View allAll Photos Tagged Nonlinear
I want to preface this writeup by saying that I am approaching this from an amateur's perspective. The effects of these satellites will be more noticeable for certain professional observatories, but SpaceX are [working with them on reducing the brightness of the satellites](www.reddit.com/r/SpaceXLounge/comments/mkmsqa/spacex_rele...). It's also important to keep in mind that the streaks in my photo are a worst case scenario, as the satellites had just launched and haven't spread out or reached their final orbit height. The satellites become significantly dimmer once fully deployed.
---
Satellite trails have always been present in astrophotos since satellites first became a thing. With every starlink launch I often see photos or videos of the trains accompanied with "staRLINk iS RUInINg asTRoNoMy". For the amateur astrophotographer this is not the case. Image stacking and pixel rejection algorithms have been around for a while, and do a pretty good job at removing the trails, even with just the 10 images in my example photo. Many deep sky photos stack hundreds of frames together, which helps reject more outlier pixels from satellites or other sources of noise. Even the most popular nebula for beginners, the Orion Nebula, is [regularly 'photobombed' by geostationary satellites](i.imgur.com/niwKELZ.png), which are rejected out from the [final image if enough frames are taken](live.staticflickr.com/65535/50926610233_84a5b0b22c_o.png).
**Image Stacking:**
Astrophotographers regularly stack dozens to hundreds of exposures together to create high SNR images of deep sky objects. It isn't necessary to completely toss out an exposure containing a satellite trail, as the stacking process removes outlier pixels from certain frames before averaging together the rest. ([more info on pixel rejection can be found here](pixinsight.com/doc/tools/ImageIntegration/ImageIntegratio...))
**Information about these starlinks in particular:**
These 13 starlink satellites were launched on the Starlink-25 launch on May 4th, 4 days prior to being photographed. There maximum brightness was around magnitude +2.2, comparable to the bright stars of the Big Dipper. Maximum altitude of the train was 90 degrees, however the galaxy was at 70 degrees. The remaining frames of the Needle Galaxy (NGC 4565) were taken a couple weeks ago. All frames were captured from my Bortle 6 driveway. I made a similar comparison [about a year ago](www.reddit.com/r/SpaceXLounge/comments/gwyw1n/effects_of_...), however the conditions for that shot were less than ideal due to haze (there also wasn't a cool galaxy in the frame).
**Places where I host my other images:**
[Instagram](www.instagram.com/leftysastrophotography/) | [Flickr](www.flickr.com/people/leftysastrophotography/)
---
**[Equipment:](i.imgur.com/6T8QNsv.jpg)**
* TPO 6" F/4 Imaging Newtonian
* Orion Sirius EQ-G
* ZWO ASI1600MM-Pro
* Skywatcher Quattro Coma Corrector
* ZWO EFW 8x1.25"/31mm
* Astronomik LRGB+CLS Filters- 31mm
* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm
* Agena 50mm Deluxe Straight-Through Guide Scope
* ZWO ASI-120MC for guiding
* Moonlite Autofocuser
**Acquisition:** (Camera at Unity Gain, -15°C)
* Lum - 120" exposures
* Darks- 30
* Flats- 30 per filter
**Capture Software:**
* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.
**PixInsight Processing:**
* BatchPreProcessing
* StarAlignment
* ImageIntegration
> [Default settings + default large scale pixel rejection](i.imgur.com/xyTeqgH.png) used
> Windsorized Sigma Clipping rejection algorithm used for 10 image stack
> Linear Fit Clipping rejection algorithm used for 50 image stack
* DynamicCrop
* AutomaticBackgroundExtraction
* STF applied via HistogramTransformation to bring nonlinear
It is harder to conceal ignorance than to acquire knowledge.
“A way of experiencing the soul is as an infinite, ever-flowing fountain of knowledge. We can experience the soul as an overflowing fountain, sometimes out of the heart, and the content of this fountain is knowledge. Sometimes we experience this knowledge as an ocean, or many oceans, as happens in the visions of the heart's imaginary capacity. The knowledge, because it is the very substance of the soul, feels real, organic, alive, and nonlinear. In this experience of our soul we have the perception that there is available for human beings, as part of the potential of being human, an infinity of knowledge. We not only come upon knowledge, we not only discover knowledge, but we can do these things because we are knowledge: real, alive, and relevant. When the heart of the soul finally opens there becomes accessible to us an infinity of knowledge. We then only need to turn our attention to a particular inner subject, and the knowledge begins pouring out, endlessly. This substance of knowledge, this essence and presence of knowledge, begins to manifest the forms of knowledge relevant for our study.”
Source: A. Hameed Ali, - Inner Journey Home
PS! Treat yourself to Dressed in Black but remember to press F11 for full screen viewing!
Photographed in the Serengeti, Tanzania
I found it very difficult to get a decent photo of these small doves because of their small size and almost constant nonlinear movement.
====================
From Wikipedia: The Namaqua dove (Oena capensis) is a small pigeon. It is the only species in the genus Oena.
Description:
The Namaqua dove is a tiny sparrow-sized pigeon, typically 22 cm in length with a 28–33 cm wingspan, and weighing 40g. It has a very long black tapered tail, and the size and shape have led to comparison with the budgerigar. The plumage is mostly grey apart from a white belly, and chestnut primary feathers which are visible in flight.
The adult male has a yellow and red beak and a black face, throat and breast. The adult female lacks the black and has a red-based grey bill. Young birds are dark blotched on the wings and shoulders, and otherwise resemble the females.
The song is a quiet, short, double hoo, higher on the longer second note kuh-whooo, mournful and frequently repeated.
Distribution and habitat:
The dove is a widespread resident breeding bird in Sub-Saharan Africa and Madagascar with its range extending into the Arabian Peninsula southern Israel, Jordan and as far north as Turkey. It is found in near desert with acacia and bushes. The namaqua dove is prone to wander out its original range, it is now being recorded south asian countries. In pakistan this species is recorded near shore waters off Paradise Point, Karachi on Friday, 14 October 2016. In India a female namaqua dove is recorded at khijadiya bird sanctuary near jamnagar,gujarat on 17 December 2017
Behaviour:
The dove is quite terrestrial, and usually forages on open ground and roadsides. The food is almost exclusively minute seeds, such as those of grasses, sedges and weeds. It is not gregarious, being encountered singly or in pairs, though they may form larger flocks at waterholes. The flight is fast with clipped beats and a tendency to stay low. It builds a stick nest in a bush, and lays two white eggs, which are incubated for 16 days in typical pigeon fashion; the female at night and early morning and the male from mid morning till late afternoon.
AB2A2243-3CAFlkr
A perfectly ordered array of nails is arranged on a horizontal, flat rectangular plate. Then the plate is shaken vertically at 37Hz with a slowing increasing amplitude of acceleration. In this stop action movie, we see the initially ordered "crystal" melt into a layered smectic phase, with ever more defects, and then into a nematic and eventually into a totally disordered "liquid" phase.
The nails are made of brass (so as to be non-magnetic). They are 1 inch long.
Movie by T. Lynn MacDonald
See
www.physics.utoronto.ca/nonlinear/abstracts/MacDonald_MSc...
I totally didn't procrastinate processing this thing, and it's just *pure coincidence* that I finally took a stab at it in October...
In hindsight, this really could've used another night of data (particularly the L), but I only had one clear night at the dark site. I was just happy to get out of the light pollution and shoot a dark nebula for once! Captured on August 17th, 2025 from a bortle 3 zone (deerlick astronomy village).
**Places where I host my other images:**
[Flickr](www.flickr.com/people/leftysastrophotography/) | [Pixelfed](pixelfed.art/lefty)
---
**[Equipment:](i.imgur.com/BsmkAmF.jpeg)**
* TPO 6" F/4 Imaging Newtonian
* Orion Sirius EQ-G
* ZWO ASI1600MM-Pro
* Skywatcher Quattro Coma Corrector
* ZWO EFW 8x1.25"/31mm
* Astronomik LRGB+CLS Filters- 31mm
* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm
* Agena 50mm Deluxe Straight-Through Guide Scope
* ZWO ASI-290mc for guiding
* Moonlite Autofocuser
**Acquisition:** 7 hours 21 minutes (Camera at -15°C), half unity gain
* L - 56x180"
* R - 30x180"
* G - 30x180"
* B - 31x180"
* Darks- 30
* Flats- 30 per filter
**Capture Software:**
* Captured using [N.I.N.A.](nighttime-imaging.eu/) and PHD2 for guiding and dithering.
**PixInsight Preprocessing:**
* BatchPreProcessing
* StarAlignment
* Blink
* ImageIntegration per channel
* DrizzleIntegration (2x, Var β=1.5)
> For the L channel I did 3 stacks each with 1/3rd of the data, then combined them to an RGB image (was still grayscale) to use deepSNR noise reduction. after this it was properly converted to mono
* Dynamic Crop
* MultiscaleGradientCorrection
> First time trying out the [MARS thing in pixinsight](pixinsight.com/mars/). It seems to work very well
**Luminance Linear:**
* BlurXterminator
* Stars removed with starx
* ArcsinhStretch + HistogramTransformation to stretch nonlinear
**RGB Linear:**
* ChannelCombination to combine monochrome R G and B images in to single color image
* MultiscaleGradient Correction
* SpectrophotometricColorCalibration
* BlurXterminator (correct stars only)
* HSV Repair
* Extracted stars with starXterminator, to be used later for [independent starless processing](www.nightphotons.com/guides/star-addition/)
* ArcsinhStretch + HistogramTransformation to stretch nonlinear
* Slight saturation curve boost
** Stars only processing:**
* ArcsinhStretch + HistogramTransformation to stretch nonlinear
* Slight SCNR to remove greens and magentas
* Curves to boost saturation
**Nonlinear Processing:**
* LRGBCombination to combine stretched RGB and L images
* DeepSNR Noise reduction
* Several rounds of curve adjustments for lightness, contrast, saturation, color balance, with various masks
* LocalHistogramEqualization
* More curves
* Pixelmath to add in the stretched RGB stars only image from earlier
> This basically re-linearizes the two images, adds them together, and then stretches them back to before. [More info on it here](www.nightphotons.com/guides/star-addition))
> mtf(.005,
> mtf(.995,Stars)+
> mtf(.995,Starless))
* BlurX to sharpen the stars a little
* Even more curves
* Slight SCNR
* Resample to 70%
* Tighter crop in on just the nebula
* Annotation
Description: This image of the Soul Nebula IC 1848 was developed from 128x300s subs or 10.67 hours of total exposure time. The use of a dual bandpass Light Pollution Filter with an OSC camera, yields an image in which the red from the H-alpha tends to swamp out the teal from the O(III). In order to isolate and develop the O(III) signal, the dual bandpass image was first split into its RGB components, followed by the application of appropriate weighting factors to the green and red channels, further followed by LRGB Combination. The resulting image was post processed using Curves Transformation with various color masks to generate a teal O(III) signal in the final image.
Date / Location: 24, 25 January 2023 and 4, 6, 7 February 2023 / Washington D.C.
Equipment:
Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8
OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset
Mount: iOptron GEM28-EC
Guider: ZWO Off-Axis Guider
Guide Camera: ZWO ASI 174mm mini
Focuser: ZWO EAF
Light Pollution Filter: Optolong L-eXtreme Dual Bandpass
Processing Software: Pixinsight
Processing Steps:
Preprocessing:
I preprocessed 128x300s subs (= 10.67 hours) in Pixinsight to get an integrated image using the following process steps: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and do a Star Align > Image Integration.
Linear Postprocessing:
Rotation > Dynamic Background Extractor (doing subtraction to remove light pollution gradients and division for flat field correction) > Background Neutralization > Color Calibration > Blur Xterminator > Noise Xterminator.
Nonlinear Postprocessing and additional steps:
Histogram Transformation > Star Xterminator to create Starless and Stars Only Images.
Starless Image > Noise Xterminator > Local Histogram Equalization > Multiscale Median Transform > Curves Transformation to boost O(III) signal > Split RGB channels > Create new green and blue channels > LRGB Combination > Curves Transformation using various color masks.
Stars Only Image > Morphological transformation.
Pixel Math to combine the Starless Image with the Stars Only Image to get a Reinstated Image.
Reinstated Image > DSE > Topaz AI.
Pixel Math to combine the non-AI Reinstated Image with the Topaz AI Image to get a final image.
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MIDIA ARTE / MEDIA ART
[fladry + jones]: Robb Fladry and Barry Jones – The War is Over 2007
Agricola de Cologne – One Day on Mars
Alan Bigelow – “When I Was President”
Alessandra Ribeiro Parente Paes, Daniel Fernandes Gamez, Glauber Kotaki Rodrigues, Igor Albuquerque Bertolino, Karina Yuko Haneda, Marcio Pedrosa Tirico da Silva Junior. Orientadores: Mércia Albuquerque e Mauro Baptista – Reativo
Alessandro Capozzo – Talea
Alex Hetherington – Untitled (sexback, folly artist)
Alexandre Campos, Bruno Massara e Lucilene Soares Alves – Novos Olhares sobre a Mobilidade
Alexandre Cardoso Rodrigues Nunes, Bruno Coimbra Franco, Diego Filipe Braga R. Nascimento, Fábio Rinaldi Batistine, Yumi Dayane Shimada. Orientadores: Mércia Albuquerque e Carlos Alberto Barbosa – Abra Sua Gaveta
All: Alcione de Godoy, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Machina
Andreas Zingerele – Extension of Human Sight
Andrei R. Thomaz – O Tabuleiro dos Jogos que se bifurcam
Andrei R. Thomaz – First Person Movements
Andrei R. Thomaz e Marina Camargo – Eclipses
Brit Bunkley – Eclipses
Brit Bunkley – Spin
cali man – appendXship
Carlindo da Conceição Barbosa, Kauê de Oliveira Souza, Guilherme Tetsuo Takei, Renato Michalischen, Ricardo Rodrigues Martins, Tassia Deusdara Manso, Thalyta de Almeida Barbosa.
Orientadores: Mauricio Mazza e Carlos Alberto Barbosa – Da Música ao Caos
Christoph Korn – waldstueck
Corpos Informáticos: Bia Medeiros – UAI 69
Daniel Duda – do pixel ao pixel
Daniel Kobayashi, Felipe Crivelli Ayub, Fernando Boschetti, Luiz Felipe M. Coelho, Marcelo Knelsen, Mauro Falavigna, Rafael de A. Campos, Wellington K. Guimarães Bastos. Orientadores: Mércia Albuquerque e Gizela Belluzo de Campos – A Casa Dentro da Porta
David Clark - 88 Constellations for Wittgenstein
Thais Paola Galvez, Josias Silva, Diego Abrahão Modesto, Nilson Benis, Vinicius Augusto Naka de Vasconcelos, Wilson Ruano Junior, Marcela Moreira da Silva. Orientadores: Paulo Costa e Mauricio Mazza – Rogério Caos
Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 1/2
Agence TOPO: Elene Tremblay, Marcio Lana-Lopez,Maryse Larivière, Marie-Josée Hardy, James Prior – Mês / My contacts
Eliane Weizmann, Fernando Marinho e Leocádio Neto – Story teller
Fabian Antunes Silva – Pusada Recant Abaetuba
Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre
Fernando Aquino – UAI-Justiça
Henry Gwiazda – claudia and paul
Henry Gwiazda – a doll`s house is……
Henry Gwiazda – there`s whispering......
Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse
Isabel Margarida Aranda Mansilla – Cyber Birds Dance
Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7
Jorb Ebner - sans femme et sans aviateur
Josephine Anstey e Dave Pape – Office Diva
Joshua Andrew Fishburn – Layers
Joshua Andrew Fishburn – Waiting
Joshua Andrew Fishburn – Peculiaris
Kevin Evensen – Veils of Light
lemeh42: santini michele e paoloni lorenza - Study on human form and humanity #01
Linda Hilfling Nielsen – misspelling generator
Lisa Link – If I worked for 493 years
Marcelo Padre – Estro
Martha Carrer Cruz Gabriel – Locative Painting
Martin John Callanan – I Wanted to See All of the News From Today
Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura
Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura – Homo ex Machina
Michael Takeo Magruder – Sequence-n (labyrinth)
Michael Takeo Magruder – Sequence-n (horizon)
Michael Takeo Magruder + Drew Baker + David Steele – The Vitruvian World
Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary)
Nurit Bar-Shai – Nothing Happens
projectsinge: Blanquet jerome – Monkey_Party
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno – WATERCOLEUS PARK
rachelmauricio castro – 360
rachelmauricio castro – R.G.B.
rachelmauricio castro – tybushwacka
Rafael Rozendaal – future physics
Regina Célia Pinto – Ninhos e Magia
Ronaldo Ribeiro da Silva (Roni Ribeiro) – Bípedes
Rubens Pássaro – ISTO NÃO É PARANÓIA
Rui Filipe Antunes – xTNZ
Selcuk ARTUT & Cem OCALAN – NewsPaperBox
Stuart Pound – Dominat Culture
Stuart Pound – SF
Stuart Pound – Life on Mars
Susan Jowsey and Marcus Williams – The Trouble
Tanja Vujinovic – Osciloo
Weinberger Hannah – “Without Title”
CINEMA DOCUMENTA
Antonello Matarazzo – Interferenze
Bruno Natal - Dub Echoes
Carlo Sansolo - Panoramika Eletronika
Kevin Logan – Recitation
Kodiak Bachine e Apollo 9 – Nuncupate
Linda Hilfing Nielsen - Participation 0.0
Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie
Matthew Bate - What The Future Sounded Like
Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music
CINEMA DIGITAL
A Study of 4D Julia sets
Baraka / Baraka from DVD to 4K / Baraka with the monkey
Beatbox360
Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)
Era la Notte
Flight to the Center of the Milky Way
Growth by aggregation 2
Jet Instabilities in a stratified fluid flow
Keio University Concert
Manny Farber (Tribute to)
Scalable City
The Nonlinear Evolution of the Universe
The Prague train
FILE INOVAÇÃO / FILE INNOVATION
Interface Cérebro-Computador – Eduardo Miranda
Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia
Robô de visão omnidirecional – Jun Okamoto
Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik
Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.
GAMES INSTALAÇÕES / INSTALLATIONS GAMES
Giles Askham – Aquaplayne
Jonah Warren & Steven Sanborn – Transpose
Jonah Warren & Steven Sanborn – Full Body Games
Fabiano Onça e Coméia – Tantalus Quest
Julian Oliver - levelHead
GAMES
Andreas Zecher – Understanding Games
Andrei R. Thomaz – Cubos de Cor
Arvi Teikari – Once In Space
Fabrício Fava – Futebolando
Golf Question Mark – Golf
Introversion.co.uk – Darwinia
Jens Andersson and Ida Rödén – Rorschach
Jonatan Söderström – CleanAsia!
Jonatan Söderström – AdNauseum2
Jorn Ebner – sans femme et sans avieteur
Josh Nimoy – BallDroppings
Josiah Pisciotta – Gish
Marek Walczak and Martin Wattenberg – Thinking Machine 7
Mariana Rillo – Desmanche
Mark Essen - Punishment: The punishing
Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST
Playtime – SFZero
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK
QueasyGames - Jonathan Mak – Everyday Shooter
R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War
Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day
Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm
Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain
Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard
Tanja Vujinovic – Osciloo
ThatGameCompany – Jenova Chen – Clouds
ThatGameCompany – Jenova Chen - flOw
JOGOS BR
JOGOS BR 1
Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive
Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.
Cim-itério - Wagner Gomes Carvalho / Green Land Studios
Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.
Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira
/ Gamion Realidade Virtual & Games
Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.
JOGOS BR 2 – Jogos Completos
Cave Days - Winston George A. Petty / Insolita Studios
Peixis!
(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics
JOGOS BR 2 – Demos Jogáveis
Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games
Conspiração Dumont - Guilherme Mattos Coutinho
Flora - Francisco Oliveira de Queiroz
Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.
Inferno - Alexandre Vrubel / Continuum Entertainment Ltda
Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho
Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza
HIPERSÔNICA / HIPERSONICA
Hipersônica Performance
Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática
Bernhard Gal – Gal Live
+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil
Luiz duVa - Concerto para duo de laptops
Henrique Roscoe (a.k.a. 1mpar) – HOL
Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones
Alexandre Fenerich e Giuliano Obici – Nmenos1
Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra
Hipersônica Participantes
Agricola de Cologne - soundSTORY - sound as a tool for storytelling
Jen-Kuan Chang – Drishti II
Jen-Kuan Chang – Discordance
Jen-Kuan Chang – Nekkhamma
Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness
Jerome Soudan – Mimetic
Matt Lewis e Jeremy Keenan – Animate Objects
Robert Dow - Precipitation within sight
Tetsu Kondo – Dendraw
Tomas Phillips – Drink_Deep
Hipersônica Screening
Art Zoyd's: Amandine Top – EYECATCHER 1
Art Zoyd's: Amandine Top – EYECATCHER 2, Man with a movie câmera
Art Zoyd's: Amandine Top – Movie-Concert for The Fall of the Usher House
Flames aka Flames: Raphael Freire - Performance Audiovisual Sincronizada: Sociedade Pós-Moderna, Novas Tecnologias e Espaço Urbano
Celia Eid e Sébastien Béranger – Gymel
Duprass: Liora Belford e Ido Govrin – Free Field
Duprass: Liora Belford e Ido Govrin – Pink / Noise
Citrullo International: Carlo Hitermann – H2O
1mpar: Henrique Roscoe – HOL
Jay Needham - Narrative Half-life
Daniel Carvalho - butterbox – diving
Daniel Carvalho - OUT_FLOW PART I
Bernard Loibner – Meltdown
Soundsthatmatter – trotting
Soundsthatmatter – briji
Fernando Velázquez – Nómada
Bjorn Erik Haugen – Regress
Audiobeamers: Felipe Frozza - Paesaggi Liquidi II
David Muth - You Are The Sony Of My Life
Dennis Summers – Plase Shift Videos
INSTALAÇÕES / INSTALLATIONS
Anaisa Franco – Connected Memories
Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo
Graffiti Research Lab – Various
Hisako K. Yamakawa – Kodama
r3nder.net+i2off.org – is.3s
Jarbas Jacome – Crepúsculo dos Ídolos
Julio Obelleiro & Alberto García – Magnéticos
Julio Obelleiro & Alberto García – The Magic Torch
Mariana Manhães – Liquescer (Jarrinho)
Mariana Manhães – Liquescer (Jarrinho Azul)
Rejane Cantoni e Leonardo Crescenti – PISO
Sheldon Brown – Scalable City
Soraya Braz e Fábio FON – Roaming
Takahiro Matsuo – Phantasm
Ursula Hentschlaeger – Outer Space IP
Ursula Hentschlaeger – Phantasma
Ursula Hentschlaeger – Binary Art Site
SYMPOSIUM
Agnus Valente
Anaisa Franco
Andre Thomaz e Silvia Laurentiz
Christin Bolewski
Giles Askham
Graffiti Research Lab: James Powderly
Hidenori Watanave
Ivan Ivanoff e Jose Jimenez
Jarbas Jácome
João Fernando Igansi Nunes
Marcos Moraes
Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]
Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin
Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri
Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]
Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz
Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto
Nardo Germano
Nori Suzuki
Sandra Albuquerque Reis Fachinello
Satoru Tokuhisa
Sheldon Brown
Soraya Braz e Fabio FON
Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]
Ursula Hentschlaeger
Valzeli Sampaio
FILE MEDIA ART
Agricola de Cologne: Bareback - serial DIScharge
Alan Bigelow: American Ghosts
Alan Bigelow: My Novel
Albertine Meunier: My Google Search History
Alex Hetherington: BLACK HOUSE/LIGHTS
Alison Clifford: The Sweet Old Etcetera
Anders Weberg and Robert Willim: Surreal Scania
André Arruda: Documentário poético não linear sobre uma rave em DVD
Andre Gonçalves: Serial Writer
Andrew Stern and Michael Mateas: Façade
Andy Deck: Panel Junction (2005, 2007)
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A stream of very viscous syrup falls from a nozzle onto a moving belt. Initially, the belt is moving so fast that the thread is just pulled out straight. As the speed of the belt is reduced, the thread first bifurcates to a meandering state, and then to a "figure eight" state. Finally, the thread falls into a coiling motion similar to what it would do on a non-moving surface.
See www.physics.utoronto.ca/nonlinear/papers_thread.html
The music is "Mysterious Mambo" by the Aqua Velvets.
Still shooting in Cygnus...
Though I think IC1318/γ Cyg can be used to describe most of the nebulosity around the star Sadr, stellarium has it directly over the bright nebula in this image. Overall I'd consider it an improvement over my [last go at it back in 2020](live.staticflickr.com/65535/50419547308_9c269f4b51_o.png). Captured over 12 nights from Oct-Nov 2024 from a bortle 9 zone.
---
**[Equipment:](i.imgur.com/kDRYMKi.jpg)**
* TPO 6" F/4 Imaging Newtonian
* Orion Sirius EQ-G
* ZWO ASI1600MM-Pro
* Skywatcher Quattro Coma Corrector
* ZWO EFW 8x1.25"/31mm
* Astronomik LRGB+CLS Filters- 31mm
* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm
* Agena 50mm Deluxe Straight-Through Guide Scope
* ZWO ASI-290mc for guiding
* Moonlite Autofocuser
**Acquisition:** 25 hours 40 minutes (Camera at -15°C), unity gain
* Ha - 50x600"
* Oiii - 57x600"
* Sii - 47x600"
* Darks- 30
* Flats- 30 per filter
**Capture Software:**
* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.
**PixInsight Preprocessing:**
* BatchPreProcessing
* StarAlignment
* Blink
* ImageIntegration per channel
* DrizzleIntegration (2x, Var β=1.5)
* Dynamic Crop
* DynamicBackgroundExtraction
> duplicated each image and removed stars via StarXterminator. Ran DBE with a shitload of points to generate background model. model subtracted from original pic using the following PixelMath (math courtesy of /u/jimmythechicken1)
> $T * med(model) / model
**Narrowband Linear:**
* Blur and NoiseXTerminator
* made SHO image and extracted stars to be processed separately
* StarXterminator to completely remove stars from each Ha, Oiii, and Sii image
* HistogramTransformation to stretch nonlinear
**Stars only image:**
* SpectrophotometricColorCalibration (narrowband working mode)
* HSV repair
* arcsinhstretch
* scnr > invert > scnr > invert to remove greens and magentas
* HistogramTransformation
* (combined with starless pic later on)
**Nonlinear:**
* PixelMath to combine monochrome Ha Oiii and Sii images into a color image with SHO --> RGB, respectively
* slight SCNR (bright areas protected with Ha mask)
* Some curves to adjust colors
* LRGBCombination using stretched Ha as luminance (accidentally left that Ha mask on from earlier so it applied more to the bright parts, and honestly turned out nicer than applying the Ha luminance to the entire image)
* Shitloads of Curve Transformations to adjust lightness, hues, contrast, saturation, etc
* DeepSNR
* MLT for small scale chrominance noise reduction
* DarkStructureEnhance script
* LocalHistogramEqualization
* more curves
* invert > slight scnr (masked) > invert to remove some background magentas
* even more curves
* Pixelmath to add in the stretched RGB stars only image from earlier
> This basically re-linearizes the two images, adds them together, and then stretches them back to before. [More info on it here](www.nightphotons.com/guides/star-addition))
> mtf(.005,
> mtf(.995,Stars)+
> mtf(.995,Starless))
* Resample to 65%
* Annotation
x
CINEMA DIGITAL
A Study of 4D Julia sets
Baraka / Baraka from DVD to 4K / Baraka with the monkey
Beatbox360
Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)
Era la Notte
Flight to the Center of the Milky Way
Growth by aggregation 2
Jet Instabilities in a stratified fluid flow
Keio University Concert
Manny Farber (Tribute to)
Scalable City
The Nonlinear Evolution of the Universe
The Prague train
FILE INOVAÇÃO / FILE INNOVATION
Interface Cérebro-Computador – Eduardo Miranda
Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia
Robô de visão omnidirecional – Jun Okamoto
Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik
Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.
GAMES INSTALAÇÕES / INSTALLATIONS GAMES
Giles Askham – Aquaplayne
Jonah Warren & Steven Sanborn – Transpose
Jonah Warren & Steven Sanborn – Full Body Games
Fabiano Onça e Coméia – Tantalus Quest
Julian Oliver - levelHead
GAMES
Andreas Zecher – Understanding Games
Andrei R. Thomaz – Cubos de Cor
Arvi Teikari – Once In Space
Fabrício Fava – Futebolando
Golf Question Mark – Golf
Introversion.co.uk – Darwinia
Jens Andersson and Ida Rödén – Rorschach
Jonatan Söderström – CleanAsia!
Jonatan Söderström – AdNauseum2
Jorn Ebner – sans femme et sans avieteur
Josh Nimoy – BallDroppings
Josiah Pisciotta – Gish
Marek Walczak and Martin Wattenberg – Thinking Machine 7
Mariana Rillo – Desmanche
Mark Essen - Punishment: The punishing
Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST
Playtime – SFZero
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK
QueasyGames - Jonathan Mak – Everyday Shooter
R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War
Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day
Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm
Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain
Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard
Tanja Vujinovic – Osciloo
ThatGameCompany – Jenova Chen – Clouds
ThatGameCompany – Jenova Chen - flOw
JOGOS BR
JOGOS BR 1
Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive
Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.
Cim-itério - Wagner Gomes Carvalho / Green Land Studios
Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.
Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira
/ Gamion Realidade Virtual & Games
Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.
JOGOS BR 2 – Jogos Completos
Cave Days - Winston George A. Petty / Insolita Studios
Peixis!
(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics
JOGOS BR 2 – Demos Jogáveis
Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games
Conspiração Dumont - Guilherme Mattos Coutinho
Flora - Francisco Oliveira de Queiroz
Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.
Inferno - Alexandre Vrubel / Continuum Entertainment Ltda
Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho
Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza
HIPERSÔNICA / HIPERSONICA
Hipersônica Performance
Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática
Bernhard Gal – Gal Live
+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil
Luiz duVa - Concerto para duo de laptops
Henrique Roscoe (a.k.a. 1mpar) – HOL
Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones
Alexandre Fenerich e Giuliano Obici – Nmenos1
Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra
Hipersônica Participantes
Agricola de Cologne - soundSTORY - sound as a tool for storytelling
Jen-Kuan Chang – Drishti II
Jen-Kuan Chang – Discordance
Jen-Kuan Chang – Nekkhamma
Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness
Jerome Soudan – Mimetic
Matt Lewis e Jeremy Keenan – Animate Objects
Robert Dow - Precipitation within sight
Tetsu Kondo – Dendraw
Tomas Phillips – Drink_Deep
INSTALAÇÕES / INSTALLATIONS
Anaisa Franco – Connected Memories
Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo
Graffiti Research Lab – Various
Hisako K. Yamakawa – Kodama
r3nder.net+i2off.org – is.3s
Jarbas Jacome – Crepúsculo dos Ídolos
Julio Obelleiro & Alberto García – Magnéticos
Julio Obelleiro & Alberto García – The Magic Torch
Mariana Manhães – Liquescer (Jarrinho)
Mariana Manhães – Liquescer (Jarrinho Azul)
Rejane Cantoni e Leonardo Crescenti – PISO
Sheldon Brown – Scalable City
Soraya Braz e Fábio FON – Roaming
Takahiro Matsuo – Phantasm
Ursula Hentschlaeger – Outer Space IP
Ursula Hentschlaeger – Phantasma
Ursula Hentschlaeger – Binary Art Site
SYMPOSIUM
Agnus Valente
Anaisa Franco
Andre Thomaz e Silvia Laurentiz
Christin Bolewski
Giles Askham
Graffiti Research Lab: James Powderly
Hidenori Watanave
Ivan Ivanoff e Jose Jimenez
Jarbas Jácome
João Fernando Igansi Nunes
Marcos Moraes
Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]
Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin
Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri
Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]
Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz
Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto
Nardo Germano
Nori Suzuki
Sandra Albuquerque Reis Fachinello
Satoru Tokuhisa
Sheldon Brown
Soraya Braz e Fabio FON
Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]
Ursula Hentschlaeger
Valzeli Sampaio
Cinema Documenta FILE São Paulo 2008
Antonello Matarazzo – Interferenze – Itália / Italy
Bruno Natal - Dub Echoes – Brasil / Brazil
Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil
Kevin Logan – Recitation – Londres / London
Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil
Linda Hilfing Nielsen - Participation 0.0 – Dinamarca
Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany
Matthew Bate - What The Future Sounded Like – Austrália
Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA
Mídia Arte FILE São Paulo 2008
[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA
Agricola de Cologne - One Day on Mars – Alemanha / Germany
alan bigelow - "When I Was President" – EUA / USA
Alessandra Ribeiro Parente Paes
Daniel Fernandes Gamez
Glauber Kotaki Rodrigues
Igor Albuquerque Bertolino
Karina Yuko Haneda
Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil
Alessandro Capozzo – Talea – Itália / Italy
Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon
Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil
Alexandre Cardoso Rodrigues Nunes
Bruno Coimbra Franco
Diego Filipe Braga R. Nascimento
Fábio Rinaldi Batistine
Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil
ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil
Andreas Zingerle - Extension of Human sight – Áustria
Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil
Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil
Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland
calin man – appendXship / Romênia
Carlindo da Conceição Barbosa
Kauê de Oliveira Souza
Guilherme Tetsuo Takei
Renato Michalischen
Ricardo Rodrigues Martins
Tassia Deusdara Manso
Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil
Christoph Korn – waldstueck – Alemanha / Germany
Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil
Duda. – do pixel ao pixel – Brasil / Brazil
Daniel Kobayashi
Felipe Crivelli Ayub
Fernando Boschetti
Luiz Felipe M. Coelho
Marcelo Knelsen
Mauro Falavigna
Rafael de A. Campos
Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil
David Clark - 88 Constellations for Wittgenstein – Canadá
Thais Paola Galvez
Josias Silva
Diego Abrahão Modesto
Nilson Benis
Vinicius Augusto Naka de Vasconcelos
Wilson Ruano Junior
Marcela Moreira da Silva – Rogério caos – Brasil / Brazil
Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil
Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada
Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil
Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil
Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil
Fernando Aquino – UAI Justiça – Brasil / Brazil
Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA
Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan
Yto Aranda – Cyber Birds Dance – Chile
Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA
Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon
Josephine Anstey, Dave Pape - Office Diva – EUA / USA
Josh Fishburn – Layers – Waiting – EUA / USA
Karla Brunet – Peculiaris – Brasil / Brazil
Kevin Evensen - Veils of Light – EUA / USA
lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy
linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark
Lisa Link - If I Worked for 493 years – EUA / USA
Marcelo Padre – Estro – Brasil / Brazil
Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil
Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon
Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil
Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil
Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon
Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon
Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon
Nurit Bar-Shai - Nothing Happens – EUA / USA
projectsinge: Blanquet Jerome - Monkey_Party – França / France
QUBO GAS - WATERCOULEUR PARK – França / France
rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil
Rafael Rozendaal - future physics – Netherlands
Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil
Roni Ribeiro – Bípedes – Brasil / Brazil
Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil
Rui Filipe Antunes – xTNZ – Brasil / Brazil
Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil
Tanja Vujinovic - "Without Title" – Switzerland
Hipersônica Screening – FILE São Paulo 2008
1mpar – hol – Brasil / Brazil
Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France
Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany
Bernhard Loibner – Meltdown – Áustria
Bjørn Erik Haugen – Regress - Norway
Celia Eid e Sébastien Béranger – Gymel – França / France
Studio Brutus/Citrullo International - H2O – Itália / Italy
Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil
David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon
Dennis Summers - Phase Shift Vídeos – EUA / USA
Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel
Fernando Velázquez – Nómada – Brasil / Brazil
Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil
Frederico Pessoa - butterbox – diving - Brasil / Brazil
Jay Needham - Narrative Half-life – EUA / USA
Soundsthatmatter – trotting – briji – Brasil / Brazil
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All good things will eventually come to an end, and so it is with the Finnish summer as well. The summer months are over and light will fade away slowly while making room for the descending darkness again. Although the autumn can be colorful in Finland, the light is getting scarce and the temperatures are decreasing as well. It's definitely a different photographic experience – one that can bite you on your fingers when the temperature goes below zero degrees (or 32 degrees of Fahrenheit).
It always makes me a bit sad to see summer fade away. All the photographic possibilities of summertime are now gone and I find myself questioning "did I make a most out of it and can I be satisfied with for what I got"? As you already knew I wanted to document the summer of 2016 from our kids perspective, and while I did take quite a bit pictures (a lot more than I've shared here), there's always things that I missed. Some of them I realized already when they were happening, some of them came to mind only afterwards. To be honest, it's a painful experience to realize that you might have missed something important, or worse yet, you realize that your point of view for things you photographed could have been different all together. What I'm trying to say is that no matter how hard one tries to 'capture it all with a visionary photographic eye', it will always be a compromise in one way or another. And this incompleteness always hurts me as it seems that the real life and moments are escaping my viewfinder and vision. Even with the great Sony camera and all the fantastic Zeiss lenses I find myself standing here where the summer ends and feel incompetent – I'm sure some might remind me that 'they are just tools', and they would surely be right.
But for a counterweight I want to tell you a comforting story. Couple of years ago I was checking out the pictures my parents took when I was just a kid many many moons ago. Of course I've seen them loads of times before, but now I had the eye of the photographer and I was curious to see what and how they had photographed the life. They didn't have expensive cameras, excellent Zeiss-lenses or much of photographic eye either. In fact they used a cheap plastic 35mm film camera with various stock films of that time. No interchangeable lenses, just a one tiny built-in lens, approximately a size of my thumb finger (I've forgot the focal length and the maximum aperture). And the photographic vision? They didn't have any nor were they interested in things of photographic beauty, just documenting things whenever it happened to occur to them. And yet despise of all these compromises, they managed to make pictures that I find, at least for me, very meaningful and important. Pictures that tell something about me and my family's history – in an odd nonlinear way where many of the moments seem to be just random, but still convoying memories, relations and feelings of the past. I'm sure most of the pictures might have looked pretty mundane when they took them, but one shouldn't underestimate how the temporal distance will have affect on photographs we see. Looking at those shots today I see a different time and world that have vanished all together. It makes all the difference and reminds me that I'm probably doing something right I just cannot see it yet. With all the heart and work I've put on photographing the childhood of our kids it has to have meaningful significance later on – we just haven't told our stories yet and therefore we cannot relate to pictures until some time have past (years and decades). With all the good Sony/Zeiss stuff and enthusiasm they convoy to my work I'll be just fine, I just need to follow my heart and trust myself.
Now that the summer is officially gone, I'm trying to concentrate on some different stuff from now on. Not so much about the kids, but about autumn and the descending darkness.
Days of Zeiss: www.daysofzeiss.com
x
CINEMA DIGITAL
A Study of 4D Julia sets
Baraka / Baraka from DVD to 4K / Baraka with the monkey
Beatbox360
Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)
Era la Notte
Flight to the Center of the Milky Way
Growth by aggregation 2
Jet Instabilities in a stratified fluid flow
Keio University Concert
Manny Farber (Tribute to)
Scalable City
The Nonlinear Evolution of the Universe
The Prague train
FILE INOVAÇÃO / FILE INNOVATION
Interface Cérebro-Computador – Eduardo Miranda
Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia
Robô de visão omnidirecional – Jun Okamoto
Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik
Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.
GAMES INSTALAÇÕES / INSTALLATIONS GAMES
Giles Askham – Aquaplayne
Jonah Warren & Steven Sanborn – Transpose
Jonah Warren & Steven Sanborn – Full Body Games
Fabiano Onça e Coméia – Tantalus Quest
Julian Oliver - levelHead
GAMES
Andreas Zecher – Understanding Games
Andrei R. Thomaz – Cubos de Cor
Arvi Teikari – Once In Space
Fabrício Fava – Futebolando
Golf Question Mark – Golf
Introversion.co.uk – Darwinia
Jens Andersson and Ida Rödén – Rorschach
Jonatan Söderström – CleanAsia!
Jonatan Söderström – AdNauseum2
Jorn Ebner – sans femme et sans avieteur
Josh Nimoy – BallDroppings
Josiah Pisciotta – Gish
Marek Walczak and Martin Wattenberg – Thinking Machine 7
Mariana Rillo – Desmanche
Mark Essen - Punishment: The punishing
Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST
Playtime – SFZero
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK
QueasyGames - Jonathan Mak – Everyday Shooter
R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War
Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day
Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm
Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain
Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard
Tanja Vujinovic – Osciloo
ThatGameCompany – Jenova Chen – Clouds
ThatGameCompany – Jenova Chen - flOw
JOGOS BR
JOGOS BR 1
Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive
Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.
Cim-itério - Wagner Gomes Carvalho / Green Land Studios
Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.
Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira
/ Gamion Realidade Virtual & Games
Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.
JOGOS BR 2 – Jogos Completos
Cave Days - Winston George A. Petty / Insolita Studios
Peixis!
(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics
JOGOS BR 2 – Demos Jogáveis
Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games
Conspiração Dumont - Guilherme Mattos Coutinho
Flora - Francisco Oliveira de Queiroz
Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.
Inferno - Alexandre Vrubel / Continuum Entertainment Ltda
Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho
Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza
HIPERSÔNICA / HIPERSONICA
Hipersônica Performance
Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática
Bernhard Gal – Gal Live
+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil
Luiz duVa - Concerto para duo de laptops
Henrique Roscoe (a.k.a. 1mpar) – HOL
Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones
Alexandre Fenerich e Giuliano Obici – Nmenos1
Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra
Hipersônica Participantes
Agricola de Cologne - soundSTORY - sound as a tool for storytelling
Jen-Kuan Chang – Drishti II
Jen-Kuan Chang – Discordance
Jen-Kuan Chang – Nekkhamma
Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness
Jerome Soudan – Mimetic
Matt Lewis e Jeremy Keenan – Animate Objects
Robert Dow - Precipitation within sight
Tetsu Kondo – Dendraw
Tomas Phillips – Drink_Deep
INSTALAÇÕES / INSTALLATIONS
Anaisa Franco – Connected Memories
Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo
Graffiti Research Lab – Various
Hisako K. Yamakawa – Kodama
r3nder.net+i2off.org – is.3s
Jarbas Jacome – Crepúsculo dos Ídolos
Julio Obelleiro & Alberto García – Magnéticos
Julio Obelleiro & Alberto García – The Magic Torch
Mariana Manhães – Liquescer (Jarrinho)
Mariana Manhães – Liquescer (Jarrinho Azul)
Rejane Cantoni e Leonardo Crescenti – PISO
Sheldon Brown – Scalable City
Soraya Braz e Fábio FON – Roaming
Takahiro Matsuo – Phantasm
Ursula Hentschlaeger – Outer Space IP
Ursula Hentschlaeger – Phantasma
Ursula Hentschlaeger – Binary Art Site
SYMPOSIUM
Agnus Valente
Anaisa Franco
Andre Thomaz e Silvia Laurentiz
Christin Bolewski
Giles Askham
Graffiti Research Lab: James Powderly
Hidenori Watanave
Ivan Ivanoff e Jose Jimenez
Jarbas Jácome
João Fernando Igansi Nunes
Marcos Moraes
Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]
Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin
Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri
Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]
Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz
Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto
Nardo Germano
Nori Suzuki
Sandra Albuquerque Reis Fachinello
Satoru Tokuhisa
Sheldon Brown
Soraya Braz e Fabio FON
Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]
Ursula Hentschlaeger
Valzeli Sampaio
Cinema Documenta FILE São Paulo 2008
Antonello Matarazzo – Interferenze – Itália / Italy
Bruno Natal - Dub Echoes – Brasil / Brazil
Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil
Kevin Logan – Recitation – Londres / London
Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil
Linda Hilfing Nielsen - Participation 0.0 – Dinamarca
Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany
Matthew Bate - What The Future Sounded Like – Austrália
Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA
Mídia Arte FILE São Paulo 2008
[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA
Agricola de Cologne - One Day on Mars – Alemanha / Germany
alan bigelow - "When I Was President" – EUA / USA
Alessandra Ribeiro Parente Paes
Daniel Fernandes Gamez
Glauber Kotaki Rodrigues
Igor Albuquerque Bertolino
Karina Yuko Haneda
Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil
Alessandro Capozzo – Talea – Itália / Italy
Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon
Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil
Alexandre Cardoso Rodrigues Nunes
Bruno Coimbra Franco
Diego Filipe Braga R. Nascimento
Fábio Rinaldi Batistine
Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil
ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil
Andreas Zingerle - Extension of Human sight – Áustria
Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil
Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil
Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland
calin man – appendXship / Romênia
Carlindo da Conceição Barbosa
Kauê de Oliveira Souza
Guilherme Tetsuo Takei
Renato Michalischen
Ricardo Rodrigues Martins
Tassia Deusdara Manso
Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil
Christoph Korn – waldstueck – Alemanha / Germany
Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil
Duda. – do pixel ao pixel – Brasil / Brazil
Daniel Kobayashi
Felipe Crivelli Ayub
Fernando Boschetti
Luiz Felipe M. Coelho
Marcelo Knelsen
Mauro Falavigna
Rafael de A. Campos
Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil
David Clark - 88 Constellations for Wittgenstein – Canadá
Thais Paola Galvez
Josias Silva
Diego Abrahão Modesto
Nilson Benis
Vinicius Augusto Naka de Vasconcelos
Wilson Ruano Junior
Marcela Moreira da Silva – Rogério caos – Brasil / Brazil
Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil
Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada
Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil
Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil
Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil
Fernando Aquino – UAI Justiça – Brasil / Brazil
Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA
Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan
Yto Aranda – Cyber Birds Dance – Chile
Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA
Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon
Josephine Anstey, Dave Pape - Office Diva – EUA / USA
Josh Fishburn – Layers – Waiting – EUA / USA
Karla Brunet – Peculiaris – Brasil / Brazil
Kevin Evensen - Veils of Light – EUA / USA
lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy
linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark
Lisa Link - If I Worked for 493 years – EUA / USA
Marcelo Padre – Estro – Brasil / Brazil
Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil
Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon
Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil
Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil
Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon
Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon
Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon
Nurit Bar-Shai - Nothing Happens – EUA / USA
projectsinge: Blanquet Jerome - Monkey_Party – França / France
QUBO GAS - WATERCOULEUR PARK – França / France
rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil
Rafael Rozendaal - future physics – Netherlands
Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil
Roni Ribeiro – Bípedes – Brasil / Brazil
Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil
Rui Filipe Antunes – xTNZ – Brasil / Brazil
Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil
Tanja Vujinovic - "Without Title" – Switzerland
Hipersônica Screening – FILE São Paulo 2008
1mpar – hol – Brasil / Brazil
Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France
Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany
Bernhard Loibner – Meltdown – Áustria
Bjørn Erik Haugen – Regress - Norway
Celia Eid e Sébastien Béranger – Gymel – França / France
Studio Brutus/Citrullo International - H2O – Itália / Italy
Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil
David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon
Dennis Summers - Phase Shift Vídeos – EUA / USA
Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel
Fernando Velázquez – Nómada – Brasil / Brazil
Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil
Frederico Pessoa - butterbox – diving - Brasil / Brazil
Jay Needham - Narrative Half-life – EUA / USA
Soundsthatmatter – trotting – briji – Brasil / Brazil
x
edited by Kevin Connolly & Jason Sherman. Toronto, Conman Productions, december 1985.
Meet The Presses – arguably the event that gave rise to the now-widespread phenomenon of the "small press fair" – was organized by Nicholas Power (of Gesture Press) & Stuart Ross (Proper Tales Press) as a small monthly gathering in Toronto, first occurring in november of 1984 at the Scadding Court Community Centre at Bathurst & Dundas Streets. Nick & Stuart were both associated with York University (Nick working in the bookstore & his Gesture later publishing a poetry anthology called Ten Tandem via York; Stuart was typesetter for the student newspaper Excalibur), as were Kevin & Jason, both students at the time. they (Kevin & Jason) would come out to the fairs, both of'em all excited by the frenzy of obscure activity that was going on at the time that the fairs made visible for a brief few hours once a month.
Kevin is a poet & critic, Jason a scriptwriter. they both subjected themselves to the dream of a "wider audience" for the kinds of things they were encountering at the fairs & began plotting what magazine, later (with issue 3) drafting in 4 "contributing editors" of varied proclivities in an attempt to cast their net further than the surround that York offered (Brian Dedora for the "established avantgarde", Douglas Freake for drama, Stuart Ross for more traditional younger writers & myself for the newer nonlinear crew). what's first issue was a "shortrun" of 5ooo copies but, with issue 2, they leapt to double that, 1o,ooo of these things getting baled up & dropped off for free distribution at various booksellers & restaurants & whatnot around town every 2 months, something of a leap from having a pile on their table when issue 1 was launched at Meet The Presses.
this "ART'N POLITICS" issue has the editors interviewing Fred Gaysek & Jim Smith on "Art and Politics" & Crad Kilodney "On Writing" (also including his Fish Story). the "featured writer" (1o poems) is George Swede, introduced by jwcurry. 2 poems by Steven Now-Ross Smith & a prose work by Richard Truhlar constitute the rest of the "creative content" of the issue. the rest is commentary by Dan (not "Don", as R.D.Macpherson's cover has it) Bouzek (i believe the "Dan" of This Ain't The Rosedale Library backwhen) & book & theatre reviews by the editors. there're also some ads – a fun one for Gesture Press on the rear cover – & Macpherson's front cover comic.
as what evolved, it gained a letters (& responses) column, readings reviews (mainly by Nick Power) & sundry other attachments as it tried to be representative of more & more of "the literary scene" in its scant tabloid format (this one's 3 sheets/12 pages). ultimately, its aspirations outgrew its workability & the editors squabbled, the tabloid format was dropped, it became a standard saddlestapled 8-1/2 x 11 literary rag for but a handful of issues, then simply failed to show up at parties anymore. Connolly has continued his identity as a minor Canadian poet (& editor, critic & teacher); Sherman became a semi-celebrated playwright but proclaimed his apartness from it all in 2oo7 & now writes only for television.
according to some, what "was considered highly influential"; i can't imagine by whom. while it was "somewhat feisty", its trajectory was at a relatively acute angle away from sabotaging mainstream sensibilities toward accommodating them. this 2nd issue already has them embracing the "topical", subjugating art to the service of ideology (only 3 of its 12 pages carrying any of its above-noted "creative content").
what could've been a fun project: certainly the copies that were stacked around Toronto disappeared & were read (though i'd be willing to bet few were retained) but what of this supposed "influence" on what amounts to "club culture"? swiffed into the void that takes the place of content at the bottom of the birdcage, no doubt.
as a bookseller, i've been offering these things for free & for sale since it began & rarely does anyone ever pick up on them. for that matter, i find that rarely has anyone even heard of the thing, despite its continued presence in various lists & studies (not only mine). of course, this can partly be blamed on yr typical literatum's ignorance of what goes on beyond the magazine rack of the moment but it's not as though my comments in print or speech have been ascerbic warnings-away; i've repeatedly tried to encourage people to check it out & still have hundreds of them carefully stored to trade for an occasional 2buck token.
but i'll tell ya something: i personally only need one copy of each issue to keep & occasionally read parts of. this particular issue i've probably still some 75 copies of. when i run outta scrap newspaper & need to drain some french fries, it's often one of these i'll reach for. this is expressly not the purpose for which i select & acquire cultural artefacts as the conscience behind Room 3o2 Books. nevertheless, faced with such a conspicuous (yet seemingly invisible) production, what exactly is the difference between 1 or 5 fewer copies outta the 75 outta the 1o,ooo in a culture that couldn't give a shit & doesn't want it in the first place?
as someone who'd been involved with what – as contributor from issue 1 on, contributing editor for 1o issues, reviewer, advertiser, distributor, bibliographer, & performer at some of what's events – i've a lot of leftover ire that's worth a good burn but i've a lot to thank them for, too: it was unquestionably an entertainable part of the cultural continuum of the time rather than a mere entertainment apart from it; despite its somewhat convoluted agendæ, it carried a higher-end representative sampling of what was going on that was inclusive of the more esoteric zones of writing as just part of their range of content, rather than ghettoïzing it all into "special issue"s.
so this burner isn't soaked in starchy lard or otherwise unsaleable; it's a nice, clean, almost flat copy set free as memorial offering in order for at least this one artefactual example to have achieved greater meaning than waiting in a box for an attention that'll never come.
_______________________________
More at my art site: rsmithings.com
_______________________________
Though waters may be dark and the road nonlinear, with love as a guide we might find what we're looking for. See the source components here.
Gate valve
From Wikipedia
A gate valve, also known as a sluice valve, is a valve that opens by lifting a round or rectangular gate/wedge out of the path of the fluid. The distinct feature of a gate valve is the sealing surfaces between the gate and seats are planar. The gate faces can form a wedge shape or they can be parallel. Typical gate valves should never be used for regulating flow, unless they are specifically designed for that purpose. On opening the gate valve, the flow path is enlarged in a highly nonlinear manner with respect to percent of opening. This means that flow rate does not change evenly with stem travel. Also, a partially open gate disk tends to vibrate from the fluid flow. Most of the flow change occurs near shutoff with a relatively high fluid velocity causing disk and seat wear and eventual leakage if used to regulate flow. Typical gate valves are designed to be fully opened or closed. When fully open, the typical gate valve has no obstruction in the flow path, resulting in very low friction loss.
Gate valves are characterised as having either a rising or a nonrising stem. Rising stems provide a visual indication of valve position. Nonrising stems are used where vertical space is limited or underground.
Bonnets provide leakproof closure for the valve body. Gate valves may have a screw-in, union, or bolted bonnet. Screw-in bonnet is the simplest, offering a durable, pressure-tight seal. Union bonnet is suitable for applications requiring frequent inspection and cleaning. It also gives the body added strength. Bolted bonnet is used for larger valves and higher pressure applications.
Another type of bonnet construction in a gate valve is pressure seal bonnet. This construction is adopted for valves for high pressure service, typically in excess of 15 MPa (2250 psi). The unique feature about the pressure seal bonnet is that the body - bonnet joints seals improves as the internal pressure in the valve increases, compared to other constructions where the increase in internal pressure tends to create leaks in the body-bonnet joint.
Gate valves normally have flanged ends which are drilled according to pipeline compatible flange dimensional standards. Gate valves are typically constructed from cast iron, ductile iron, cast carbon steel, gun metal, stainless steel, alloy steels, and forged steels.
### ........must view as slide show.......##
Originally planned on shooting this from a dark site on top of a mountain but my laptop had other plans. Ended up taking this from my driveway instead, but I'm very pleased with the detail I got at just 610mm focal length. There are also a number of [other galaxies in the uncropped pic](i.imgur.com/tQfxUFh.jpg) including one over a billion light years away from us (calculated from redshift). This image was taken with a monochrome camera through filters for luminance (all visible light), red, green, blue, and Hydrogen-alpha (656nm), which were combined into a color image. The Hydrogen-alpha was combined with red (described below) to enhance the hydrogen nebulae in the galaxy (red splotches in the spiral arms). Captured on March 21, 22, 24, and 29th, 2021 from a Bortle 6 zone
---
**[Equipment:](i.imgur.com/6T8QNsv.jpg)**
* TPO 6" F/4 Imaging Newtonian
* Orion Sirius EQ-G
* ZWO ASI1600MM-Pro
* Skywatcher Quattro Coma Corrector
* ZWO EFW 8x1.25"/31mm
* Astronomik LRGB+CLS Filters- 31mm
* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm
* Agena 50mm Deluxe Straight-Through Guide Scope
* ZWO ASI-120MC for guiding
* Moonlite Autofocuser
**Acquisition:** 10 hours 2 minutes (Camera at Unity Gain, -15°C)
* Lum - 106x120"
* Ha - 30x300"
* Red - 40x120"
* Green - 40x120"
* Blue - 50x120"
* Darks- 30
* Flats- 30 per filter
**Capture Software:**
* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.
**PixInsight Processing:**
* BatchPreProcessing
* StarAlignment
* [Blink](youtu.be/sJeuWZNWImE?t=40)
* ImageIntegration
* DrizzleIntegration (2x, Var β=1.5) (Lum only)
* StarAlign Ha, R, G, B stacks to drizzled L
* DynamicCrop
* DynamicBackgroundExtraction
**Luminance:**
* EZ Decon + Denoise
* ArcsinhStretch + histogramtransformation to bring nonlinear
**RGB:**
* ChannelCombinaiton to combine monochrome R, G, B stacks into color image
* PhotometricColorCalibration
* SCNR green
**Adding Ha:**
> I followed this tutorial which I find produces much better results than my previous NBRGBCombination script technique:
> www.arciereceleste.it/tutorial-pixinsight/cat-tutorial-en...
* PixelMath to make Clean Ha. This effectively isolates just the Ha from the red continuum spectrum
> Ha-Q * (Red-med (Red))
> Q=1.0416
* PixelMath to combine Clean Ha
* PixelMath to add Ha to RGB image ($T)
> R= $T+B*(Ha_Clean - med(Ha_Clean))
> G= $T
> B= $T+B*0.2*(Ha_Clean - med(Ha_Clean))
> B=3
**HaRGB:**
* Slight SCNR
* HSV Repair
* ArcsinhStretch + histogramtransformation to bring nonlinear
* ColorSaturation to slightly desaturate Ha regions
* HistogramTransformation to further stretch to match lum brightness
**Nonlinear:**
* LRGBCombination with stretched L as luminance
* Several [Curve](i.imgur.com/4L61MPU.png)Transformations to adjust lightness, contrast, colors, saturation, etc.
* MoreSCNR
* ACDNR
* LocalHistogramEqualization
* More Curves
* ColorSaturation to *slightly* desaturate Ha regions
* MMT noise reduction
* EZ StarReduction
* Final Curves
* Resample to 60%
* DynamicCrop to 3555x2000
* Annotation
The Quran (English pronunciation: /kɔrˈɑːn/ kor-AHN , Arabic: القرآن al-qur'ān, IPA: [qurˈʔaːn], literally meaning "the recitation", also romanised Qur'an or Koran) is the central religious text of Islam, which Muslims believe to be a revelation from God (Arabic: الله, Allah). Its scriptural status among a world-spanning religious community, and its major place within world literature generally, has led to a great deal of secondary literature on the Quran. Quranic chapters are called suras and verses are called ayahs.
Muslims believe that the Quran was verbally revealed by God to Muhammad through the angel Gabriel (Jibril), gradually over a period of approximately 23 years, beginning on 22 December 609 CE, when Muhammad was 40, and concluding in 632 CE, the year of his death. Muslims regard the Quran as the most important miracle of Muhammad, a proof of his prophethood, and the culmination of a series of divine messages that started with the messages revealed to Adam and ended with Muhammad. They consider the Quran to be the only revealed book that has been protected by God from distortion or corruption.
According to the traditional narrative, several companions of Muhammad served as scribes and were responsible for writing down the revelations. Shortly after Muhammad's death, the Quran was compiled by his companions who wrote down and memorized parts of it. These codices had differences that motivated the Caliph Uthman to establish a standard version now known as Uthman's codex, which is generally considered the archetype of the Quran we have today. However, the existence of variant readings, with mostly minor and some significant variations, and the early unvocalized Arabic script mean the relationship between Uthman's codex to both the text of today's Quran and to the revelations of Muhammad's time is still unclear.
The Quran assumes familiarity with major narratives recounted in the Jewish and Christian scriptures. It summarizes some, dwells at length on others and, in some cases, presents alternative accounts and interpretations of events. The Quran describes itself as a book of guidance. It sometimes offers detailed accounts of specific historical events, and it often emphasizes the moral significance of an event over its narrative sequence. The Quran is used along with the hadith to interpret sharia law. During prayers, the Quran is recited only in Arabic.
Someone who has memorized the entire Quran is called a hafiz. Some Muslims read Quranic ayahs (verses) with elocution, which is often called tajwīd. During the month of Ramadan, Muslims typically complete the recitation of the whole Quran during tarawih prayers. In order to extrapolate the meaning of a particular Quranic verse, most Muslims rely on the tafsir.
ETYMOLOGY & MEANING
The word qurʼān appears about 70 times in the Quran itself, assuming various meanings. It is a verbal noun (maṣdar) of the Arabic verb qaraʼa (قرأ), meaning "he read" or "he recited". The Syriac equivalent is (ܩܪܝܢܐ) qeryānā, which refers to "scripture reading" or "lesson". While some Western scholars consider the word to be derived from the Syriac, the majority of Muslim authorities hold the origin of the word is qaraʼa itself. Regardless, it had become an Arabic term by Muhammad's lifetime. An important meaning of the word is the "act of reciting", as reflected in an early Quranic passage: "It is for Us to collect it and to recite it (qurʼānahu)."
In other verses, the word refers to "an individual passage recited [by Muhammad]". Its liturgical context is seen in a number of passages, for example: "So when al-qurʼān is recited, listen to it and keep silent." The word may also assume the meaning of a codified scripture when mentioned with other scriptures such as the Torah and Gospel.
The term also has closely related synonyms that are employed throughout the Quran. Each synonym possesses its own distinct meaning, but its use may converge with that of qurʼān in certain contexts. Such terms include kitāb (book); āyah (sign); and sūrah (scripture). The latter two terms also denote units of revelation. In the large majority of contexts, usually with a definite article (al-), the word is referred to as the "revelation" (waḥy), that which has been "sent down" (tanzīl) at intervals. Other related words are: dhikr (remembrance), used to refer to the Quran in the sense of a reminder and warning, and ḥikmah (wisdom), sometimes referring to the revelation or part of it.
The Quran describes itself as "the discernment or the criterion between truth and falsehood" (al-furqān), "the mother book" (umm al-kitāb), "the guide" (huda), "the wisdom" (hikmah), "the remembrance" (dhikr) and "the revelation" (tanzīl; something sent down, signifying the descent of an object from a higher place to lower place). Another term is al-kitāb (the book), though it is also used in the Arabic language for other scriptures, such as the Torah and the Gospels. The adjective of "Quran" has multiple transliterations including "quranic," "koranic" and "qur'anic," or capitalised as "Qur'anic," "Koranic" and "Quranic." The term muṣḥaf ('written work') is often used to refer to particular Quranic manuscripts but is also used in the Quran to identify earlier revealed books. Other transliterations of "Quran" include "al-Coran", "Coran", "Kuran" and "al-Qurʼan".
HISTORY
PROPHETIC ERA
Islamic tradition relates that Muhammad received his first revelation in the Cave of Hira during one of his isolated retreats to the mountains. Thereafter, he received revelations over a period of 23 years. According to hadith and Muslim history, after Muhammad emigrated to Medina and formed an independent Muslim community, he ordered many of his companions to recite the Quran and to learn and teach the laws, which were revealed daily. It is related that some of the Quraish who were taken prisoners at the battle of Badr regained their freedom after they had taught some of the Muslims the simple writing of the time. Thus a group of Muslims gradually became literate. As it was initially spoken, the Quran was recorded on tablets, bones, and the wide, flat ends of date palm fronds. Most suras were in use amongst early Muslims since they are mentioned in numerous sayings by both Sunni and Shia sources, relating Muhammad's use of the Quran as a call to Islam, the making of prayer and the manner of recitation. However, the Quran did not exist in book form at the time of Muhammad's death in 632 CE. There is agreement among scholars that Muhammad himself did not write down the revelation.
Sahih al-Bukhari narrates Muhammad describing the revelations as, "Sometimes it is (revealed) like the ringing of a bell" and Aisha reported, "I saw the Prophet being inspired Divinely on a very cold day and noticed the sweat dropping from his forehead (as the Inspiration was over)." Muhammad's first revelation, according to the Quran, was accompanied with a vision. The agent of revelation is mentioned as the "one mighty in power", the one who "grew clear to view when he was on the uppermost horizon. Then he drew nigh and came down till he was (distant) two bows' length or even nearer." The Islamic studies scholar Welch states in the Encyclopaedia of Islam that he believes the graphic descriptions of Muhammad's condition at these moments may be regarded as genuine, because he was severely disturbed after these revelations. According to Welch, these seizures would have been seen by those around him as convincing evidence for the superhuman origin of Muhammad's inspirations. However, Muhammad's critics accused him of being a possessed man, a soothsayer or a magician since his experiences were similar to those claimed by such figures well known in ancient Arabia. Welch additionally states that it remains uncertain whether these experiences occurred before or after Muhammad's initial claim of prophethood. The Quran describes Muhammad as "ummi", which is traditionally interpreted as "illiterate," but the meaning is rather more complex. The medieval commentators such as Al-Tabari maintained that the term induced two meanings: first, the inability to read or write in general; second, the inexperience or ignorance of the previous books or scriptures (but they gave priority to the first meaning). Besides, Muhammad's illiteracy was taken as a sign of the genuineness of his prophethood. For example, according to Fakhr al-Din al-Razi, if Muhammad had mastered writing and reading he possibly would have been suspected of having studied the books of the ancestors. Some scholars such as Watt prefer the second meaning.
COMPILATION
Based on earlier transmitted reports, in the year 632 CE, after Muhammad died and a number of his companions who knew the Quran by heart were killed in a battle by Musaylimah, the first caliph Abu Bakr (d. 634CE) decided to collect the book in one volume so that it could be preserved. Zayd ibn Thabit (d. 655CE) was the person to collect the Quran since "he used to write the Divine Inspiration for Allah's Apostle". Thus, a group of scribes, most importantly Zayd, collected the verses and produced a hand-written manuscript of the complete book. The manuscript according to Zayd remained with Abu Bakr until he died. Zayd's reaction to the task and the difficulties in collecting the Quranic material from parchments, palm-leaf stalks, thin stones and from men who knew it by heart is recorded in earlier narratives. After Abu Bakr, Hafsa bint Umar, Muhammad's widow, was entrusted with the manuscript. In about 650 CE, the third Caliph Uthman ibn Affan (d. 656CE) began noticing slight differences in pronunciation of the Quran as Islam expanded beyond the Arabian peninsula into Persia, the Levant, and North Africa. In order to preserve the sanctity of the text, he ordered a committee headed by Zayd to use Abu Bakr's copy and prepare a standard copy of the Quran. Thus, within 20 years of Muhammad's death, the Quran was committed to written form. That text became the model from which copies were made and promulgated throughout the urban centers of the Muslim world, and other versions are believed to have been destroyed. The present form of the Quran text is accepted by Muslim scholars to be the original version compiled by Abu Bakr.
According to Shia and some Sunni scholars, Ali ibn Abi Talib (d. 661CE) compiled a complete version of the Quran shortly after Muhammad's death. The order of this text differed from that gathered later during Uthman's era in that this version had been collected in chronological order. Despite this, he made no objection against the standardized Quran and accepted the Quran in circulation. Other personal copies of the Quran might have existed including Ibn Mas'ud's and Ubayy ibn Kab's codex, none of which exist today.
The Quran most likely existed in scattered written form during Muhammad's lifetime. Several sources indicate that during Muhammad's lifetime a large number of his companions had memorized the revelations. Early commentaries and Islamic historical sources support the above-mentioned understanding of the Quran's early development. The Quran in its present form is generally considered by academic scholars to record the words spoken by Muhammad because the search for variants has not yielded any differences of great significance. Although most variant readings of the text of the Quran have ceased to be transmitted, some still are. There has been no critical text produced on which a scholarly reconstruction of the Quranic text could be based. Historically, controversy over the Quran's content has rarely become an issue, although debates continue on the subject.
In 1972, in a mosque in the city of Sana'a, Yemen, manuscripts were discovered that were later proved to be the most ancient Quranic text known to exist. The Sana'a manuscripts contain palimpsests, a manuscript page from which the text has been washed off to make the parchment reusable again - a practice which was common in ancient times due to scarcity of writing material. However, the faint washed-off underlying text (scriptio inferior) is still barely visible and believed to be "pre-Uthmanic" Quranic content, while the text written on top (scriptio superior) is believed to belong to Uthmanic time. Studies using radiocarbon dating indicate that the parchments are dated to the period before 671 AD with a 99 percent probability.
SIGNIFICANCE IN ISLAM
WORSHIP
Muslims believe the Quran to be the book of divine guidance revealed from God to Muhammad through the angel Gabriel over a period of 23 years and view the Quran as God's final revelation to humanity. They also believe that the Quran has solutions to all the problems of humanity irrespective of how complex they may be and in what age they occur.
Revelation in Islamic and Quranic concept means the act of God addressing an individual, conveying a message for a greater number of recipients. The process by which the divine message comes to the heart of a messenger of God is tanzil (to send down) or nuzūl (to come down). As the Quran says, "With the truth we (God) have sent it down and with the truth it has come down."
The Quran frequently asserts in its text that it is divinely ordained. Some verses in the Quran seem to imply that even those who do not speak Arabic would understand the Quran if it were recited to them. The Quran refers to a written pre-text, "the preserved tablet", that records God's speech even before it was sent down.
The issue of whether the Quran is eternal or created became a theological debate (Quran's createdness) in the ninth century. Mu'tazilas, an Islamic school of theology based on reason and rational thought, held that the Quran was created while the most widespread varieties of Muslim theologians considered the Quran to be co-eternal with God and therefore uncreated. Sufi philosophers view the question as artificial or wrongly framed.
Muslims believe that the present wording of the Quran corresponds to that revealed to Muhammad, and according to their interpretation of Quran 15:9, it is protected from corruption ("Indeed, it is We who sent down the Quran and indeed, We will be its guardian."). Muslims consider the Quran to be a guide, a sign of the prophethood of Muhammad and the truth of the religion. They argue it is not possible for a human to produce a book like the Quran, as the Quran itself maintains.
Muslims commemorate annually the beginning of Quran's revelation on the Night of Destiny (Laylat al-Qadr), during the last 10 days of Ramadan, the month during which they fast from sunrise until sunset.
The first sura of the Quran is repeated in daily prayers and in other occasions. This sura, which consists of seven verses, is the most often recited sura of the Quran:
"All praise belongs to God, Lord of the Universe, the Beneficent, the Merciful and Master of the Day of Judgment, You alone We do worship and from You alone we do seek assistance, guide us to the right path, the path of those to whom You have granted blessings, those who are neither subject to Your anger nor have gone astray."
Respect for the written text of the Quran is an important element of religious faith by many Muslims, and the Quran is treated with reverence. Based on tradition and a literal interpretation of Quran 56:79 ("none shall touch but those who are clean"), some Muslims believe that they must perform a ritual cleansing with water before touching a copy of the Quran, although this view is not universal. Worn-out copies of the Quran are wrapped in a cloth and stored indefinitely in a safe place, buried in a mosque or a Muslim cemetery, or burned and the ashes buried or scattered over water.
In Islam, most intellectual disciplines, including Islamic theology, philosophy, mysticism and Jurisprudence, have been concerned with the Quran or have their foundation in its teachings. Muslims believe that the preaching or reading of the Quran is rewarded with divine rewards variously called ajr, thawab or hasanat.
IN ISLAMIC ART
The Quran also inspired Islamic arts and specifically the so-called Quranic arts of calligraphy and illumination.[1] The Quran is never decorated with figurative images, but many Qurans have been highly decorated with decorative patterns in the margins of the page, or between the lines or at the start of suras. Islamic verses appear in many other media, on buildings and on objects of all sizes, such as mosque lamps, metal work, pottery and single pages of calligraphy for muraqqas or albums.
INIMITABILITY
Inimitability of the Quran (or "I'jaz") is the belief that no human speech can match the Quran in its content and form. The Quran is considered an inimitable miracle by Muslims, effective until the Day of Resurrection - and, thereby, the central proof granted to Muhammad in authentication of his prophetic status. The concept of inimitability originates in the Quran where in five different verses opponents are challenged to produce something like the Quran: "If men and sprites banded together to produce the like of this Quran they would never produce its like not though they backed one another."[61] So the suggestion is that if there are doubts concerning the divine authorship of the Quran, come forward and create something like it. From the ninth century, numerous works appeared which studied the Quran and examined its style and content. Medieval Muslim scholars including al-Jurjani (d. 1078CE) and al-Baqillani (d. 1013CE) have written treatises on the subject, discussed its various aspects, and used linguistic approaches to study the Quran. Others argue that the Quran contains noble ideas, has inner meanings, maintained its freshness through the ages and has caused great transformations in individual level and in the history. Some scholars state that the Quran contains scientific information that agrees with modern science. The doctrine of miraculousness of the Quran is further emphasized by Muhammad's illiteracy since the unlettered prophet could not have been suspected of composing the Quran.
TEXT & ARRANGEMENT
The Quran consists of 114 chapters of varying lengths, each known as a sura. Suras are classified as Meccan or Medinan, depending on whether the verses were revealed before or after the migration of Muhammad to the city of Medina. However, a sura classified as Medinan may contain Meccan verses in it and vice versa. Sura titles are derived from a name or quality discussed in the text, or from the first letters or words of the surah. Suras are arranged roughly in order of decreasing size. The sura arrangement is thus not connected to the sequence of revelation. Each sura except the ninth starts with the Bismillah (بسم الله الرحمن الرحيم) an Arabic phrase meaning 'In the name of God.' There are, however, still 114 occurrences of the Bismillah in the Quran, due to its presence in Quran 27:30 as the opening of Solomon's letter to the Queen of Sheba.
Each sura consists of several verses, known as ayat, which originally means a 'sign' or 'evidence' sent by God. The number of verses differs from sura to sura. An individual verse may be just a few letters or several lines. The total number of verses in the Quran is 6236, however, the number varies if the bismillahs are counted separately.
In addition to and independent of the division into suras, there are various ways of dividing the Quran into parts of approximately equal length for convenience in reading. The 30 juz' (plural ajzāʼ) can be used to read through the entire Quran in a month. Some of these parts are known by names - which are the first few words by which the juzʼ starts. A juz' is sometimes further divided into two ḥizb (plural aḥzāb), and each hizb subdivided into four rubʻ al-ahzab. The Quran is also divided into seven approximately equal parts, manzil (plural manāzil), for it to be recited in a week.
Muqatta'at, or the Quranic initials, are 14 different letter combinations of 14 Arabic letters that appear in the beginning of 29 suras of the Quran. The meanings of these initials remain unclear.
According to one estimate the Quran consists of 77,430 words, 18,994 unique words, 12,183 stems, 3,382 lemmas and 1,685 roots.
CONTENTS
The Quranic content is concerned with the basic beliefs of Islam which include the existence of God and the resurrection. Narratives of the early prophets, ethical and legal subjects, historical events of Muhammad's time, charity and prayer also appear in the Quran. The Quranic verses contain general exhortations regarding right and wrong and the historical events are related to outline general moral lessons. Verses pertaining to natural phenomena have been interpreted by Muslims as an indication of the authenticity of the Quranic message.
MONOTHEISM
The central theme of the Quran is monotheism. God is depicted as living, eternal, omniscient and omnipotent (see, e.g., Quran 2:20, 2:29, 2:255). God's omnipotence appears above all in his power to create. He is the creator of everything, of the heavens and the earth and what is between them (see, e.g., Quran 13:16, 50:38, etc.). All human beings are equal in their utter dependence upon God, and their well-being depends upon their acknowledging that fact and living accordingly.
The Quran uses cosmological and contingency arguments in various verses without referring to the terms to prove the existence of God. Therefore, the universe is originated and needs an originator, and whatever exists must have a sufficient cause for its existence. Besides, the design of the universe, is frequently referred to as a point of contemplation: "It is He who has created seven heavens in harmony. You cannot see any fault in God's creation; then look again: Can you see any flaw?"
ESCHATOLOGY
The doctrine of the last day and eschatology (the final fate of the universe) may be reckoned as the second great doctrine of the Quran. It is estimated that around a full one-third of the Quran is eschatological, dealing with the afterlife in the next world and with the day of judgment at the end of time. There is a reference of the afterlife on most pages of the Quran and the belief in the afterlife is often referred to in conjunction with belief in God as in the common expression: "Believe in God and the last day". A number of suras such as 44, 56, 75, 78, 81 and 101 are directly related to the afterlife and its preparations. Some of the suras indicate the closeness of the event and warn people to be prepared for the imminent day. For instance, the first verses of Sura 22, which deal with the mighty earthquake and the situations of people on that day, represent this style of divine address: "O People! Be respectful to your Lord. The earthquake of the Hour is a mighty thing."
The Quran is often vivid in its depiction of what will happen at the end time. Watt describes the Quranic view of End Time:
"The climax of history, when the present world comes to an end, is referred to in various ways. It is 'the Day of Judgment,' 'the Last Day,' 'the Day of Resurrection,' or simply 'the Hour.' Less frequently it is 'the Day of Distinction' (when the good are separated from the evil), 'the Day of the Gathering' (of men to the presence of God) or 'the Day of the Meeting' (of men with God). The Hour comes suddenly. It is heralded by a shout, by a thunderclap, or by the blast of a trumpet. A cosmic upheaval then takes place. The mountains dissolve into dust, the seas boil up, the sun is darkened, the stars fall and the sky is rolled up. God appears as Judge, but his presence is hinted at rather than described. [...] The central interest, of course, is in the gathering of all mankind before the Judge. Human beings of all ages, restored to life, join the throng. To the scoffing objection of the unbelievers that former generations had been dead a long time and were now dust and mouldering bones, the reply is that God is nevertheless able to restore them to life."
The Quran does not assert a natural immortality of the human soul, since man's existence is dependent on the will of God: when he wills, he causes man to die; and when he wills, he raises him to life again in a bodily resurrection.[68]
PROPHETS
According to the Quran, God communicated with man and made his will known through signs and revelations. Prophets, or 'Messengers of God', received revelations and delivered them to humanity. The message has been identical and for all humankind. "Nothing is said to you that was not said to the messengers before you, that your lord has at his Command forgiveness as well as a most Grievous Penalty." The revelation does not come directly from God to the prophets. Angels acting as God's messengers deliver the divine revelation to them. This comes out in Quran 42:51, in which it is stated: "It is not for any mortal that God should speak to them, except by revelation, or from behind a veil, or by sending a messenger to reveal by his permission whatsoever He will."
ETHICO-RELIGIOUS CONCEPTS
Belief is the center of the sphere of positive moral properties in the Quran. A number of scholars have tried to determine the semantic contents of the words meaning 'belief' and 'believer' in the Quran [70] The Ethico-legal concepts and exhortations dealing with righteous conduct are linked to a profound awareness of God, thereby emphasizing the importance of faith, accountability and the belief in each human's ultimate encounter with God. People are invited to perform acts of charity, especially for the needy. Believers who "spend of their wealth by night and by day, in secret and in public" are promised that they "shall have their reward with their Lord; on them shall be no fear, nor shall they grieve" It also affirms family life by legislating on matters of marriage, divorce and inheritance. A number of practices such as usury and gambling are prohibited. The Quran is one of the fundamental sources of the Islamic law, or sharia. Some formal religious practices receive significant attention in the Quran including the formal prayers and fasting in the month of Ramadan. As for the manner in which the prayer is to be conducted, the Quran refers to prostration. The term used for charity, Zakat, actually means purification. Charity, according to the Quran, is a means of self-purification.
LITERARY STYLE
The Quran's message is conveyed with various literary structures and devices. In the original Arabic, the suras and verses employ phonetic and thematic structures that assist the audience's efforts to recall the message of the text. Muslims[who?] assert (according to the Quran itself) that the Quranic content and style is inimitable.
The language of the Quran has been described as "rhymed prose" as it partakes of both poetry and prose, however, this description runs the risk of compromising the rhythmic quality of Quranic language, which is certainly more poetic in some parts and more prose-like in others. Rhyme, while found throughout the Quran, is conspicuous in many of the earlier Meccan suras, in which relatively short verses throw the rhyming words into prominence. The effectiveness of such a form is evident for instance in Sura 81, and there can be no doubt that these passages impressed the conscience of the hearers. Frequently a change of rhyme from one set of verses to another signals a change in the subject of discussion. Later sections also preserve this form but the style is more expository.
The Quranic text seems to have no beginning, middle, or end, its nonlinear structure being akin to a web or net. The textual arrangement is sometimes considered to have lack of continuity, absence of any chronological or thematic order and presence of repetition. Michael Sells, citing the work of the critic Norman O. Brown, acknowledges Brown's observation that the seeming disorganization of Quranic literary expression – its scattered or fragmented mode of composition in Sells's phrase – is in fact a literary device capable of delivering profound effects as if the intensity of the prophetic message were shattering the vehicle of human language in which it was being communicated. Sells also addresses the much-discussed repetitiveness of the Quran, seeing this, too, as a literary device.
A text is self-referential when it speaks about itself and makes reference to itself. According to Stefan Wild the Quran demonstrates this meta-textuality by explaining, classifying, interpreting and justifying the words to be transmitted. Self-referentiality is evident in those passages when the Quran refers to itself as revelation (tanzil), remembrance (dhikr), news (naba'), criterion (furqan) in a self-designating manner (explicitly asserting its Divinity, "And this is a blessed Remembrance that We have sent down; so are you now denying it?"), or in the frequent appearance of the 'Say' tags, when Muhammad is commanded to speak (e.g. "Say: 'God's guidance is the true guidance' ", "Say: 'Would you then dispute with us concerning God?' "). According to Wild the Quran is highly self-referential. The feature is more evident in early Meccan suras.
INTERPRETATION
The Quran has sparked a huge body of commentary and explication (tafsīr), aimed at explaining the "meanings of the Quranic verses, clarifying their import and finding out their significance".
Tafsir is one of the earliest academic activities of Muslims. According to the Quran, Muhammad was the first person who described the meanings of verses for early Muslims. Other early exegetes included a few Companions of Muhammad, like ʻAli ibn Abi Talib, ʻAbdullah ibn Abbas, ʻAbdullah ibn Umar and Ubayy ibn Kaʻb. Exegesis in those days was confined to the explanation of literary aspects of the verse, the background of its revelation and, occasionally, interpretation of one verse with the help of the other. If the verse was about a historical event, then sometimes a few traditions (hadith) of Muhammad were narrated to make its meaning clear.
Because the Quran is spoken in classical Arabic, many of the later converts to Islam (mostly non-Arabs) did not always understand the Quranic Arabic, they did not catch allusions that were clear to early Muslims fluent in Arabic and they were concerned with reconciling apparent conflict of themes in the Quran. Commentators erudite in Arabic explained the allusions, and perhaps most importantly, explained which Quranic verses had been revealed early in Muhammad's prophetic career, as being appropriate to the very earliest Muslim community, and which had been revealed later, canceling out or "abrogating" (nāsikh) the earlier text (mansūkh). Other scholars, however, maintain that no abrogation has taken place in the Quran. The Ahmadiyya Muslim Community has published a 10-volume Urdu commentary on the Quran, with the name Tafseer e Kabir.
ESOTERIC INTERPRETATION
Esoteric or Sufi interpretation attempts to unveil the inner meanings of the Quran. Sufism moves beyond the apparent (zahir) point of the verses and instead relates Quranic verses to the inner or esoteric (batin) and metaphysical dimensions of consciousness and existence. According to Sands, esoteric interpretations are more suggestive than declarative, they are 'allusions' (isharat) rather than explanations (tafsir). They indicate possibilities as much as they demonstrate the insights of each writer.
Sufi interpretation, according to Annabel Keeler, also exemplifies the use of the theme of love, as for instance can seen in Qushayri's interpretation of the Quran. Quran 7:143 says:
"when Moses came at the time we appointed, and his Lord spoke to him, he said, 'My Lord, show yourself to me! Let me see you!' He said, 'you shall not see me but look at that mountain, if it remains standing firm you will see me.' When his Lord revealed Himself to the mountain, He made it crumble. Moses fell down unconscious. When he recovered, he said, 'Glory be to you! I repent to you! I am the first to believe!'"
Moses, in 7:143, comes the way of those who are in love, he asks for a vision but his desire is denied, he is made to suffer by being commanded to look at other than the Beloved while the mountain is able to see God. The mountain crumbles and Moses faints at the sight of God's manifestation upon the mountain. In Qushayri's words, Moses came like thousands of men who traveled great distances, and there was nothing left to Moses of Moses. In that state of annihilation from himself, Moses was granted the unveiling of the realities. From the Sufi point of view, God is the always the beloved and the wayfarer's longing and suffering lead to realization of the truths.[90]
Muhammad Husayn Tabatabaei says that according to the popular explanation among the later exegetes, ta'wil indicates the particular meaning a verse is directed towards. The meaning of revelation (tanzil), as opposed to ta'wil, is clear in its accordance to the obvious meaning of the words as they were revealed. But this explanation has become so widespread that, at present, it has become the primary meaning of ta'wil, which originally meant "to return" or "the returning place". In Tabatabaei's view, what has been rightly called ta'wil, or hermeneutic interpretation of the Quran, is not concerned simply with the denotation of words. Rather, it is concerned with certain truths and realities that transcend the comprehension of the common run of men; yet it is from these truths and realities that the principles of doctrine and the practical injunctions of the Quran issue forth. Interpretation is not the meaning of the verse - rather it transpires through that meaning, in a special sort of transpiration. There is a spiritual reality - which is the main objective of ordaining a law, or the basic aim in describing a divine attribute - and then there is an actual significance that a Quranic story refers to.
According to Shia beliefs, those who are firmly rooted in knowledge like Muhammad and the imams know the secrets of the Quran. According to Tabatabaei, the statement "none knows its interpretation except God" remains valid, without any opposing or qualifying clause. Therefore, so far as this verse is concerned, the knowledge of the Quran's interpretation is reserved for God. But Tabatabaei uses other verses and concludes that those who are purified by God know the interpretation of the Quran to a certain extent.
According to Tabatabaei, there are acceptable and unacceptable esoteric interpretations. Acceptable ta'wil refers to the meaning of a verse beyond its literal meaning; rather the implicit meaning, which ultimately is known only to God and can't be comprehended directly through human thought alone. The verses in question here refer to the human qualities of coming, going, sitting, satisfaction, anger and sorrow, which are apparently attributed to God. Unacceptable ta'wil is where one "transfers" the apparent meaning of a verse to a different meaning by means of a proof; this method is not without obvious inconsistencies. Although this unacceptable ta'wil has gained considerable acceptance, it is incorrect and cannot be applied to the Quranic verses. The correct interpretation is that reality a verse refers to. It is found in all verses, the decisive and the ambiguous alike; it is not a sort of a meaning of the word; it is a fact that is too sublime for words. God has dressed them with words to bring them a bit nearer to our minds; in this respect they are like proverbs that are used to create a picture in the mind, and thus help the hearer to clearly grasp the intended idea.
HISTORY OF SUFI COMMENTARIES
One of the notable authors of esoteric interpretation prior to the 12th century is Sulami (d. 1021 CE) without whose work the majority of very early Sufi commentaries would not have been preserved. Sulami's major commentary is a book named haqaiq al-tafsir ("Truths of Exegesis") which is a compilation of commentaries of earlier Sufis. From the 11th century onwards several other works appear, including commentaries by Qushayri (d. 1074), Daylami (d. 1193), Shirazi (d. 1209) and Suhrawardi (d. 1234). These works include material from Sulami's books plus the author's contributions. Many works are written in Persian such as the works of Maybudi (d. 1135) kash al-asrar ("the unveiling of the secrets"). Rumi (d. 1273) wrote a vast amount of mystical poetry in his book Mathnawi. Rumi makes heavy use of the Quran in his poetry, a feature that is sometimes omitted in translations of Rumi's work. A large number of Quranic passages can be found in Mathnawi, which some consider a kind of Sufi interpretation of the Quran. Rumi's book is not exceptional for containing citations from and elaboration on the Quran, however, Rumi does mention Quran more frequently. Simnani (d. 1336) wrote two influential works of esoteric exegesis on the Quran. He reconciled notions of God's manifestation through and in the physical world with the sentiments of Sunni Islam. Comprehensive Sufi commentaries appears in the 18th century such as the work of Ismail Hakki Bursevi (d. 1725). His work ruh al-Bayan (the Spirit of Elucidation) is a voluminous exegesis. Written in Arabic, it combines the author's own ideas with those of his predecessors (notably Ibn Arabi and Ghazali), all woven together in Hafiz, a Persian poetry form.
LEVELS OF MEANING
Unlike the Salafis and Zahiri, Shias and Sufis as well as some other Muslim philosophers believe the meaning of the Quran is not restricted to the literal aspect. For them, it is an essential idea that the Quran also has inward aspects. Henry Corbin narrates a hadith that goes back to Muhammad:
"The Quran possesses an external appearance and a hidden depth, an exoteric meaning and an esoteric meaning. This esoteric meaning in turn conceals an esoteric meaning (this depth possesses a depth, after the image of the celestial Spheres, which are enclosed within each other). So it goes on for seven esoteric meanings (seven depths of hidden depth)."
According to this view, it has also become evident that the inner meaning of the Quran does not eradicate or invalidate its outward meaning. Rather, it is like the soul, which gives life to the body. Corbin considers the Quran to play a part in Islamic philosophy, because gnosiology itself goes hand in hand with prophetology.
Commentaries dealing with the zahir (outward aspects) of the text are called tafsir, and hermeneutic and esoteric commentaries dealing with the batin are called ta'wil ("interpretation" or "explanation"), which involves taking the text back to its beginning. Commentators with an esoteric slant believe that the ultimate meaning of the Quran is known only to God. In contrast, Quranic literalism, followed by Salafis and Zahiris, is the belief that the Quran should only be taken at its apparent meaning.
TRANSLATIONS
Translation of the Quran has always been a problematic and difficult issue. Many argue that the Quranic text cannot be reproduced in another language or form. Furthermore, an Arabic word may have a range of meanings depending on the context, making an accurate translation even more difficult.
Nevertheless, the Quran has been translated into most African, Asian and European languages. The first translator of the Quran was Salman the Persian, who translated surat al-Fatiha into Persian during the seventh century. Another translation of the Quran was completed in 884 CE in Alwar (Sindh, India now Pakistan) by the orders of Abdullah bin Umar bin Abdul Aziz on the request of the Hindu Raja Mehruk.
The first fully attested complete translations of the Quran were done between the 10th and 12th centuries in Persian language. The Samanid king, Mansur I (961-976), ordered a group of scholars from Khorasan to translate the Tafsir al-Tabari, originally in Arabic, into Persian. Later in the 11th century, one of the students of Abu Mansur Abdullah al-Ansari wrote a complete tafsir of the Quran in Persian. In the 12th century, Najm al-Din Abu Hafs al-Nasafi translated the Quran into Persian. The manuscripts of all three books have survived and have been published several times.
Islamic tradition also holds that translations were made for Emperor Negus of Abyssinia and Byzantine Emperor Heraclius, as both received letters by Muhammad containing verses from the Quran. In early centuries, the permissibility of translations was not an issue, but whether one could use translations in prayer.
In 1936, translations in 102 languages were known. In 2010, the Hürriyet Daily News and Economic Review reported that the Quran was presented in 112 languages at the 18th International Quran Exhibition in Tehran.
Beautiful shots from EVERSPACE.
Shot using Fraps and in-game Action Freeze cam. Bottom cropped (Beta Build and EVERSPACE logo).
Beta (1.1.28051) access is finally here !
Crowdfunded and from the makers of the iconic Galaxy on Fire series comes a new breed of space shooter for PC and Xbox One, combining roguelike elements with top-notch visuals and a captivating story.
Just a reminder:...
Identify the Artist XVI begins tonight with Week 1 What are the Color of My Eyes (1201 – 1205). (Portraits)
Tonight Sunday, September 12, 2021 8:00 PM East USA
For the Rules of the Game:
For the Prizes of the Game:
Above:
Simphiwe Ndzube
South African 1990 –
The Bloom of the Corpse Flower , 2020
Mixed media on canvas
Although the Oracles of the Pink Universe is a nonlinear narrative, Ndzube used this painting as a point of departure. The figure on the boat is embarking on a journey, perhaps in search of freedom. The land is fertile—notice the oversize corpse flowers, abundant water, lush terrain, and clouds dripping with heavenly rain. Everything is active, suggesting a moment of hope
Collection of the Denver Art Museum. Funds from the Contemporary Collector’s Circle with additional support from Vicki and Kent Logan, Catherine Dews Edwards and Philip Edwards. Craig Ponzia, Ellen and Morris Susman, and Bryan Adinoff and Trish Holland.
From the Placard
Denver Art Musuem
www.denverartmuseum.org/en/exhibitions/simphiwe-ndzube
www.vanityfair.com/video/watch/journey-through-la-with-ar...
The butterfly effect is the sensitive dependence on initial conditions in which a small change in one state of a deterministic nonlinear system can result in large differences in a later state.
The sci fi movie, "The butterfly effect" showed how small changes could affect the course of history if they were positioned in the right place at the proper time. When small changes persist, they can have a large effect over time.
So in other words means that the result is contained and tempered by the actions executed in the initial stages.
Small actions can result in large consequences.
The Indigenous Peoples in Canada are an inspirational example of resilience due to their ability to withstand adversity and persevere through generations of oppressive colonial policies. Historic injustices persist, including the effects of cultural genocide from the residential school system of Canada. Here we symbolize bridging the gap between Indigenous and non-Indigenous Peoples through gathering. Accomplished through the support of the seven grandfather teachings, represented by the seven rings of the installation, that originated with the Anishnabae Peoples, passed down through generations that ensures the survival of all Indigenous Peoples: Wisdom, Love, Respect, Bravery, Honesty, Humility, and Truth. Orange represents the National Day of Truth and Reconciliation, and the reality that the support of non-Indigenous Peoples, as Indigenous Peoples assert rights to self-determination, will strengthen relations and begin to redress the historic wrongs. Orange is displayed in the ropes where the pattern pays homage to the creation of drums, where the ropes were weaved to honour culture. The installations flow towards the lifeguard stand reinforces the strengthening of the relationship and that the protection of Canada hinges on the unity between peoples. We aim to symbolize movement to a new relationship, one based on mutual respect that honours Indigenous treaties and rights. The road forward is long and nonlinear, but we commit to take the journey together. - from www.winterstations.com
Design Team: University of Guelph, School of Environmental Design & Rural Development – Alex Feenstra, Megan Haralovich, Zhengyang Hua, Noah Tran, Haley White & Connor Winrow, Lead by Assistant Professor Afshin Ashari and Associate Professor Sean Kelly (Canada)
The bighorn sheep (Ovis canadensis) is a species of sheep native to North America. It is named for its large horns. A pair of horns might weigh up to 14 kg (30 lb); the sheep typically weigh up to 143 kg (315 lb). Recent genetic testing indicates three distinct subspecies of Ovis canadensis, one of which is endangered: O. c. sierrae.
Sheep originally crossed to North America over the Bering Land Bridge from Siberia; the population in North America peaked in the millions, and the bighorn sheep entered into the mythology of Native Americans. By 1900, the population had crashed to several thousand due to diseases introduced through European livestock and overhunting.
Taxonomy and genetics
Ovis canadensis is one of two species of mountain sheep in North America; the other species being O. dalli, the Dall sheep. Wild sheep crossed the Bering land bridge from Siberia into Alaska during the Pleistocene (about 750,000 years ago); subsequently, they spread through western North America as far south as Baja California and northwestern mainland Mexico. Divergence from their closest Asian ancestor (snow sheep) occurred about 600,000 years ago. In North America, wild sheep diverged into two extant species — Dall sheep, which occupy Alaska and northwestern Canada, and bighorn sheep, which range from southwestern Canada to Mexico. However, the status of these species is questionable given that hybridization has occurred between them in their recent evolutionary history.
Subspecies
Former
In 1940, Ian McTaggart-Cowan split the species into seven subspecies, with the first three being mountain bighorns and the last four being desert bighorns:
Rocky Mountain bighorn sheep, O. c. canadensis, found from British Columbia to Arizona.
Badlands bighorn sheep (or Audubon's bighorn sheep), O. c. auduboni, occurred in North Dakota, South Dakota, Montana,
Wyoming, and Nebraska. This subspecies has been extinct since 1925.
California bighorn sheep, O. c. californiana, found from British Columbia south to California and east to North Dakota. The definition of this subspecies has been updated (see below).
Nelson's bighorn sheep, O. c. nelsoni, the most common desert bighorn sheep, ranges from California through Arizona.
Mexican bighorn sheep, O. c. mexicana, ranges from Arizona and New Mexico south to Sonora and Chihuahua.
Peninsular bighorn sheep O. c. cremnobates, occur in the Peninsular Ranges of California and Baja California
Weems' bighorn sheep, O. c. weemsi, found in southern Baja
Yellowstone National Park
Starting in 1993, Ramey and colleagues, using DNA testing, have shown this division into seven subspecies is largely illusory. Most scientists currently recognize three subspecies of bighorn. This taxonomy is supported by the most extensive genetics (microsatellite and mitochondrial DNA) study to date (2016) which found high divergence between Rocky Mountain and Sierra Nevada bighorn sheep, and that these two subspecies both diverged from desert bighorn before or during the Illinoian glaciation (about 315–94 thousand years ago). Thus, the three subspecies of O. canadensis are:
Rocky Mountain bighorn sheep (O. c. canadensis) – occupying the U.S. and Canadian Rocky Mountains, and the Northwestern United States.
Sierra Nevada bighorn sheep (O. c. sierrae) – formerly California bighorn sheep, a genetically distinct subspecies that only occurs in the Sierra Nevada in California. However, historic observer records suggest that bighorn sheep may have ranged as far west as the California Coastal Ranges, which are contiguous to the Sierra Nevada via the Transverse Ranges. An account of "wild sheep" in the vicinity of the Mission San Antonio near Jolon, California and the mountains around San Francisco Bay dates to circa 1769.
Desert bighorn sheep (O. c. nelsoni) – occurring throughout the desert regions of the Southwestern United States and Northwestern Mexico. The 2016 genetics study suggested a more modest divergence of this desert bighorn sheep into three lineages consistent with the earlier work of Cowan: Nelson's (O. c. nelsoni), Mexican (O. c. mexicana), and Peninsular (O. c. cremnobates). These three lineages occupy desert biomes that vary significantly in climate, suggesting exposure to different selection regimens.
In addition, two populations are currently considered endangered by the United States government:
Description
Bighorn sheep are named for the large, curved horns borne by the rams (males). Ewes (females) also have horns, but they are shorter with less curvature. They range in color from light brown to grayish or dark, chocolate brown, with a white rump and lining on the backs of all four legs. Males typically weigh 58–143 kg (128–315 lb), are 90–105 cm (35–41 in) tall at the shoulder, and 1.6–1.85 m (63–73 in) long from the nose to the tail. Females are typically 34–91 kg (75–201 lb), 75–90 cm (30–35 in) tall, and 1.28–1.58 m (50–62 in) long. Male bighorn sheep have large horn cores, enlarged cornual and frontal sinuses, and internal bony septa. These adaptations serve to protect the brain by absorbing the impact of clashes. Bighorn sheep have preorbital glands on the anterior corner of each eye, inguinal glands in the groin, and pedal glands on each foot. Secretions from these glands may support dominance behaviors.
Bighorns from the Rocky Mountains are relatively large, with males that occasionally exceed 230 kg (500 lb) and females that exceed 90 kg (200 lb). In contrast, Sierra Nevada bighorn males weigh up to only 90 kg (198 lb) and females to 60 kg (132 lb). Males' horns can weigh up to 14 kg (30 lb), as much as all the bones in the male's body.
Natural history
The Rocky Mountain and Sierra Nevada bighorn sheep occupy the cooler mountainous regions of Canada and the United States. In contrast, the desert bighorn sheep subspecies are indigenous to the hot desert ecosystems of the Southwestern United States and Mexico. Bighorn sheep inhabit alpine meadows, grassy mountain slopes, and foothill country near rugged, rocky cliffs and bluffs. Since bighorn sheep cannot move through deep snow, they prefer drier slopes, where the annual snowfall is less than about 150 cm (60 in) per year. A bighorn's winter range usually has lower elevations than its summer range.
Bighorn sheep are highly susceptible to certain diseases carried by domestic sheep, such as psoroptic scabies and pneumonia; additional mortality occurs as a result of accidents involving rock falls or falling off cliffs (a hazard of living in steep, rugged terrain). Bighorns are well adapted to climbing steep terrain, where they seek cover from predators. Predation primarily occurs with lambs, which are hunted by coyotes, bobcats, gray foxes, wolverines, jaguars, ocelots, lynxes, and golden eagles.
Bighorn sheep of all ages are threatened by black bears, grizzly bears, wolves, and especially mountain lions, which are perhaps best equipped with the agility to prey on them in uneven, rocky habitats. Fire suppression techniques may limit visibility through shrublands, and therefore increase cover and predation rates by mountain lions. Bighorn sheep are considered good indicators of land health because the species is sensitive to many human-induced environmental problems. In addition to their aesthetic value, bighorn sheep are considered desirable game animals by hunters.
Bighorn sheep graze on grasses and browse shrubs, particularly in fall and winter, and seek minerals at natural salt licks. Females tend to forage and walk, possibly to avoid predators and protect lambs, while males tend to eat and then rest and ruminate, which lends to more effective digestion and greater increase in body size.
Social structure and reproduction
Bighorn sheep live in large herds and do not typically follow a single leader ram, unlike the mouflon, the ancestor of the domestic sheep, which has a strict dominance hierarchy. Before the mating season or "rut", the rams attempt to establish a dominance hierarchy to determine access to ewes for mating. During the prerut period, most of the characteristic horn clashing occurs between rams, although this behavior may occur to a limited extent throughout the year. Bighorn sheep exhibit agonistic behavior: two competitors walk away from each other and then turn to face each other before jumping and lunging into headbutts. Rams' horns can frequently exhibit damage from repeated clashes. Females exhibit a stable, nonlinear hierarchy that correlates with age. Females may fight for high social status when they are integrated into the hierarchy at one to two years of age.
Rocky Mountain bighorn rams employ at least three different courting strategies. The most common and successful is the tending strategy, in which a ram follows and defends an estrous ewe. Tending takes considerable strength and vigilance, and ewes are most receptive to tending males, presumably feeling they are the most fit. Another tactic is coursing, when rams fight for an already tended ewe. Ewes typically avoid coursing males, so the strategy is ineffective. The rams also employ a blocking strategy. They prevent a ewe from accessing tending areas before she even enters estrus.
Bighorn ewes have a six-month gestation. In temperate climates, the peak of the rut occurs in November, with one, or rarely two, lambs being born in May. Most births occur in the first two weeks of the lambing period. Pregnant ewes of the Rocky Mountains migrate to alpine areas in spring, presumably to give birth in areas safer from predation, but are away from areas with good quality forage. Lambs born earlier in the season are more likely to survive than lambs born later. Lambs born late may not have access to sufficient milk, as their mothers are lactating at a time when food quality is lower. Newborn lambs weigh from 3.6 to 4.5 kg (8 to 10 lb) and can walk within hours. The lambs are then weaned when they reach four to six months old. The lifespan of ewes is typically 10–14 years and 9–12 years for rams.
Bighorn ram skull
Many bighorn sheep populations in the United States experience regular outbreaks of infectious pneumonia, which likely result from the introduction of bacterial pathogens (in particular, Mycoplasma ovipneumoniae, and some strains of Mannheimia haemolytica) carried asymptomatically in domestic sheep. Once introduced, pathogens can transmit rapidly through a bighorn population, resulting in all-age die-offs that sometimes kill up to 90% of the population. In the years following pathogen introduction, bighorn populations frequently experience multiple years of lamb pneumonia outbreaks. These outbreaks can severely limit recruitment and likely play a powerful role in slowing population growth.
Relationship with humans
Bighorn sheep were widespread throughout the western United States, Canada, and northern Mexico two hundred years ago. The population was estimated to be 150,000 to 200,000. Unregulated hunting, habitat destruction, overgrazing of rangelands, and diseases contracted from domestic livestock all contributed to the decline, the most drastic occurring from about 1870 through 1950.
In 1936, the Arizona Boy Scouts mounted a statewide campaign to save the bighorn sheep. The scouts first became interested in the sheep through the efforts of Major Frederick Russell Burnham. Burnham observed that fewer than 150 of these sheep still lived in the Arizona mountains. The National Wildlife Federation, the Izaak Walton League, and the National Audubon Society also joined the effort. On January 18, 1939, over 600,000 hectares (1,500,000 acres) of land were set aside to create the Kofa National Wildlife Refuge and the Cabeza Prieta National Wildlife Refuge.
Many state and federal agencies have actively pursued the restoration of bighorn sheep since the 1940s. However, these efforts have met with limited success, and most of the historical range of bighorns remains unoccupied. Hunting for male bighorn sheep is allowed, but heavily regulated, in Canada and the United States.
In culture
Bighorn sheep were among the most admired animals of the Apsaalooka (Crow) people, and what is today called the Bighorn Mountain Range was central to the Apsaalooka tribal lands. In the Bighorn Canyon National Recreation Area book, storyteller Old Coyote describes a legend related to the bighorn sheep. A man possessed by evil spirits attempts to kill his heir by pushing the young man over a cliff, but the victim is saved by getting caught in trees. Rescued by bighorn sheep, the man takes the name of their leader, Big Metal. The other sheep grant him power, wisdom, sharp eyes, sure-footedness, keen ears, great strength, and a strong heart. Big Metal returns to his people with the message that the Apsaalooka people will survive only so long as the river winding out of the mountains is known as the Bighorn River.
Bighorn sheep are hunted for their meat and horns, used in ceremonies, as food, and as hunting trophies. They also serve as a source of ecotourism, as tourists come to see the bighorn sheep in their native habitat.
The Rocky Mountain bighorn sheep is the provincial mammal of Alberta and the state animal of Colorado and, as such, is incorporated into the symbol for the Colorado Division of Parks and Wildlife. The Desert bighorn sheep is the state mammal of Nevada.
The Bighorn sheep was featured in the children's book Buford the Little Bighorn (1967) by Bill Peet. The Bighorn sheep named Buford has a huge pair of horns in the Spring, Summer, Fall, and Winter, similar to Rudolph the Red-Nosed Reindeer.
Bighorn sheep were once known by the scientific identification "argali" or "argalia" due to assumption that they were the same animal as the Asiatic argali (Ovis ammon). Lewis and Clark recorded numerous sightings of O. canadensis in the journals of their exploration—sometimes using the name argalia. In addition, they recorded the use of bighorn sheep horns by the Shoshone in making composite bows. William Clark's Track Map produced after the expedition in 1814 indicated a tributary of the Yellowstone River named Argalia Creek and a tributary of the Missouri River named Argalia River, both in what is today Montana. Neither of these tributaries retained these names, however. The Bighorn River, another tributary of the Yellowstone, and its tributary stream, the Little Bighorn River, were both indicated on Clark's map and did retain their names, the latter being the namesake of the Battle of the Little Bighorn.
The Bighorn Ram was featured in a series of prints by artist Andy Warhol. In 1983, the artist was commissioned to create a portfolio of ten endangered species to raise environmental awareness. The portfolio, known as "Endangered Species" was created in support of the Endangered Species Act, which was passed by the U.S. Congress in 1973. Other animals within the portfolio include the Siberian Tiger, Bald Eagle and the Giant Panda.
Exhiubited at IMAS (TX), in the 2021 Annual Members' Juried Art Show, 10/9/21-1/22/22. Won "Best in Show" in the "All Photography/Digital Art" competition on Contemporary Art Gallery Online (www.contemporaryartgalleryonline.gallery/2019-all-photogr...) Published in "Living the Photo Artistic Life," Issue 57, Pg. 28 on issuu.com. My steampunk character is attempting to steal the “Sistine Madonna.” I selected this artwork because the Soviet Red Army stole the artwork during WWII and took it to the USSR. And, I found a nice gallery wall picture from The Hermitage. In keeping with Steampunk sensibilities, the time line is nonlinear, and our modern Victorian gal would have to be a time traveler in order to steal this particular artwork back from the Soviets, because it has been repatriated to Germany.
Digital Photomontage Image Sources: “The Study of Italian Art” by Edward Hau is in the public domain (Wikimedia); Model by MJRanum stock (Deviant Art); Pram by Jazella on Pixabay.com; Stolen Painting: “Sistine Madonna” by Raphael (public domain). Cloth covering from Shutterstock. Lights: Caroline Julia Moore; Textures by Katie Klassen
After months of clouds and rain, I had a clear night and went out to a dark site! I shot this [a few years back in narrowband](live.staticflickr.com/65535/50227760657_f722e2accb_o.png) which helped show the faint outer shell, but this time I decided to photograph it in true color LRGB. Captured on July 26th, 2025 from a bortle 3 zone (deerlick astronomy village).
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**[Equipment:](i.imgur.com/BsmkAmF.jpeg)**
* TPO 6" F/4 Imaging Newtonian
* Orion Sirius EQ-G
* ZWO ASI1600MM-Pro
* Skywatcher Quattro Coma Corrector
* ZWO EFW 8x1.25"/31mm
* Astronomik LRGB+CLS Filters- 31mm
* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm
* Agena 50mm Deluxe Straight-Through Guide Scope
* ZWO ASI-290mc for guiding
* Moonlite Autofocuser
**Acquisition:** 2 hours 50 minutes (Camera at -15°C), halfunity gain
* L - 31x120"
* R - 19x120"
* G - 18x120"
* B - 17x120"
* Darks- 30
* Flats- 30 per filter
**Capture Software:**
* Captured using [N.I.N.A.](nighttime-imaging.eu/) and PHD2 for guiding and dithering.
**PixInsight Preprocessing:**
* BatchPreProcessing
* StarAlignment
* Blink
* ImageIntegration per channel
* DrizzleIntegration (2x, Var β=1.5)
* Dynamic Crop
* DynamicBackgroundExtraction
> duplicated each image and removed stars via StarXterminator. Ran DBE with a shitload of points to generate background model. model subtracted from original pic using the following PixelMath (math courtesy of /u/jimmythechicken1)
> $T * med(model) / model
**Luminance Linear:**
* Blur and noisexterminator
* ArcsinhStretch + HistogramTransformation to stretch nonlinear
**RGB Linear:**
* ChannelCombination to combine monochrome R G and B images in to single color image
* SpectrophotometricColorCalibration
* BlurXterminator (correct stars only)
* HSV Repair
* ArcsinhStretch + HistogramTransformation to stretch nonlinear
* Slight saturation curve boost
**Nonlinear Processing:**
* LRGBCombination to combine stretched RGB and L images
* NoiseX again (more for chrominance noise)
* LocalHistogramEqualization
* Several rounds of curve adjustments for lightness, contrast, saturation, color balance, with various masks
* Resample to 80%
* Tighter crop in on just the nebula
* Annotation
randomness and wild
nature’s subconsciousness
imperfect imagination
Canon EOS M; Canon EF 50mm f/1.2L; Hoya Intensifier Filter; RAW Image Post: Affinity Photo 1.8.2
2020-03-20-EOS-0297
(Spring 2020) GT Cooper
x
MIDIA ARTE / MEDIA ART
[fladry + jones]: Robb Fladry and Barry Jones – The War is Over 2007
Agricola de Cologne – One Day on Mars
Alan Bigelow – “When I Was President”
Alessandra Ribeiro Parente Paes, Daniel Fernandes Gamez, Glauber Kotaki Rodrigues, Igor Albuquerque Bertolino, Karina Yuko Haneda, Marcio Pedrosa Tirico da Silva Junior. Orientadores: Mércia Albuquerque e Mauro Baptista – Reativo
Alessandro Capozzo – Talea
Alex Hetherington – Untitled (sexback, folly artist)
Alexandre Campos, Bruno Massara e Lucilene Soares Alves – Novos Olhares sobre a Mobilidade
Alexandre Cardoso Rodrigues Nunes, Bruno Coimbra Franco, Diego Filipe Braga R. Nascimento, Fábio Rinaldi Batistine, Yumi Dayane Shimada. Orientadores: Mércia Albuquerque e Carlos Alberto Barbosa – Abra Sua Gaveta
All: Alcione de Godoy, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Machina
Andreas Zingerele – Extension of Human Sight
Andrei R. Thomaz – O Tabuleiro dos Jogos que se bifurcam
Andrei R. Thomaz – First Person Movements
Andrei R. Thomaz e Marina Camargo – Eclipses
Brit Bunkley – Eclipses
Brit Bunkley – Spin
cali man – appendXship
Carlindo da Conceição Barbosa, Kauê de Oliveira Souza, Guilherme Tetsuo Takei, Renato Michalischen, Ricardo Rodrigues Martins, Tassia Deusdara Manso, Thalyta de Almeida Barbosa.
Orientadores: Mauricio Mazza e Carlos Alberto Barbosa – Da Música ao Caos
Christoph Korn – waldstueck
Corpos Informáticos: Bia Medeiros – UAI 69
Daniel Duda – do pixel ao pixel
Daniel Kobayashi, Felipe Crivelli Ayub, Fernando Boschetti, Luiz Felipe M. Coelho, Marcelo Knelsen, Mauro Falavigna, Rafael de A. Campos, Wellington K. Guimarães Bastos. Orientadores: Mércia Albuquerque e Gizela Belluzo de Campos – A Casa Dentro da Porta
David Clark - 88 Constellations for Wittgenstein
Thais Paola Galvez, Josias Silva, Diego Abrahão Modesto, Nilson Benis, Vinicius Augusto Naka de Vasconcelos, Wilson Ruano Junior, Marcela Moreira da Silva. Orientadores: Paulo Costa e Mauricio Mazza – Rogério Caos
Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 1/2
Agence TOPO: Elene Tremblay, Marcio Lana-Lopez,Maryse Larivière, Marie-Josée Hardy, James Prior – Mês / My contacts
Eliane Weizmann, Fernando Marinho e Leocádio Neto – Story teller
Fabian Antunes Silva – Pusada Recant Abaetuba
Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre
Fernando Aquino – UAI-Justiça
Henry Gwiazda – claudia and paul
Henry Gwiazda – a doll`s house is……
Henry Gwiazda – there`s whispering......
Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse
Isabel Margarida Aranda Mansilla – Cyber Birds Dance
Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7
Jorb Ebner - sans femme et sans aviateur
Josephine Anstey e Dave Pape – Office Diva
Joshua Andrew Fishburn – Layers
Joshua Andrew Fishburn – Waiting
Joshua Andrew Fishburn – Peculiaris
Kevin Evensen – Veils of Light
lemeh42: santini michele e paoloni lorenza - Study on human form and humanity #01
Linda Hilfling Nielsen – misspelling generator
Lisa Link – If I worked for 493 years
Marcelo Padre – Estro
Martha Carrer Cruz Gabriel – Locative Painting
Martin John Callanan – I Wanted to See All of the News From Today
Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura
Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura – Homo ex Machina
Michael Takeo Magruder – Sequence-n (labyrinth)
Michael Takeo Magruder – Sequence-n (horizon)
Michael Takeo Magruder + Drew Baker + David Steele – The Vitruvian World
Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary)
Nurit Bar-Shai – Nothing Happens
projectsinge: Blanquet jerome – Monkey_Party
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno – WATERCOLEUS PARK
rachelmauricio castro – 360
rachelmauricio castro – R.G.B.
rachelmauricio castro – tybushwacka
Rafael Rozendaal – future physics
Regina Célia Pinto – Ninhos e Magia
Ronaldo Ribeiro da Silva (Roni Ribeiro) – Bípedes
Rubens Pássaro – ISTO NÃO É PARANÓIA
Rui Filipe Antunes – xTNZ
Selcuk ARTUT & Cem OCALAN – NewsPaperBox
Stuart Pound – Dominat Culture
Stuart Pound – SF
Stuart Pound – Life on Mars
Susan Jowsey and Marcus Williams – The Trouble
Tanja Vujinovic – Osciloo
Weinberger Hannah – “Without Title”
CINEMA DOCUMENTA
Antonello Matarazzo – Interferenze
Bruno Natal - Dub Echoes
Carlo Sansolo - Panoramika Eletronika
Kevin Logan – Recitation
Kodiak Bachine e Apollo 9 – Nuncupate
Linda Hilfing Nielsen - Participation 0.0
Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie
Matthew Bate - What The Future Sounded Like
Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music
CINEMA DIGITAL
A Study of 4D Julia sets
Baraka / Baraka from DVD to 4K / Baraka with the monkey
Beatbox360
Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)
Era la Notte
Flight to the Center of the Milky Way
Growth by aggregation 2
Jet Instabilities in a stratified fluid flow
Keio University Concert
Manny Farber (Tribute to)
Scalable City
The Nonlinear Evolution of the Universe
The Prague train
FILE INOVAÇÃO / FILE INNOVATION
Interface Cérebro-Computador – Eduardo Miranda
Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia
Robô de visão omnidirecional – Jun Okamoto
Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik
Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.
GAMES INSTALAÇÕES / INSTALLATIONS GAMES
Giles Askham – Aquaplayne
Jonah Warren & Steven Sanborn – Transpose
Jonah Warren & Steven Sanborn – Full Body Games
Fabiano Onça e Coméia – Tantalus Quest
Julian Oliver - levelHead
GAMES
Andreas Zecher – Understanding Games
Andrei R. Thomaz – Cubos de Cor
Arvi Teikari – Once In Space
Fabrício Fava – Futebolando
Golf Question Mark – Golf
Introversion.co.uk – Darwinia
Jens Andersson and Ida Rödén – Rorschach
Jonatan Söderström – CleanAsia!
Jonatan Söderström – AdNauseum2
Jorn Ebner – sans femme et sans avieteur
Josh Nimoy – BallDroppings
Josiah Pisciotta – Gish
Marek Walczak and Martin Wattenberg – Thinking Machine 7
Mariana Rillo – Desmanche
Mark Essen - Punishment: The punishing
Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST
Playtime – SFZero
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK
QueasyGames - Jonathan Mak – Everyday Shooter
R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War
Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day
Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm
Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain
Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard
Tanja Vujinovic – Osciloo
ThatGameCompany – Jenova Chen – Clouds
ThatGameCompany – Jenova Chen - flOw
JOGOS BR
JOGOS BR 1
Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive
Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.
Cim-itério - Wagner Gomes Carvalho / Green Land Studios
Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.
Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira
/ Gamion Realidade Virtual & Games
Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.
JOGOS BR 2 – Jogos Completos
Cave Days - Winston George A. Petty / Insolita Studios
Peixis!
(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics
JOGOS BR 2 – Demos Jogáveis
Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games
Conspiração Dumont - Guilherme Mattos Coutinho
Flora - Francisco Oliveira de Queiroz
Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.
Inferno - Alexandre Vrubel / Continuum Entertainment Ltda
Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho
Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza
HIPERSÔNICA / HIPERSONICA
Hipersônica Performance
Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática
Bernhard Gal – Gal Live
+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil
Luiz duVa - Concerto para duo de laptops
Henrique Roscoe (a.k.a. 1mpar) – HOL
Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones
Alexandre Fenerich e Giuliano Obici – Nmenos1
Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra
Hipersônica Participantes
Agricola de Cologne - soundSTORY - sound as a tool for storytelling
Jen-Kuan Chang – Drishti II
Jen-Kuan Chang – Discordance
Jen-Kuan Chang – Nekkhamma
Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness
Jerome Soudan – Mimetic
Matt Lewis e Jeremy Keenan – Animate Objects
Robert Dow - Precipitation within sight
Tetsu Kondo – Dendraw
Tomas Phillips – Drink_Deep
Hipersônica Screening
Art Zoyd's: Amandine Top – EYECATCHER 1
Art Zoyd's: Amandine Top – EYECATCHER 2, Man with a movie câmera
Art Zoyd's: Amandine Top – Movie-Concert for The Fall of the Usher House
Flames aka Flames: Raphael Freire - Performance Audiovisual Sincronizada: Sociedade Pós-Moderna, Novas Tecnologias e Espaço Urbano
Celia Eid e Sébastien Béranger – Gymel
Duprass: Liora Belford e Ido Govrin – Free Field
Duprass: Liora Belford e Ido Govrin – Pink / Noise
Citrullo International: Carlo Hitermann – H2O
1mpar: Henrique Roscoe – HOL
Jay Needham - Narrative Half-life
Daniel Carvalho - butterbox – diving
Daniel Carvalho - OUT_FLOW PART I
Bernard Loibner – Meltdown
Soundsthatmatter – trotting
Soundsthatmatter – briji
Fernando Velázquez – Nómada
Bjorn Erik Haugen – Regress
Audiobeamers: Felipe Frozza - Paesaggi Liquidi II
David Muth - You Are The Sony Of My Life
Dennis Summers – Plase Shift Videos
INSTALAÇÕES / INSTALLATIONS
Anaisa Franco – Connected Memories
Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo
Graffiti Research Lab – Various
Hisako K. Yamakawa – Kodama
r3nder.net+i2off.org – is.3s
Jarbas Jacome – Crepúsculo dos Ídolos
Julio Obelleiro & Alberto García – Magnéticos
Julio Obelleiro & Alberto García – The Magic Torch
Mariana Manhães – Liquescer (Jarrinho)
Mariana Manhães – Liquescer (Jarrinho Azul)
Rejane Cantoni e Leonardo Crescenti – PISO
Sheldon Brown – Scalable City
Soraya Braz e Fábio FON – Roaming
Takahiro Matsuo – Phantasm
Ursula Hentschlaeger – Outer Space IP
Ursula Hentschlaeger – Phantasma
Ursula Hentschlaeger – Binary Art Site
SYMPOSIUM
Agnus Valente
Anaisa Franco
Andre Thomaz e Silvia Laurentiz
Christin Bolewski
Giles Askham
Graffiti Research Lab: James Powderly
Hidenori Watanave
Ivan Ivanoff e Jose Jimenez
Jarbas Jácome
João Fernando Igansi Nunes
Marcos Moraes
Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]
Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin
Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri
Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]
Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz
Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto
Nardo Germano
Nori Suzuki
Sandra Albuquerque Reis Fachinello
Satoru Tokuhisa
Sheldon Brown
Soraya Braz e Fabio FON
Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]
Ursula Hentschlaeger
Valzeli Sampaio
x
Captured on October 3rd and 5th, 2020 from a Bortle 6 zone.
---
**[Equipment:](i.imgur.com/6T8QNsv.jpg)**
* TPO 6" F/4 Imaging Newtonian
* Orion Sirius EQ-G
* ZWO ASI1600MM-Pro
* Skywatcher Quattro Coma Corrector
* ZWO EFW 8x1.25"/31mm
* Astronomik LRGB+CLS Filters- 31mm
* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm
* Agena 50mm Deluxe Straight-Through Guide Scope
* ZWO ASI-120MC for guiding
* Moonlite Autofocuser
**Acquisition:** 10 hours 0 minutes (Camera at Unity Gain, -15°C)
* Ha- 68x360"
* Oiii- 12x360"
* Sii- 20x360"
* Darks- 30
* Flats- 30 per filter
**Capture Software:**
* Captured using [N.I.N.A.](nighttime-imaging.eu/) and PHD2 for guiding and dithering.
**PixInsight Processing:**
* BatchPreProcessing
* SubframeSelector
* StarAlignment
* [Blink](youtu.be/sJeuWZNWImE?t=40)
* ImageIntegration
* DrizzleIntegration (2x, VarK=1.5)
**Linear:**
* DynamicCrop
* AutomaticBackgroundExtraction
* STF applied via HistogramTransformation to bring each channel nonlinear
**Synthetic Luminance:**
* Pixelmath to combine linear Ha, Sii, and Oiii channels into synthetic luminance (mean function)
* [EZ Decon, Denoise, and Soft Stretch](darkarchon.internet-box.ch:8443/)
**Combining Channels:**
* PixelMath to make classic SHO to RGB image
* LRGBCombination with synthetic L
* Green partially nuked using SCNR
* Pixelmath to make RGB image using [ForaxX's palette](thecoldestnights.com/2020/06/pixinsight-dynamic-narrowban...)
> R= (Oiii\^~Oiii)\*Sii + ~(Oiii\^~Oiii)\*Ha
> G= ((Oiii\*Ha)\^~(Oiii\*Ha))\*Ha + ~((Oiii\*Ha)\^~(Oiii\*Ha))\*Oiii
> B= Oiii
* LRGBCombination with synthetic L
* Pixelmath to blend classic and ForaxX SHO images 50:50
**Nonlinear:**
* shitloads of [Curve](i.imgur.com/KMRMe3f.jpg)Transformations to adjust lightness, saturation, contrast, hues, etc
* ColorSaturation to bring out reds
* ACDNR
* DarkStructureEnhance
* LocalHistogramTransformation
* More curves
* EZ Star Reduction
* CloneStamp to remove a few hot pixels (could've tweaked the Oiii rejection settings a bit better)
* Resample to 70%
* Annotation
Chaos, nonlinear dynamics, emergence, self-organization, complexity, strange attractors, time series, fractals, randomness, pink noise, power laws, tipping points, the butterfly effect... these are a few of my favorite things!
Description: This image of the Pleiades Star Cluster M45 was developed by me from 120x300s subs or 10.0 hours of total exposure time. The inset shows a close-up of the cluster star Maia and its immediate surroundings.
Date / Location: 9-11, 13, 14, 16-19 December 2022 / Washington D.C.
Equipment:
Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII flattener/focal reducer x0.8
Cooled camera: ZWO ASI 2600MC Pro at 100 Gain and 50 Offset
Mount: iOptron GEM28-EC mount
Guider: ZWO Off-Axis Guider
Guide camera: ZWO ASI 174MM mini
Focuser: ZWO EAF
Light pollution filter: Chroma LoGlow Broadband Light Pollution Reduction Filter - 2"
Software: Pixinsight
Processing Steps:
Preprocessing: I preprocessed 120x300s subs (= 10.0 hours) in Pixinsight to get an integrated image using the following process steps: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and Star Align > Image Integration.
Linear Postprocessing: Rotation > Dynamic Crop > Dynamic Background Extractor (both subtraction to remove light pollution gradients and division for flat field corrections) > Background Neutralization > Color Calibration > Noise Xterminator.
Nonlinear Postprocessing and additional steps: Histogram Transformation > Local Histogram Equalization > Curves Transformation > SCNR Noise Reduction. Multiple passes of Histogram Transformation, Local Histogram Equalization and Curves Transformations were made in small doses.
Moscú - Moscow - Москва
Happening (de la palabra inglesa que significa acontecimiento, ocurrencia, suceso) es toda experiencia que parte de la secuencia provocación-participación-improvisación. Tiene su origen en la década de 1950 y se considera una manifestación artística multidisciplinaria. Aunque se han relacionado con el pop-art y el movimiento hippie, los happenings se integran dentro del conjunto del llamado performance art.
En un principio, el happening artístico fue una tentativa de producir una obra de arte que naciese del acto a organizar y con la participación de los "espectadores" (que abandonasen así su posición de sujetos pasivos y se liberasen a través de la expresión emotiva y la representación colectiva). Aunque es común confundir el happening con la llamada acción artística el primero difiere de la segunda en la improvisación.
El happening, como manifestación artística múltiple que pretende la participación espontánea del público, suele ser efímero. Por este motivo los happenings suelen presentarse en lugares públicos, irrumpiendo en la cotidianeidad.
es.wikipedia.org/wiki/Happening
A happening is a performance, event, or situation meant to be considered art, usually as performance art. The term was first used by Allan Kaprow during the 1950s to describe a range of art-related event or multiple events.
Happenings occur anywhere and are often multi-disciplinary, with a nonlinear narrative and the active participation of the audience. Key elements of happenings are planned but artists sometimes retain room for improvisation. This new media art aspect to happenings eliminates the boundary between the artwork and its viewer.
In the late 1960s, perhaps due to the depiction in films of hippie culture, the term was used much less specifically to mean any gathering of interest from a pool hall meetup or a jamming of a few young people to a beer blast or fancy formal party.
The Deer Lick Group (right) is a group of galaxies with NGC 7331 in the foreground, and the galaxies surrounding it. NGC 7331 is approximately 40 million light years away, with the other Deer Lick members ~300 million light years behind it. Stephan's Quintet (left) is a grouping of 5 galaxies. Much like deerlick, one of them is in the foreground ~40 Mly away from us, and the other 4 are 210-340 Mly distant. These distant galaxies are interacting and will eventually merge together. [Here is an annotated image showing some of the faint galaxies in the uncropped FOV](i.imgur.com/F0vPX5O.jpg) (still trying to add custom catalogs to the annotate image script in PI). Captured on November 16th, 17th, and 18th, 2020 from a bortle 6 zone.
---
**[Equipment:](i.imgur.com/6T8QNsv.jpg)**
* TPO 6" F/4 Imaging Newtonian
* Orion Sirius EQ-G
* ZWO ASI1600MM-Pro
* Skywatcher Quattro Coma Corrector
* ZWO EFW 8x1.25"/31mm
* Astronomik LRGB+CLS Filters- 31mm
* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm
* Agena 50mm Deluxe Straight-Through Guide Scope
* ZWO ASI-120MC for guiding
* Moonlite Autofocuser
**Acquisition:** 12 hours 38 minutes (Camera at Unity Gain, -15°C)
* Lum- 235x120"
* Red- 48x120"
* Green- 47x120
* Blue- 49x120"
* Darks- 30
* Flats- 30 per filter
**Capture Software:**
* Captured using [N.I.N.A.](nighttime-imaging.eu/) and PHD2 for guiding and dithering.
**PixInsight Processing:**
* BatchPreProcessing
* SubframeSelector
* StarAlignment
* [Blink](youtu.be/sJeuWZNWImE?t=40)
* ImageIntegration
* DrizzleIntegration (Luminance only)
* DynamicCrop
* DynamicBackgroundExtraction
**Luminance:**
* [EZ Decon and Denoise](darkarchon.internet-box.ch:8443/) (Luminance only)
* ArcsinhStretch
* HistogramTransformation
**RGB**
* StarAlign RGB stacks to Drizzled Lum
* LinearFit to Green
* ChannelCombintion
* PhotometricColorCalibration
* HSV Repair
* ArcsinhStretch
* HistogramTransformation
* LRGBCombination with Lum
**Nonlinear:**
* Several CurveTransformations to adjust lightness, contrast, saturation, etc
* ACDNR
* LocalHistogramEqualization
* More Curves
* EZ Star Reduction
* Resample to 60%
* DynamicCrop
* Annotation
This is my longest project to date, with 84 hours of long exposure time over 2 seasons going into this photo. Sh2-224 is an extremely faint nebula, and [and this is what a single 10 minute long exposure](i.imgur.com/gpKT2dx.png) (through a Ha narrowband filter) of it looks like. I ended up getting ~83 hours of narrowband exposures like this, plus about an hour of RGB images for the stars. Because it's so faint, if the moon was up at all I did not shoot it, which cut the number of clear nights I could reasonably image it in half. The nebula itself is false color (although the HOO palette I used is fairly close to natural color), the stars were taken with RGB filters and are true color, and I finally managed to learn how to do some [starless processing techniques](www.nightphotons.com/guides/star-addition) for combining the stars+nebula
Captured over 27 nights between February 2021 and April 2022, from my Bortle 6 driveway
---
**[Equipment:](i.imgur.com/ejpKkwU.jpg)**
* TPO 6" F/4 Imaging Newtonian
* Orion Sirius EQ-G
* ZWO ASI1600MM-Pro
* Skywatcher Quattro Coma Corrector
* ZWO EFW 8x1.25"/31mm
* Astronomik LRGB+CLS Filters- 31mm
* Astrodon 31mm Ha 5nm, Oiii 3nm, Sii 5nm
* Agena 50mm Deluxe Straight-Through Guide Scope
* ZWO ASI-120mc for guiding
* Moonlite Autofocuser
**Acquisition:** 83 hours 52 minutes (Camera at Unity Gain, -20°C)
* Ha - 266x600"
* Oiii - 231x600"
* Red- 14x90"
* Green- 14x90"
* Blue- 14x90"
* Darks- 30
* Flats- 30 per filter
**Capture Software:**
* Captured using [N.I.N.A.](nighttime-imaging.eu) and PHD2 for guiding and dithering.
**PixInsight Processing:**
* BatchPreProcessing
* SubframeSelector
* StarAlignment
* [Blink](youtu.be/sJeuWZNWImE?t=40)
* ImageIntegration
* DrizzleIntegration (2x, Var β=1.5)
**Narrowband processing:**
* DynamicCrop
* DynamicBackgroundExtractions
* NoiseXTerminator
* StarXterminator to completely remove stars for starless processing
> to be later replaced by RGB stars. doing this allows the nebula to be stretched without worrying about blowing out stars
* HistogramTransformations to stretch nonlinear
**RGB Linear Processing:**
* DynamicCrop
* DynamicBackgroundExtractions
* ChannelCombination to combine monochrome R, G, and B frames into color image
* PhotometricColorCalibration
* Slight SCNR Green
* HSV Repair
> super useful for putting color back into blown out star cores
* StarXterminator to generate stars only image
> basically just getting rid of the background
* ArcsinhStretch + Histogram transformation to stretch nonlinear
**Combining Channels:**
* ChannelCombination to combine stretched Ha and Oiii images into color image
> Ha mapped to red channel, Oiii to Green and Blue
* HistogramTransformation to [re-linearize](www.nightphotons.com/guides/star-addition) HOO and RGB stars images
* PixelMath to add RGB stars only image to starless HOO image
> HOO + Stars the math was simple
* HistogramTransformation to bring HOO+Stars pic back to nonlinear state
**Nonlinear:**
* Shitloads of CurveTransformations to adjust lightness, saturation, contrast, hues, etc. with various masks
* ColorSaturation to selective saturate/desaturate specific hues
* More curves
* Slight SCNR Green
* NoiseXterminator
* LRGBCombination with extracted L as luminance, used for chrominance noise reduction
* even more curves
* color saturation again
* SCNR to remove some green star color
* EZ star reduction
* NoiseGenerator to add noise into reduced star areas
* LocalHistogramEqualization
* guess what baby more [curves!](www.youtube.com/watch?v=S1OgCAvOTqA)
* Extract L --> LRGBCombination again with mask for larger scale background chrominance noise reduction
* Resample to 70%
* Annotation
x
CINEMA DIGITAL
A Study of 4D Julia sets
Baraka / Baraka from DVD to 4K / Baraka with the monkey
Beatbox360
Enquanto a noite não chega (While we wait for the night â?" first Brazilian film in 4K)/(primeiro filme brasileiro em 4k)
Era la Notte
Flight to the Center of the Milky Way
Growth by aggregation 2
Jet Instabilities in a stratified fluid flow
Keio University Concert
Manny Farber (Tribute to)
Scalable City
The Nonlinear Evolution of the Universe
The Prague train
FILE INOVAÇÃO / FILE INNOVATION
Interface Cérebro-Computador – Eduardo Miranda
Sistema comercial de Reconhecimento Automático - Genius Instituto de Tecnologia
Robô de visão omnidirecional – Jun Okamoto
Loo Table: mesa interativa - André V. Perrotta, Erico Cheung e Luis Stateri dos Santos, da empresa Loodik
Simulador de Ondas e Simulador de Turbilhão - Steger produção de efeitos especiais ltda.
GAMES INSTALAÇÕES / INSTALLATIONS GAMES
Giles Askham – Aquaplayne
Jonah Warren & Steven Sanborn – Transpose
Jonah Warren & Steven Sanborn – Full Body Games
Fabiano Onça e Coméia – Tantalus Quest
Julian Oliver - levelHead
GAMES
Andreas Zecher – Understanding Games
Andrei R. Thomaz – Cubos de Cor
Arvi Teikari – Once In Space
Fabrício Fava – Futebolando
Golf Question Mark – Golf
Introversion.co.uk – Darwinia
Jens Andersson and Ida Rödén – Rorschach
Jonatan Söderström – CleanAsia!
Jonatan Söderström – AdNauseum2
Jorn Ebner – sans femme et sans avieteur
Josh Nimoy – BallDroppings
Josiah Pisciotta – Gish
Marek Walczak and Martin Wattenberg – Thinking Machine 7
Mariana Rillo – Desmanche
Mark Essen - Punishment: The punishing
Mark Essen - RANDY BALMA: MUNICIPAL ABORTIONIST
Playtime – SFZero
QUBO GAS: Jef Ablézot, Morgan Dimnet & Laura Henno - WATERCOULEUR PARK
QueasyGames - Jonathan Mak – Everyday Shooter
R-S-G: Radical Software Group - Kriegspiel - Guy Debord's Game of War
Shalin Shodhan (www.experimentalgameplay.com) – On a Rainy Day
Shalin Shodhan (www.experimentalgameplay.com) – Cytoplasm
Shalin Shodhan (www.experimentalgameplay.com) – Particle Rain
Tales of Tales: Auriea Harvey & Michaël Samyn - The Graveyard
Tanja Vujinovic – Osciloo
ThatGameCompany – Jenova Chen – Clouds
ThatGameCompany – Jenova Chen - flOw
JOGOS BR
JOGOS BR 1
Ayri - Uma Lenda Amazônica - Sylker Teles da Silva / Outline Interactive
Capoeira Experience - Andre Ivankio Hauer Ploszaj / Okio Serviços de Comunicação Multimídia Ltda.
Cim-itério - Wagner Gomes Carvalho / Green Land Studios
Incorporated (Emprego Maluco) - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Iracema Aventura – Odair Gaspar / Perceptum Software Ltda.
Nevrose: Sangue e Loucura Sob o Sol do Sertão - Rodrigo Queiroz de Oliveira
/ Gamion Realidade Virtual & Games
Raízes do Mal – Marcos Cruz Alves / Ignis Entretenimento e Informática Ltda.
JOGOS BR 2 – Jogos Completos
Cave Days - Winston George A. Petty / Insolita Studios
Peixis!
(JOGO EM DESENVOLVIMENTO) - Wallace Santos Lages / Ilusis Interactive Graphics
JOGOS BR 2 – Demos Jogáveis
Brasilia Tropicalis - Thiago Salgado Aiache de Moraes / Olympya Games
Conspiração Dumont - Guilherme Mattos Coutinho
Flora - Francisco Oliveira de Queiroz
Fórmula Galaxy – Artur Corrêa / Vencer Consultoria e Projetos Ltda.
Inferno - Alexandre Vrubel / Continuum Entertainment Ltda
Lex Venture - Tiago Pinheiro Teixeira / Interama Jogos Eletrônicos
Trem de Doido (DEMO EM DESENVOLVIMENTO) - Marcos André Penna Coutinho
Zumbi, o rei dos Palmeiras - Nicholas Lima de Souza
HIPERSÔNICA / HIPERSONICA
Hipersônica Performance
Andrei Thomaz, Francisco Serpa, Lílian Campesato e Vitor Kisil – Sonocromática
Bernhard Gal – Gal Live
+Zero: Fabrizio Augusto Poltronieri, Jonattas Marcel Poltronieri, Raphael Dall'Anese - +Zero do Brasil
Luiz duVa - Concerto para duo de laptops
Henrique Roscoe (a.k.a. 1mpar) – HOL
Jose Ignacio Hinestrosa e Testsu Kondo – Fricciones
Alexandre Fenerich e Giuliano Obici – Nmenos1
Orqstra de Laptops de São Paulo - EvEnTo 3 Movimentos para Orquestra
Hipersônica Participantes
Agricola de Cologne - soundSTORY - sound as a tool for storytelling
Jen-Kuan Chang – Drishti II
Jen-Kuan Chang – Discordance
Jen-Kuan Chang – Nekkhamma
Jen-Kuan Chang - She, Flush, Vegetable, Lo Mein, and Intolerable Happiness
Jerome Soudan – Mimetic
Matt Lewis e Jeremy Keenan – Animate Objects
Robert Dow - Precipitation within sight
Tetsu Kondo – Dendraw
Tomas Phillips – Drink_Deep
INSTALAÇÕES / INSTALLATIONS
Anaisa Franco – Connected Memories
Andrei Thomaz & Sílvia Laurentiz – 1º Subsolo
Graffiti Research Lab – Various
Hisako K. Yamakawa – Kodama
r3nder.net+i2off.org – is.3s
Jarbas Jacome – Crepúsculo dos Ídolos
Julio Obelleiro & Alberto García – Magnéticos
Julio Obelleiro & Alberto García – The Magic Torch
Mariana Manhães – Liquescer (Jarrinho)
Mariana Manhães – Liquescer (Jarrinho Azul)
Rejane Cantoni e Leonardo Crescenti – PISO
Sheldon Brown – Scalable City
Soraya Braz e Fábio FON – Roaming
Takahiro Matsuo – Phantasm
Ursula Hentschlaeger – Outer Space IP
Ursula Hentschlaeger – Phantasma
Ursula Hentschlaeger – Binary Art Site
SYMPOSIUM
Agnus Valente
Anaisa Franco
Andre Thomaz e Silvia Laurentiz
Christin Bolewski
Giles Askham
Graffiti Research Lab: James Powderly
Hidenori Watanave
Ivan Ivanoff e Jose Jimenez
Jarbas Jácome
João Fernando Igansi Nunes
Marcos Moraes
Mediengruppe Bitnik; Carmen Weisskopf, Domagoj Smoljo, Silvan Leuthold, Sven König [SWI]
Mesa Redonda (LABO) - Cicero Silva, Lev Manovich (teleconferencia) e Noah Wardrip-Fruin
Mesa Redonda [BRA] – (Hipersônica) Renata La Rocca, Gabriela Pereira Carneiro, Ana Paula Nogueira de Carvalho, Clarissa Ribeiro Pereira de Almeida. Mediação: Vivian Caccuri
Mesa Redonda [BRA] - [Ministro da Cultura: Gilberto Gil | Secretário do Audiovisual do Ministério da Cultura: Sílvio Da-Rin | Secretário de Políticas Culturais do Ministério da Cultura: Alfredo Manevy ]
Mesa Redonda [BRA] - Inovação - Lala Deheinzelin, Gian Zelada, Alessandro Dalla, Ivandro Sanches, Eduardo Giacomazzi. Mediação: Joana Ferraz
Mesa Redonda 4k - Jane de Almeida, Sheldon Brownn, Mike Toillion, Todd Margolis, Peter Otto
Nardo Germano
Nori Suzuki
Sandra Albuquerque Reis Fachinello
Satoru Tokuhisa
Sheldon Brown
Soraya Braz e Fabio FON
Suzete Venturelli, Mario Maciel e bolsistas do CNPq/UnB (Johnny Souza, Breno Rocha, João Rosa e Samuel Castro [BRA]
Ursula Hentschlaeger
Valzeli Sampaio
Cinema Documenta FILE São Paulo 2008
Antonello Matarazzo – Interferenze – Itália / Italy
Bruno Natal - Dub Echoes – Brasil / Brazil
Carlo Sansolo - Panoramika Eletronika - Brasil / Brazil
Kevin Logan – Recitation – Londres / London
Kodiak Bachine e Apollo 9 – Nuncupate – Brasil / Brazil
Linda Hilfing Nielsen - Participation 0.0 – Dinamarca
Maren Sextro e Holger Wick - Slices, Pioneers of Electronic Music – Vol.1 – Richie Hawtin Documentary – Alemanha / Germany
Matthew Bate - What The Future Sounded Like – Austrália
Thomas Ziegler, Jason Gross e Russell Charmo - OHM+ the early gurus of electronic music – Eua / USA
Mídia Arte FILE São Paulo 2008
[ fladry + jones ] Robb Fladry and Barry Jones - The War is Over 2007 – EUA / USA
Agricola de Cologne - One Day on Mars – Alemanha / Germany
alan bigelow - "When I Was President" – EUA / USA
Alessandra Ribeiro Parente Paes
Daniel Fernandes Gamez
Glauber Kotaki Rodrigues
Igor Albuquerque Bertolino
Karina Yuko Haneda
Marcio Pedrosa Tirico da Silva Junior – Reativo – Brasil / Brazil
Alessandro Capozzo – Talea – Itália / Italy
Alex Hetherington - Untitled (sexyback, folly artist) – Reino Unido / United Kingdon
Alexandre Campos, Bruno Massara e Lucilene Soares Alves - Novos Olhares sobre a Mobilidade – Brasil / Brazil
Alexandre Cardoso Rodrigues Nunes
Bruno Coimbra Franco
Diego Filipe Braga R. Nascimento
Fábio Rinaldi Batistine
Yumi Dayane Shimada – Abra Sua Gaveta – Brasil / Brazil
ALL: ALCIONE DE GODOY, ADILSON NG, CAMILLO LOUVISE COQUEIRO, MARINA QUEIROZ MAIA, RODOLFO ROSSI JULIANI, VINÍCIUS NAKAMURA DE BRITO – Vita Ex Maxina – Brasil / Brazil
Andreas Zingerle - Extension of Human sight – Áustria
Andrei R. Thomaz - O Tabuleiro dos Jogos que se bifurcam - First Person Movements - Brasil / Brazil
Andrei R. Thomaz e Marina Camargo – Eclipses – Brasil / Brazil
Brit Bunkley – Spin – Spite – Nova Zelândia – New Zeland
calin man – appendXship / Romênia
Carlindo da Conceição Barbosa
Kauê de Oliveira Souza
Guilherme Tetsuo Takei
Renato Michalischen
Ricardo Rodrigues Martins
Tassia Deusdara Manso
Thalyta de Almeida Barbosa / Da Música ao Caos – Brasil / Brazil
Christoph Korn – waldstueck – Alemanha / Germany
Corpos Informáticos: Bia Medeiros, Carla Rocha, Diego Azambuja, Fernando Aquino, Kacau Rodrigues, Márcio Mota, Marta Mencarini, Wanderson França – UAI 69 – Brasil / Brazil
Duda. – do pixel ao pixel – Brasil / Brazil
Daniel Kobayashi
Felipe Crivelli Ayub
Fernando Boschetti
Luiz Felipe M. Coelho
Marcelo Knelsen
Mauro Falavigna
Rafael de A. Campos
Wellington K. Guimarães Bastos - A Casa Dentro da Porta – Brasil / Brazil
David Clark - 88 Constellations for Wittgenstein – Canadá
Thais Paola Galvez
Josias Silva
Diego Abrahão Modesto
Nilson Benis
Vinicius Augusto Naka de Vasconcelos
Wilson Ruano Junior
Marcela Moreira da Silva – Rogério caos – Brasil / Brazil
Diogo Fuhrmann Misiti, Guilherme Pilz, João Henrique - Caleidoscópio Felliniano: 8 ½ - Brasil / Brazil
Agence TOPO: Elene Tremblay, Marcio Lana-Lopez, Maryse Larivière, Marie-Josée Hardy, James Prior - Mes / My contacts – Canadá / Canada
Eliane Weizmann, Fernando Marinho e Leocádio Neto – Storry teller – Brasil / Brazil
Fabian Antunes - Pousada Recanto Abaetuba – Brasil / Brazil
Edgar Franco e Fabio FON - Freakpedia - A verdadeira enciclopédia livre – Brasil / Brazil
Fernando Aquino – UAI Justiça – Brasil / Brazil
Henry Gwiazda - claudia and Paul - a doll's house is...... - there's whispering...... – EUA / USA
Architecture in Metaverse: Hidenori Watanave - "Archidemo" - Architecture in Metaverse – Hapão / Japan
Yto Aranda – Cyber Birds Dance – Chile
Dana Sperry - Sketch for an Intermezzo for the Masses, no. 7 – EUA / USA
Jorn Ebner - (sans femme et sans aviateur) – Reino Unido / United Kingdon
Josephine Anstey, Dave Pape - Office Diva – EUA / USA
Josh Fishburn – Layers – Waiting – EUA / USA
Karla Brunet – Peculiaris – Brasil / Brazil
Kevin Evensen - Veils of Light – EUA / USA
lemeh42 (santini michele and paoloni lorenza) - Study on human form and humanity #01 – Itália / Italy
linda hilfling e erik borra - misspelling generator – Dinamarca / Denmark
Lisa Link - If I Worked for 493 years – EUA / USA
Marcelo Padre – Estro – Brasil / Brazil
Martha Carrer Cruz Gabriel - Locative Painting - Brasil / Brazil
Martin John Callanan - I Wanted to See All of the News From Today – Reino Unido / United Kingdon
Mateus Knelsen, Ana Clara, Felipe Vasconcelos, Rafael Jacobsen, Ronaldo Silva - A pós-modernidade em recortes: Tide Hellmeister e as relações Design e cultura – Brasil / Brazil
Mateus Knelsen, Felipe Szulc, Mileine Assai Ishii, Pamela Cardoso, Tânia Taura - Homo ex machina – Brasil / Brazil
Michael Takeo Magruder - Sequence-n (labyrinth) - Sequence-n (horizon) – Reino Unido / United Kingdon
Michael Takeo Magruder + Drew Baker + David Steele - The Vitruvian World - Reino Unido / United Kingdon
Nina Simões - Rehearsing Reality ( An interactive non-linear docufragmentary) - Reino Unido / United Kingdon
Nurit Bar-Shai - Nothing Happens – EUA / USA
projectsinge: Blanquet Jerome - Monkey_Party – França / France
QUBO GAS - WATERCOULEUR PARK – França / France
rachelmauricio castro – 360 - R.G.B. – tybushwacka – Brasil / Brazil
Rafael Rozendaal - future physics – Netherlands
Regina Célia Pinto - Ninhos & Magia – Brasil / Brazil
Roni Ribeiro – Bípedes – Brasil / Brazil
Rubens Pássaro - ISTO NÃO É PARANÓIA – Brasil / Brazil
Rui Filipe Antunes – xTNZ – Brasil / Brazil
Selcuk ARTUT & Cem OCALAN – NewsPaperBox – Brazil
Tanja Vujinovic - "Without Title" – Switzerland
Hipersônica Screening – FILE São Paulo 2008
1mpar – hol – Brasil / Brazil
Art Zoyd - EYECATCHER 1 - EYECATCHER 2, Man with a movie camera - Movie-Concert for The Fall of the Usher House – França / France
Audiobeamers (FroZenSP and Klinid) - Paesaggi Liquidi II – Alemanha / Germany
Bernhard Loibner – Meltdown – Áustria
Bjørn Erik Haugen – Regress - Norway
Celia Eid e Sébastien Béranger – Gymel – França / France
Studio Brutus/Citrullo International - H2O – Itália / Italy
Daniel Carvalho - OUT_FLOW PART I – Brasil / Brazil
David Muth - You Are The Sony Of My Life – Reino Unido / United Kingdon
Dennis Summers - Phase Shift Vídeos – EUA / USA
Duprass - Liora Belford & Ido Govrin – Free Field – Pink / Noise – Israel
Fernando Velázquez – Nómada – Brasil / Brazil
Frames aka Flames - Performance audiovisual sincronizada: Sociedade pós-moderna, novas tecnologias e espaço urbano - Brasil / Brazil
Frederico Pessoa - butterbox – diving - Brasil / Brazil
Jay Needham - Narrative Half-life – EUA / USA
Soundsthatmatter – trotting – briji – Brasil / Brazil
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Best Viewed Large
Well do we have news for you… (:-D
Resulting from my latest visit to Singapore this week and the photo shoot we set up with my bro Philippe C.during my stay, we decided jointly to look into PP.. issues and take matters seriously... (:D into our own hands “so to speak” and create our very own processing approach that we have named : “Hallucinogenerix”.
Our theory goes like this... hang on...
Based on the saturation of lens “Aperture Mode Locking” AML and the self-amplitude “Time modulation coefficient” or TMC, Our work deals with the saturation of the lens Aperture mode locking mechanism. A quantitative description of TMC and the self-amplitude modulation effect in a laser cavity can be derived. Considering both the nonlinear and geometrical (curvature vector or CV) differences between lenses and camera sensors (full frame or not) we concluded that the “CV” differential relationship between cameras and lenses results in nonlinear light modulation.
The loss of the “Light Pulse Conformation Strength” or (LPCS) in a cavity due to “bleaching or excess or lack of light” creates a “Fast Saturation Absorbency” or FSA behavior of any type of camera and lens combination all together.
The “Intracavity Aperture Factor” or IAF specific to a given lens type produces the appearance of “FLICKERING” or image instabilities. Our goal was then to elaborate a formidable yet simple approach that allows the prediction of “FLICKERING” or image instabilities, and develop a post processing technique or method that can be as useful for short pulse laser cavity design in general than it is compared to a mouse pad - mouse relationship.
The obtained “Self-Amplitude Coefficient” or SAC is included within the TMC to which LPCS and FSA are added to give a ray-pulse matrix formalism, and a simple model for the temporal pulse parameters regarding only the self amplitude “Time Modulation Coefficient” or TMC can then be solve via a simple quadratic differential integration (Patent pending).
Our new “Hallucinogenerix” model sets a limit for the maximum pulse light energy of a stable solution for a given nonlinear modulation and “Camera Lens Combination” or CLC.
Our “Hallucinogenerix” post processing technique we are certain will soon become the newest and most revolutionary PP faved method yet we are certain. We simply baptized “ this new processing technique Lens Setting Dynamics” or “L.S.D.” (:D allows us not only to take night shots in broad daylight, but also gives us a stunning doubled and colored vision extremely useful for reflective photography. Combined with “ Hallucinogenerix” TM you are bound to see all sorts of colors in all sorts of way.
The above is the first of a series relating to this amazing Field and post-processing breakthrough.
To know more, thank you for sending your questions and donations to:
Maxsie & I at Wetakecash@ourbankaccount.com or wtc@ourbankaccount.com
D. Maxsie – D. Phil
P.S.: "Caution applies as D. may stand for delusional." A. Einstein
Best seen in Large. Thanks.
Description: This is a reprise with modification of my previous post of M101 (or NGC 5457) to show a Type II supernova SN2023ixf which was discovered on 19 May 2023. My image, which was taken on 27 May 2023, indicates the supernova as a relatively bright dot in one of the spiral arms. Among the three objects seen in the magnification inset the supernova is the brightest one. This post corrects color imbalances in M101 in my previous image which, however, does not impact the supernova.
Date/Time/Location: 2023-05-27 / 03:25:37 to 07:30:33 UTC / Washington D.C.
Equipment:
Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8
OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset
Mount: iOptron GEM28-EC
Guider: ZWO Off-Axis Guider
Guide Camera: ZWO ASI 174mm mini
Focuser: ZWO EAF
Light Pollution Filter: Chroma LoGlow Broadband
Processing Software: Pixinsight
Processing Steps:
Preprocessing: I preprocessed 39x300s subs (= 3.25 hours) in Pixinsight to get an integrated image using the following processes: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and Star Align > Image Integration.
Linear Postprocessing: Rotation > Dynamic Crop > Dynamic Background Extractor (both subtraction to remove light pollution gradients and division for flat field corrections) > Background Neutralization > Color Calibration > Noise Xterminator.
Nonlinear Postprocessing: Histogram Transformation > Local Histogram Equalization > Curves Transformation > SCNR Noise Reduction.
Moscú - Moscow - Москва
Happening (de la palabra inglesa que significa acontecimiento, ocurrencia, suceso) es toda experiencia que parte de la secuencia provocación-participación-improvisación. Tiene su origen en la década de 1950 y se considera una manifestación artística multidisciplinaria. Aunque se han relacionado con el pop-art y el movimiento hippie, los happenings se integran dentro del conjunto del llamado performance art.
En un principio, el happening artístico fue una tentativa de producir una obra de arte que naciese del acto a organizar y con la participación de los "espectadores" (que abandonasen así su posición de sujetos pasivos y se liberasen a través de la expresión emotiva y la representación colectiva). Aunque es común confundir el happening con la llamada acción artística el primero difiere de la segunda en la improvisación.
El happening, como manifestación artística múltiple que pretende la participación espontánea del público, suele ser efímero. Por este motivo los happenings suelen presentarse en lugares públicos, irrumpiendo en la cotidianeidad.
es.wikipedia.org/wiki/Happening
A happening is a performance, event, or situation meant to be considered art, usually as performance art. The term was first used by Allan Kaprow during the 1950s to describe a range of art-related event or multiple events.
Happenings occur anywhere and are often multi-disciplinary, with a nonlinear narrative and the active participation of the audience. Key elements of happenings are planned but artists sometimes retain room for improvisation. This new media art aspect to happenings eliminates the boundary between the artwork and its viewer.
In the late 1960s, perhaps due to the depiction in films of hippie culture, the term was used much less specifically to mean any gathering of interest from a pool hall meetup or a jamming of a few young people to a beer blast or fancy formal party.
Description: I developed this image of the Heart Nebula IC 1805 from 110x300s subs or 9.17 hours of total exposure time. I used the Optolong L-eXtreme Dual Bandpass Light Pollution Filter which passes H-alpha and OIII wavelengths. With an OSC camera and the filter, the red from the H-alpha tends to swamp out the blue from the O(III).
Date / Location: 26-28 January 2023 / Washington D.C.
Equipment:
Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8
OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset
Mount: iOptron GEM28-EC
Guider: ZWO Off-Axis Guider
Guide Camera: ZWO ASI 174mm mini
Focuser: ZWO EAF
Light Pollution Filter: Optolong L-eXtreme Dual Bandpass
Processing Software: Pixinsight
Processing Steps:
Preprocessing:
I preprocessed 110x300s subs (= 9.17 hours) in Pixinsight to get an integrated image using the following process steps: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and do a Star Align > Image Integration.
Linear Postprocessing:
Rotation > Dynamic Background Extractor (doing both subtraction to remove light pollution gradients and division for flat field correction) > Background Neutralization > Color Calibration > Blur Xterminator > Noise Xterminator.
Nonlinear Postprocessing and additional steps:
Histogram Transformation > Star Xterminator to create Starless and Stars Only Images.
Starless Image > Noise Xterminator after masking to protect the target image > Local Histogram Equalization after inverting the mask to protect the background > Multiscale Median Transform.
Pixel Math to combine the above-processed Starless Image with the Stars Only Image to get a Reinstated Image.
Reinstated Image > Histogram Transformation > Curves Transformation.
Hasselblad 500 C/M
Carl Zeiss Distagon 50mm f/4 C T*
Fuji Pro 160 NS
Tetenal Colortec C-41
Scan from negative film
the leaning tower
of
San Pedro
A nonlinear world collapsing as we speak.
how the poorest people on this planet
live
Photography’s new conscience
Description: Despite integrating ~20 hours of raw data, this proved to be a difficult image to process due to its wispy and diffuse ring structure and its faint coloring. Multiple passes of Local Histogram Equalization were required to reveal some structure in the ring system. A curious feature of this galaxy is that it seems to have counter-rotating disks.
Date / Location: 30-31 March 2023 and 2-5 April 2023 / Washington D.C.
Equipment:
Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8
OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset
Mount: iOptron GEM28-EC
Guider: ZWO Off-Axis Guider
Guide Camera: ZWO ASI 174mm mini
Focuser: ZWO EAF
Light Pollution Filter: Chroma LoGlow Broadband
Processing Software: Pixinsight
Processing Steps:
Preprocessing: I preprocessed 244x300s subs (= 20.3 hours) in Pixinsight to get an integrated image using the following processes: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and Star Align > Image Integration.
Linear Postprocessing: Dynamic Background Extractor (both subtraction to remove light pollution gradients and division for flat field corrections) > Background Neutralization > Color Calibration > Noise Xterminator.
Nonlinear Postprocessing: Histogram Transformation > First Local Histogram Equalization > Curves Transformation > SCNR Noise Reduction > Second Local Histogram Equalization.