View allAll Photos Tagged Perception
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
“If the doors of perception were cleansed, everything would appear as it is - infinite”
William Blake
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
Prezzo: 13,00€
Verde mirto.
Un bellissimo tono diverso da tutti quelli mai provati.
Esclusivo pennello per una stesura perfetta e duratura.
Gli smalti Faby sono 10 Free, realizzati senza Formaldeide, Toluene, Diphtilftalato (Dbp), Canfora, Resina Formaldeide, Ethil Tosylamide, Trifenilfosfato (Tphp), Acetone, Parabeni e Piombo. 100% Vegan. Non testato sugli animali. Ciascun colore è nel formato da 15 ml. Finish cream.
Leave it to Jean-Luc Godard and Anne Marie Miéville to figure out how to use television to reveal the latent brilliance of a child. Created for French television during the radical days of the late 1970s , “France/tour/detour/deux enfant” (1978) is an intimate, provocative and quotidian video essay that uses avant-garde cinema’s techniques in a visual experiment that will change anyone’s perception of the developing mind of a human being.
Tonight Lynne Sachs will discuss the way that “France/tour…” influenced her own work as she reflects on the presence of childhood in her twenty-year film career. Beginning in her early twenties when the ambiguity of femininity seemed daunting and problematic to more recent years when motherhood has given her quick access to the conundrums of youth, Sachs, like Godard and Melville, ponders her relationship as an artist to this unavoidable eighteen year odyssey. Sachs will screen Photograph of Wind (3 min., 2001), Atalanta: 32 Years Later (5 min. 2006), and The Last Happy Day (38 min.) in their entirety along with brief scenes from The House of Science (1991) and Wind in Our Hair (2010).
Program:
France/Tour/Detour/Deux Enfants by Jean Luc Godard and Ann Marie Miéville
(excerpt from 12 part TV series, 1977, France)
Godard and Miéville take a detour through the everyday lives of two children in contemporary France. Sachs will present excerpts from the series.
Photograph of Wind by Lynne Sachs
(4 min.,16mm, b&w and color, 2001)
“My daughter’s name is Maya. I’ve been told that the word maya means illusion in Hindu philosophy. As I watch her growing up, spinning like a top around me, I realize that her childhood is not something I can grasp but rather – like the wind – something I feel tenderly brushing across my cheek.” (Lynne Sachs)
“Sachs suspends in time a single moment of her daughter.” Fred Camper, Chicago Reader
Atalanta: 32 Years Later by Lynne Sachs
(5 min. color sound, 16mm to video, 2006)
A retelling of the age-old fairy tale of the beautiful princess in search of the perfect prince. In 1974, Marlo Thomas’ hip, liberal celebrity gang created a feminist version of the children’s parable for mainstream TV’s “Free To Be You and Me”. Now in 2006, Sachs dreamed up this new experimental film reworking, a homage to girl/girl romance.
“Very gentle and evocative of foreign feelings.” George Kuchar
The Last Happy Day by Lynne Sachs
( 38 min. 2009)
The Last Happy Day is an experimental documentary portrait of Sandor (Alexander) Lenard, a Hungarian medical doctor and a distant cousin of filmmaker Lynne Sachs. In 1938 Lenard, a writer with a Jewish background, fled the Nazis to a safe haven in Rome. Shortly thereafter, the U.S. Army Graves Registration Service hired Lenard to reconstruct the bones — small and large — of dead American soldiers. Eventually he found himself in remotest Brazil where he embarked on the translation of “Winnie the Pooh” into Latin, an eccentric task that catapulted him to brief world-wide fame. Sachs’ essay film uses personal letters, abstracted war imagery, home movies, interviews, and a children’s performance to create an intimate meditation on the destructive power of war.
“A fascinating, unconventional approach to a Holocaust-related story … a frequently charming work that makes no effort to disguise an underlying melancholy.” George Robinson, The Jewish Week
Excerpts from:
The House of Science: A Museum of False Facts
(30 min., 16mm,1991)
“Throughout The House of Science an image of a woman, her brain revealed, is a leitmotif. It suggests that the mind/body split so characteristic of Western thought is particularly troubling for women, who may feel themselves moving between the territories of the film’s title –house, science, and museum, or private, public and idealized space — without wholly inhabiting any of them. This film explores society’s representation and conceptualization of women through home movies, personal reminiscences, staged scenes, found footage and voice. Sachs’ personal memories recall the sense of her body being divided, whether into sexual and functional territories, or ‘the body of the body’ and ‘the body of the mind.’” (Kathy Geritz, Pacific Film Archive)
Wind in Our Hair/Con viento en el pelo
(16mm, Super 8 and digital on video, English and Spanish, 2010)
“Inspired by the writings of Julio Cortázar, whose work not only influenced a generation of Latin American writers but film directors such as Antonioni and Godard, Lynne Sachs’ Wind in Our Hair/Con viento en el pelo is an experimental narrative that explores the interior and exterior worlds of four early-teens, and how through play they come to discover themselves and their world. “Freedom takes us by the hand–it seizes the whole of our bodies,” a young narrator describes as they head towards the tracks. This is their kingdom, a place where–dawning fanciful masks, feather boas, and colorful scarves — the girls pose as statues and perform for each other and for passengers speeding by.”
- Carolyn Tennant, Media Arts Director, Hallwalls Contemporary Arts Center, Buffalo, New York
“Wind in Our Hair moves from childhood’s earthbound, cloistered spaces, into the skittering beyond of adolescence, exploding with anticipation and possibility.” Todd Lillethun, Artistic Director, Chicago Filmmakers
Program Run Time: 119 minutes
Lynne Sachs makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, painting, politics and layered sound design. Since 1994, her five essay films have taken her to Vietnam, Bosnia, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice, Lynne searches for a rigorous play between image and sound, pushing the visual and aural textures in her work with each and every new project. Since 2006, she has collaborated with her partner Mark Street in a series of playful, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts, Lynne’s films have screened at the Museum of Modern Art, the New York Film Festival, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010, the San Francisco Cinematheque will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn.
Josetxo Cerdán Los Arcos is an assistant professor at the URV and the artistic director of Punto de Vista. He has edited the books ‘Mirada, Memoria y Fascinación’ (2001); ‘Documental y Vanguardia’ (2005); ‘Al Otro Lado de la Ficción’ (2007); and ‘Suevia Films-Caesáreo González’ (2005); ‘Signal Fires: The Cinema of Jem Cohen’ (2010). He is author of ‘Ricardo Urgoiti. Los trabajos y los días’ (2007). He has coordinated an M. A. in from 1998 to 2008. Principal interest areas are non-fiction film, Spanish cinema, and television.
Kelly Anderson is an award-winning independent producer and director of documentary and narrative films. Her most recent production is NEVER ENOUGH, a documentary about American’s relationship with their material possessions, which is premiering at the 2010 Big Sky Documentary Film Festival. Other recent directing work includes SOMEPLACE LIKE HOME, a documentary about the redevelopment of Fulton Mall in Downtown Brooklyn, which she made for FUREE (Families United for Racial and Economic Equality). In 2004 Kelly produced and directed (with Tami Gold) and edited EVERY MOTHER’S SON, a documentary for ITVS about mothers whose children have been killed by police officers and who have become national spokespeople on the issue of police brutality. EVERY MOTHER’S SON premiered at Tribeca Film Festival, where it won the Audience Award, and had its broadcast premiere on PBS’s P.O.V. series. Kelly produced, directed and edited OVERCOMING THE ODDS, a short documentary that was distributed to more than 2,500 people internationally as part of a successful campaign to pass the groundbreaking Framework Convention on Tobacco Control, which set global standards on the promotion and marketing of tobacco. This film was a follow-up to MAKING A KILLING, a half-hour documentary Kelly produced and directed (with Tami Gold) and edited that addresses the marketing practices of the tobacco industry in the developing world. MAKING A KILLING premiered at the Slamdance Film Festival, was screened for delegates at the World Health Organization and aired on television in Nigeria, Serbia, Lagos and Vietnam. In 2000 Kelly completed SHIFT, a one-hour drama for ITVS about the volatile relationship between a North Carolina waitress and a telemarketing prison inmate, which premiered at the Rotterdam International Film Festival and aired on many PBS stations. Kelly’s other documentaries include OUT AT WORK (with Tami Gold), which was screened at the 1997 Sundance Film Festival and was shown on HBO. She is an Associate Professor in the Department of Film and Media Studies at Hunter College in New York City.
One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
So, this is what I see when I sit on my front porch - or is it? Bet your first thought was -
wow, she lives in a forest, right? When actually, right beyond the trees is the Atlantic
Intercoastal Waterway and the Bridge to Downtown Beaufort! Amazing views!!!!!
This pic is for my dear Flickr friend John (jssteak) who inspires, encourages and
best of all makes me laugh! His work is beyond incredible - takes the most fantastic tree pics
(and others) so, take a look here: www.flickr.com/photos/jssteak/
new painting-- 6x8", india ink, acrylic, linoleum block printing on wood.
available in my etsy shop- see profile for address.
some wake to discover
their species on the take
her problems, your problem
(just like mother used to make)
personal fiction is a cultural tradition
when we talk to ourselves for decades
and still never learn to listen
what stops the stranger self
from pushing to the surface?
we're all gods in our own minds most days
making differing opinions
out as blasphemy and curses
in the silent acceptance
of sheer perception
all we ever wanted
was life without direction
where all the things we do
like dreams, just kinda happen
tapping into artificial
emotional intelligence
asking: "why not live
the way most likely?"
the probable conclusion
the dice roll decision
the vision of what
predictably comes next
mechanical
assistance
in living
(at last)
~ ~ ~
March 7, 2026
Allains Creek, Nova Scotia
Year 19, Day 6691 of my daily journal.
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This is actual a combination of images of two different streets in our town. I then did a black and white image and the original color image and layered them together to make this image. It kinds of reminds me of that show (Charlie Jade) but with a cheap car. Corel and Exposure 2 was used in each layer. I should also add that the shadow that looks like a huge spider was not planned...but i like it!
We do not see nature with our eyes, but with our understandings and our hearts.~William Hazlett
My contribution to the 52nd week of the ImagoismThursday movement. HIT everyone!
'Evolving Perceptions' 2011
resin, nails, enamel, acrylic on wood 24"x24"
The world is full of magic things,
patiently waiting
for our senses to grow sharper.
~W.B. Yeats
in SENSORIA at art sites April 6th-May 5th 2013
WEEK 7/52 TRUTH AND PERCEPTION
Sometimes, what you see is not the truth, there are things hidden on laughter, things needed to be dug deeper just to get what it really means. We live in a superficial, take time to know whats real and what is factual. Not because you see a happy face doesn't mean they're really happy, sometimes, it is just a mere mask of what really lies behind. Real stories, which is hidden inside.
I DID MY OWN MAKE UP
Tell me what can you say about the artwork! Like and/or Share it! Thank You Friends!
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#52WeekPhotoProject #photography #Conceptual #ConceptualPhotography #iammarkdizon #markmyphotography #clown #happiness #contrast #crying #juxtaposition
Lovebytes - Digital Spring
Live performances by Bruce Gilbert, R/S, Russell Haswell
Sound Installation by Jana Winderen
Sat 24 March 7-10.30pm
Channing Hall, 45 Surrey Street, Sheffield. S1 2LG
An evening of extreme electronic music, collaboration and improvisation curated by Sheffield artists Mark Fell and Mat Steel and featuring Bruce Gilbert, Russell Haswell, and R/S (Peter Rehberg and Marcus Schmickler), plus access to a multichannel installation by Jana Winderen.
Jana Winderen is one of the world's foremost field recording artists. She talked about her work in the Upper Chapel at 3pm 24 March. This was a free event.
Jana Winderen is an artist, educated in Fine Art at Goldsmiths College in London, and with a background in mathematics and chemistry from the University in Oslo. Since 1993, she has worked as an artist, curator and producer. She currently lives and works in Oslo.
Jana Winderen researches hidden depths with the latest technology. Her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of ice crevasses is brought to the surface. She is concerned with finding sound from hidden sources, like blind field recording.
Artist Statement:
"I like the immateriality of a sound work, and the openness it can have for both associative and direct experience and sensory perception. I have been occupied with finding sounds from unseen sources of sound, like blind field recordings. Over the last seven years, I have collected recordings made by hydrophones, from rivers, shores and the ocean in Asia, Europe and America, from glaciers in Greenland, Iceland and Norway. In the depths of the oceans there are invisible but audible soundscapes about which we are largely ignorant, even if the oceans cover 70% of our planet. I am also experimenting with different types of microphones to collect sounds which are not obviously recognisable, but give room for broader, more imaginative readings or sounds that are unreachable for the human senses. I use these sounds as source material for composition in a live environment or to create installations, currently also for film, radio, CD, MC and vinyl productions."
Bruce Gilbert is perhaps best known as co-founder of post-punk legends Wire. Following their end in 1980, Gilbert demonstrated a long-standing interest in electronic and experimental music that saw him form Dome (with Graham Lewis) and yielded such classic solo albums as This Way and The Shivering Man (reissued last year by Peter Rehberg's Editions Mego, 25 years after their first appearance). Along with reissues and solo projects in recent years, Gilbert has been active with collaborative performances alongside Mika Vainio, and is planning further new material.
R/S is the electronic music duo of Peter Rehberg and Marcus Schmickler. In 2011 they released 'USA', the duo's second full length release on PAN, a follow-up to their 2007 'One (Snow Mud Rain)' on Erstwhile Records.
Peter Rehberg performs throughout the world, and has participated in many of the major festivals associated with electronic music, through both solo performances and duets with Stephen O'Malley (KTL) and Marcus Schmickler (R/S), as well as projects such as Fenn O'Berg and Peterlicker. In addition to his roles as mentor to many artists and label curator of Editions Mego, Rehberg has also collaborated with interdisciplinary artists such as choreographer Gisele Vienne and writer Dennis Cooper (Kindertotenlieder; I Apologize, Jerk, This Is How You Will Disappear).
Marcus Schmickler is a Cologne-based composer, musician and producer of modern classical, electronic and computer music. He is also known for his work with Pluramon. In addition, he works in various collaborative projects - most notably with synth wiz Thomas Lehn. More recently, he has developed an interest in an epistemic dialog with the sciences, resonating in sonifications of astrophysical data, and translating recent mathematical discoveries into the sonic. His music's gleaming, impenetrable surfaces, labyrinthine constructions and opacity suck up all the air in the room - as well as your headspace.
Russell Haswell has exhibited visual artwork at Sadie Coles HQ, London; TN Probe, Tokyo; Galerie Rudolfinum, Prague; Kunsthalle, Vienna; Stedelijk Museum, Amsterdam; Centre Regional d'Art Contemporian, Bricks & Kicks Gallery, Vienna; Galerie Poo Poo, London; Museo d'Art Moderne, Paris; Anthony d'Offay Gallery, London; Kate Bernard Gallery, London; Independent Art Space, London and Institute of Contemporary Arts, London.
He has given solo audio presentations at major Art and Music festivals and events, in art galleries, concert halls and rock venues in Austria, Belgium, Croatia, Czech Republic, Denmark, Finland, France, Germany, Holland, Italy, Japan, Latvia, Luxemburg, Norway, Slovenia, Spain, Sweden, Switzerland, UK, and USA. Including occasional live collaborations with Masami Akita, Carl Michael von Hausswolff, Florian Hecker, Zbigniew Karkowski, Toshiji Mikawa [INCAPACITANTS], Peter Rehberg, Yasunao Tone, Ilpo & Mika Vanio [PAN_SONIC], WHITEHOUSE, and Hard Disc Jockey [HDJ] duos with Richard D James [Aphex Twin].
A second edition of the 8 track compact disc catalogue 'Live Salvage 1997 - 2000' (Honorable Mention, Digital Music's, Prix Ars Electronica.) has been reissued by Mego.. In 2008, a second volume, 'Second Live Salvage', was also released by Editions Mego as a double 12" vinyl set. In 2011, a third volume, 'IN IT: Immersive Live Salvage', was also released by Editions Mego as a Surround sound DVD (DTS & DOLBY 5.1) and vinyl LP (UHJ Ambisonic format) set.
Haswell released the Compact Disc 'Wild Tracks' (Editions Mego) in 2009: a collection of raw recordings, originally intended for film and other media projects. A double Compact Disc, 'VALUE + BONUS', was released by NO FUN Productions in mid 2010.
An ongoing collaboration (2003 +) with Florian Hecker working on Iannis Xenakis' graphic-input 'UPIC Music Composing System' is one project: the recorded results have been presented in the form of multi channel electroacoustic diffusion sessions, for example for the Frieze Art Fair. These events use surround sound and laser lighting to create an immersive multi-sensory environment. Mego, Warner Classical, and Warp records have released Haswell & Hecker recordings.
'satanstornade', a collaboration between Masami Akita & Russell Haswell, was published by Warp Records on compact disc and vinyl. It was awarded "Record cover of the month", Vice UK.
'MiniDisc' by Gescom, (Distinction, Digital Musics, Prix Ars Electronica.) The worlds first 'independent' label released 'MiniDisc' A collaboration between Russell Haswell, Rob Brown and Sean Booth of Autechre, has been reissued by OR on Compact Disc in 2007.
Haswell was also a curator at P.S.1/MOMA, Contemporary Art Centre, New York. Responsible for large-scale exhibition curating and hanging, as well as curating a weekly (summer months only) outdoor music event, WARM UP.
In 2005 and 2006 he curated two London based 'All Tomorrow's Parties' club events, entitled 'Easy to Swallow', intended for the broad-minded, the events showcased Carl Michael von Hausswolff, Yasunao Tone + Hecker, Mark Stewart and the Maffia, Aphex Twin, Whitehouse, Surgeon + Regis Present: British Murder Boys, Lee Dorrian (ex- Napalm Death & Cathedral), Pita, Earth, Autechre, Robert Hood (ex-Underground Resistance). Both events sold out!
In November 2009 he curated 'LISTEN' at Aldeburgh Snape Maltings Concert House with Chris Watson, Bernie Krause and Tony Myatt, presenting their works on a 360° 'high-order' ambisonic surround sound system.
Haswell recently curated part of the audio program for "The Morning Line Istanbul 2010' project, European Capital of Culture 2010. Commissioned by Thyssen-Bornemisza Art Contemporary (T-B A21), working with Artists/Composers: Carl Michael von Hausswolff, Peter Zinovieff, Jana Winderen, and Yasunao Tone. These works were presented again in Vienna, 2011.
Haswell has contributed to Frieze Magazine articles on Japanese noise, computer music software and Peter Halley.
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...