happen to be drawing,as I sketch with watercolour pencils in a Moleskine Watercolour sketchbook.
It is often at home at the diningroom table too.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
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CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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American deaths in Iraq since war began (3/19/03): 2837
Since George W. Bush strutted across an aircraft carrier deck proclaiming "Mission Accomplished" (5/1/03): 2700
Americans wounded: 21,077
Iraqi deaths, according to statistical analysis techniques identical to those used to measure deaths in natural disasters, such as the Indian Ocean tsunami: 650,000
Your vote matters.
San Francisco National Cemetary, Presidio of San Francisco. Big.
There is a continuing debate among theoretical physicists about how the stuff (matter/energy) of the universe could have originated of its own accord, out of 'nothing' (the elusive, so-called ‘theory of everything’). However, the most important question in this debate: Where did information come from? Has been largely ignored, but this is absolutely CRUCIAL - because the universe, as we know it, could not exist without information. The laws of nature, are indicative of order, they govern and control the whole material universe, and extremely complex information is essential for all life.
Information is rightly called the third fundamental property of the universe.
So we have to wonder why the crucial question of the origin of information is excluded from the 'theory of everything' debate?
Without a credible explanation of the origin of information - any proposed theory of 'everything' would, in fact, be a theory of 'nothing' ... and absolutely useless.
Life requires information from the very outset, even the tiniest, most primitive cell is packed with complex information (coded in DNA), and the means of interpreting it.
Life could not exist without information. The first life on earth (regardless of how you believe it originated) needed complex information right from the very start, this is certain and beyond any dispute.
So how did information arise in the first life? Was the information for life just floating about in the ether waiting to alight on the right mixture of chemicals in some primordial soup? I think not! (but atheists have not yet proposed any better explanation).
However, even if such an incredible thing were possible, the question would still remain as to how this information originated within the universe? Where did it come from, and why? Hence for any atheist, the origin of DNA code itself, and the information it contains, is an impossible dilemma.
The unanswerable question for atheism is, which came first, information or matter?
Information cannot possibly create itself, but neither can matter. To suggest that either of them originated, of their own accord, from nothing, is self-evidently, utter nonsense and completely unscientific.
(Atheists will never be able to answer this question because the only logical option is - - a non-contingent first cause of all the material realm, which is eternally pre-existent, intelligent, non-material and therefore not subject to natural laws which govern all natural entities, i.e. a Supernatural Creator God).
Amazingly, we were told by ‘experts’ in 2004 that the discovery of the simple sugar glycoldehide in a gas cloud (known as Sagittarius B2 allegedly detected light years away in the middle of our galaxy) could explain the origin of DNA & life. (Daily Mirror newspaper, UK, 22/9/2004)
This is comparable to claiming that, if a component for making ink were to be discovered in outer space, it would explain how the complete works of Shakespeare could have originated spontaneously, of their own accord - and some people call that science - - incredible!
Make no mistake, atheism is just another religion.
Atheists are very fond of telling us what they don’t believe, but just what do they believe?
Because they reject an eternal, pre-existent, non-material first cause, every atheist is obliged to believe the preposterous notion that, the potential and information for life, as well as all the laws of nature, must have been an intrinsic property of the first matter/energy, when this matter/energy arose by its own power, and of its own volition, out of absolutely nothing, at the beginning of everything!!!! (albeit contrary to logic, common sense, and the laws of nature that govern all matter).
Surely this must be the ultimate miracle to outdo all other miracles.
Supporters of this bizarre, magical belief are very fond of describing atheism as “the only rational viewpoint,” - - -
They call such a belief rational? - - -
What do you think?
Atheists cannot accept that any information pre-existed the material. Therefore, matter not only had to create itself, but also its own governing laws & information, from nothing, and so the god of the atheist religion of naturalism is credited with even more creative powers than those usually attributed to an eternally pre-existing, Supernatural God.
In other words, ‘matter’ is automatically ascribed by atheist belief as a self-created, intelligent entity.
(This is completely contrary to logic, and to natural laws which describe the inherent properties and behaviour of matter and all natural occurrences, without exception).
“It’s just unbelievable what unbelievers are willing to believe, in order to be unbelievers” (Dr. Duane Gish)
Consider this ...
Long, long, long ago, in an eternal void of nothingness, a tiny cosmic egg arose of its own volition. Then, all of a sudden, the egg accidentally exploded and proceeded to expand until it became the whole universe and everything within it.
(This is the atheistic, ‘Big Bang’, fairy story of creation in a nutshell - - - or should that be eggshell?). But where could this cosmic egg have come from? - - - who knows? - - - perhaps a cosmic chicken laid it? - - - if so - - - where did the cosmic chicken come from? - - - don’t even ask! - - - because the only thing we are absolutely sure of is that we are still waiting for any ‘Big Bang’ supporter to propose a better solution. - - - Please don’t hold your breath!
The best they have come up with so far, is that the 'nothing' in which the cosmic egg emerged, wasn't really nothing, but 'something', i.e. SPACE. But, any fool can see that this is just a device to make a ridiculous belief sound plausible. It is obviously not plausible, because they then have to explain how space (which is not nothing, but just a part of the contingent, material realm) originated, which takes the whole ridiculous idea back to square one.
Since information is not a physical element (and as information is a fundamental constituent of the universe and an essential feature of all life) to assert that the universe is composed solely of matter and energy is clearly wrong.
The speculated ‘Big Bang’ explosion is an accidental, purposeless and destructive event, with no directing, informational component whatsoever. As it is not possible for such a ‘Big Bang’ or any other undirected release of energy to create useful information (or any sort of order) it is patently obvious that this ‘Big Bang’ story of creation is erroneous.
Where has wisdom gone?
For all our modern knowledge and technology, ancient man had a wisdom in these matters which far surpasses modern ideas.
It is now almost 2 thousand years ago that Christ's Apostle John delivered the ultimate ‘theory of everything’. He understood (like many of his predecessors) that the most important factor in the question of origins is information: “In the beginning was the word” [(word: logos) = information]. John 1; 1. (the 'Word' is applied by John to Jesus Christ as true God and true man - meaning the universe was created by the Word (Jesus), by means of God's word - intelligent, constructive information).
All sensible people realise that information just had to come first, nothing constructive or creative can occur without information. Science tells us that, any input of raw energy alone, tends to increase entropy. Only organised or directed energy (energy with an informational component) can temporarily reverse or reduce the effects of entropy.
Without information, nothing material could exist in its present form.
Information derives only from an intelligent source, so only information from a pre-existing, supernatural, intelligent source could bring everything material into being, organise and control its construction and behaviour, and maintain its continued existence.
So the essential, single, first cause had to be both uncaused and intelligent.
There is no other logical option.
Belief in God did not just evolve (as some atheists keep telling us) as a means for ‘ignorant’, ‘primitive’, ‘superstitious’ humans to explain things they could not understand.
On the contrary, ancient man (from the time of Adam) fully understood (better than many of the so-called experts today) that the material universe does not contain within itself any possible means of creating itself and its essential, regulatory information, out of nothing.
A non-contingent, pre-existing, supernatural (non-material), eternal, infinite and omnipotent force had to be responsible for creating it. An essential element of that force is a supreme intelligence which has to be the original source of all information.
“ALL THINGS WERE MADE BY HIM; AND WITHOUT HIM WAS NOT ANY THING MADE THAT WAS MADE. IN HIM WAS LIFE
AND THE LIFE WAS THE LIGHT OF MEN” John 1: 3-4.
In this computer age, people are again beginning to understand the particular relevance of information.
A computer (the hardware) processes and stores information (the software). Without any software programming, the hardware would be useless.
As Chuck Missler points out in his book ‘Cosmic Codes; “software has no mass. (its embodiment may have weight, but the software doesn’t. It simply codes information)”.
A computer disk loaded with a million bytes of software will weigh no more than a blank disk and the information it contains can be sent invisibly through the airwaves from one point to another.
To quote Chuck Missler again “if you and I were meeting face-to-face, I would still not be able to see the real you. I would only see the temporary residence you are occupying. The real you, your personality - - call it soul, spirit, whatever - - is not visible. It is software not hardware. The codes - - your history, your accumulated responses to the events of your life, your attitudes - - are all simply informational, not physical. It is software only and software has no mass”. According to Einstein, time is a physical property - - - “that which has no mass has no time. You are eternal, that is what the Bible has declared all along. You are eternal whether you like it or not” Chuck Missler, Cosmic Codes. 1999. Koinonia house.
The information for life ....
Atheists and evolutionists have no idea how the first, genetic information originated. They claim the spontaneous generation of life (abiogenesis) is an established scientific fact, but this is completely disingenuous. Apart from the fact that abiogenesis violates the Law of Biogenesis, the Law of Cause and Effect and the Second Law of Thermodynamics, it also violates Information Theory.
Atheists and evolutionists have an enormous problem with explaining how the DNA code originated. However that is not the major problem. The impression is given to the public, that evolutionists only have to find an explanation for the origin of DNA by natural processes - and the problem of the origin of genetic information will have been solved. That is a confusion in the minds of many people that evolutionists cynically exploit. It is far from the truth, as they very well know.
Explaining how DNA was formed by chemical processes, explains only how the information storage medium was formed, it tells us nothing about the origin of the information it carries.
To clarify this it helps to compare DNA to other information, storage mediums.
For example, if we compare DNA to the written word, we understand that the alphabet is a tangible medium for storing, recording and expressing information, it is not information in itself. The information is recorded in the sequence of letters, forming meaningful words.
You could say that the alphabet is the 'hardware' created from paper and ink, and the sequential arrangement of the letters is the software. The software is a mental construct, not a physical one.
The same applies to DNA. DNA is not information of itself, just like the alphabet it is the medium for storing and expressing information. It is an amazingly efficient storage medium. However, it is the sequence or arrangement of the amino acids which is the actual information, not the DNA code.
So, if evolutionists are ever able to explain how DNA was formed by chemical processes, it would explain only how the information storage medium was formed. It will tell us nothing about the origin of the information it carries. Therefore, when atheists and evolutionists tell us it is only a matter of time before 'science' will be able to fill the 'gaps' in our knowledge and explain the origin of genetic information, they are not being honest. Explaining the origin of the 'hardware' by natural processes is an entirely different matter to explaining the origin of the software.
Next time you hear atheists skating over the problem of the origin of genetic information with their usual bluff and bluster, and parroting their usual nonsense about science being able to fill such gaps in knowledge in the future, don't be fooled. They cannot explain the origin of genetic information, and never will be able to. The software cannot be created by chemical processes or the interaction of energy and matter, it is not possible. If you don't believe that. then by all means put it to the test, by challenging any atheist or evolutionist to explain how genetic information (not DNA) can originate by natural means?
Why God must exist.
www.flickr.com/photos/101536517@N06/15818838060
FOUNDATIONS OF SCIENCE
The Law of Cause and Effect. Dominant Principle of Classical Physics. David L. Bergman and Glen C. Collins
www.thewarfareismental.net/b/wp-content/uploads/2011/02/b...
"The Big Bang's Failed Predictions and Failures to Predict: (Updated Aug 3, 2017.) As documented below, trust in the big bang's predictive ability has been misplaced when compared to the actual astronomical observations that were made, in large part, in hopes of affirming the theory."