View allAll Photos Tagged Perceptions

The padding is still in basically it's initial condition. The back band's top stitching need to be sown.

Perception is a clash of mind and eye, the eye believing what it sees, the mind seeing what it believes. ~Robert Brault

Photography

 

I then found a new way of representing my research into my work in order to describe how our brain activity connects us to the universe (the collective unconscious). However this time I started bringing aesthetic qualities into my photographs to draw the viewer into the almost visceral spiral of cell-like structures.

I am physically trying to show the viewer my representation of the brainwaves leaving the mind and firing around each other. To create this photograph I used oil droplets filled with red food dye to create an almost cell-like replica.

Turkey Vulture at the Sunol Water Temple, December 2010

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Opening reception, Saturday January 12, 2019

in Arches National Park, home of a whole lot of rocks that are red. like, a lot.

Nokia 6230i cell phone camera. Postwork in PSP X

Title is derived from the name of the place which is called "Sinne" ... thus perception in English.

Live at JC Den Eglantier, Sint-Niklaas Belgium

Sorry for the ugly cellphone and quality.

doors of perception 9

juice: food fuel meaning

This picture shows the new padding that was added to the boat to make it more comfortable than the original. Here you can also see the

A visual paradox ..... ? Hint, it's all done with Mirrors !

“The material basis of media technologies – and books are only one example – is changing, for which historical perspectives might give not only comforting back-up (‘nothing is as permanent as change’) but also ideas to push the change forward.” (Jussi Parikka, 2012)

 

We can certainly talk about change; our present landscape is a space where the digital and physical have become synonymous, which many believe to be signaling the coming of an ontology-less future, through the accelerated disruption of cultural value. In this light old standards show their age and obsolescence in the face of the new, and with each new wave of informational overload we are further alienated by the system, that revolves around an economy of monetary circulation. All these factors come together to push a re-evaluation of identity and the human value. This brings to mind the genealogy of currency, articulated by Joseph Beuys during the discussion entitled What is money? : “Of course ‘Geld’ [‘money’] comes from ‘Gold’, same etymology. But it comes equally from ‘Geltung’ [‘validity’], meaning the value people fix based on their perception of a natural right. The word ‘Geltung’ is rooted in representations of a natural right, while the word ‘Gold’ is rooted in the economy of barter!” (Joseph Beuys, 2012).

 

In this light, Geltung [validity]: perception of a natural right brings together four artistic investigations that re-evaluate established methods of financial exchange bestowing new material values and identities to their subjects. In a landscape where monetary currency is pinnacle, the artists interrogate notions of personal and individual history, locality and its impact in identity and the framework that contains our cultural objects.

 

Diogo da Cruz’s work, WORDCOIN (2016 – Current), proposes the implementation of a new currency, that will give a literal value to each one’s speech. By creating The Bank for Argumentation, the costumer-museum-goer will have the opportunity to trust his or hers arguments to an institution that can save and trade them, giving the deserved and objective exposure to their ideas. Max Dovey presents Breath (BRH) (2017), a digital currency that is mined through human respiration. The installation combines breathing and micro-computers to mine, store and trade human breath as a virtual currency on the crypto-market(s). The market value of BRH is determined by the inflation created by respiratory miners who participate in the physical installation. Felicity Hammond’s artworks draws upon images from her own archive, using documents of the landscape and found images online; those of both existing and imagined future spaces. Hammond utilises particular motifs and structures that respond specifically to the digital representations found online of Dundee’s vast regeneration programme. For I keep forgetting I’ve been to Tokyo: GAIDEN (2017), Petra Szemán follows the virtual self through parallel and intersecting realities, along the departure-initiation-return structure of a hero’s journey. Drawing upon personal and/or constructed experiences, the work explores the idea of a non-localised identity that’s an archive of accumulated personal mythologies acquired from a multitude of realities.

 

agorama.org.uk

 

An offline/online exhibition curated by Alejandro Ball and Inês Costa

 

Opening night: 27 October 2017, 7pm – 9pm

 

Performance part of NEoN Festival: 9 November 2017, 7pm – 8pm

 

Supported by Creative Scotland, University of Dundee and Leisure and Culture Dundee

pra Debs que não foi pra lugar nenhum

Pentax K1000 (2009)

I need to clean my scanner

It's no surprise that the focus is on the alcohol in this shot.

madcap coffee company

grand rapids, michigan

www.madcapcoffee.com

Up in the hills above Corniglia, Italy.

Instax Square + Fujifilm XS10

Bet you can't tell what it is!

Jumping or falling? It's all how you look at it.

Instax Square + Fujifilm XS10

SOOC

 

...a field that goes on longer than the eye can see really does not have a perceivable ending...

The Alice in Wonderland Journey and the Cliffs Below.

Wax Inkjet Transfer Print. 30" x 40" Image taken of me from my performance at the "Nada Dada" performance art festival. Welded Steel Body cage, 150lb block of ice suspended over me,120lb bed of sand, 4 live flowers, 4 cold hours of melting ice dripping onto me during the performance

Let us love winter, for it is the spring of genius. ~Pietro Aretino

  

This is a negative space for me as it will either encourage me to socialize and be distracted by food.

personal experience has influenced me to think/know that I won’t study in this environment.

 

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