View allAll Photos Tagged SEMIOTICS
To represent the beliefs that we have about the world and its contents. Part of my "Human" Project, if you would like to know more, please contact me personally(: I don't bite.
Model: Fia Aten-Shearwood
[Profile]
Studied symbology through chemistry in high school and literature in college before joining an advertising firm just prior to finishing a doctoral course. Placed in charge of analyzing words such as copy development. Later became a teacher of semiotics while simultaneously studying computer software. Became the webmaster of a university in 2003 and began producing graphic art under codenames like "Retrofuturs" and "Hulk4598" in 2009. Held a large exhibition at gallery NO/ID* in Toulon this spring. Currently resides in Tain l'Hermitage, France.
[Interview]
+81: Tell us about your background.
Stéphane Massa-Bidal (SMB): I studied semiotics in college. Semiotics is a language science, and I now use that knowledge its codes and sensibilities to graphic art. After graduating I was in charge of analyzing phrases and words at an advertising firm and at the University, and I also have experience as a teacher of semiotics and conference. From there I also studied software that could be used to make graphic art. Last but not least, from 2003 to the present I've been working as managing editor of a certain university. Though I started making graphic art about two and a half years ago, I've never formally studied graphic design. I've just been blessed with a lot of graphic artist friends and chances to encounter graphics, so it was a perfect situation for me to start designing as well.
+81: So graphic design isn't your regular job?
SMB: I think of myself as more of an artist who creates things freely than a professional designer who gets commissioned to take on jobs. I am slowly getting more and more requests, but my work is very cyclical and contains many elements that are critical of society, so it isn't like I am ever seeing a huge amount of work come in (laughs).
+81: How did you come up with your current style of mixing typography with images like photos and illustrations?
SMB: Linguistics is my field of specialty, so I would say it is the text that has established my style. My ultimate goal is to bring about "allusions" and "dialog" within a single image by incorporating different images. My favorites of my own series are "Landscape Numbers" and "New Horizons", in which I came up with a method of adding new meaning by removing parts of images and replacing them with those of other images in collages. By doing this each image will carry its own image and radiate appeal. It's hard for me to describe my own style, but I think that I am always talking about a single image while at the same time trying to express different things.
+81: So is the source of inspiration for each of your series different as well?
SMB: The initial ideas for "New Horizons" came from the works of René Magritte and the movie "Stargate". There's a certain piece by Magritte where a person's face has been replaced by an apple. I had an idea to redesign it architecturally and place numbers taken from Stargate. In addition to giving it an allure that deceives the eye, I think I was able to create an even greater appeal that of the original illustration and photos.
+81: How do you find and select the photos, illustrations, and other images used in your work?
SMB: I own a lot of old books, photo collections, and encyclopedias, so I often look in them, but I also spend about 2 hours a day looking around on the Internet. I don't take photos, and I don't draw, but I can collect images put them together in collages (laughs). Still, when making pieces that quote some specific element it can difficult to find images that are related to that theme.
+81: Do you compose the piece after selecting all the images you will use, or do you decide upon the composition first and then go looking for images that suit it?
SMB: It varies. Sometimes an idea comes to me first and then I think of ways to build upon it, while at other times I have a clear image of the piece first and then use that as a starting point to find photos and drawings. With the "Elements" series, for example, I first prepared all the photos and illustrations and only then built up a concept. The first piece I made in the series contained the text "EARTH". I had just happened to come across a landscape photo with the same scenery shot from the exact same location in both winter and summer, so I collaged those two images together. Using EARTH as a base, I added more pieces and built up the Elements series.
+81: While we're sure that your imagination is essential to your images, what other sources of inspiration do you have?
SMB: My daily life. I listen to the things people say. I always ponder the things I hear and connect them with other elements in my mind. In that way I'm not just perceiving the information as is, but from a slightly different angle. One example of a piece born from my daily life is "Helvistica". One day while on the train I had an idea to make piece using Helvetica, but I just couldn't come up with a good concept. Just then a tune by Elvis Presley came up on my iTunes, and I suddenly had the idea for Helvistica. That piece is a true product of coincidence. It was a simple idea, but I think the more simple things are the better the results. "Web Services Covers Therapy" started when I suddenly remembered while walking down the hallway at home an idea that had been rattling around in my head for many years to do something with social networks and Penguin book series. My way of doing things is to apply one code to another and challenge the viewer. My job, and the true role of symbology, is to analyze several phenomenon and find the relationship between them. Facebook and Twitter are already widely known, but I wanted to convey the history behind them.
+81: Are there any parts of your image creation process that require you to work by hand?
SMB: I don't draw any of the images myself, so I never have to do anything by hand. I never leave behind any production images, and even if I did they wouldn't be worth showing off. But, I have presented some of my albums collecting the images I have used to make my work. They're kind of like something in between portfolios and inspiration books.
+81: What part of the production process do you spend the most time on?
SMB: I've never really put too much time into production. I work at a pace of one piece a day, with each piece taking around 40 minutes or so. I think that if I spend too much time on a single piece it causes the initial idea to waste away and lose what made it interesting. Up until recently I was spending a lot more time by making more detailed collages and messing with Photoshop, but I changed my work method and began making broader use of illustrations and photos. Thanks to this I have been able to produce results faster.
+81: Tell us about some of your on-going projects.
SMB: Right now I have 2 projects I am working on. One is something similar to Google's location search feature called "G Project". It features original illustrations about Geolocalization, that I have asked a friend (Cavadkp) to supply. The other is an apron and tee shirt (in french) with a message written on it. I also work with my friend Dom on a concept of spoonerisms in french (les contrepetographes).
In other ways, I'm going to redesign furnitures, like Louis XV chest of drawers.
So I guess you could say that I don't have any hard rules about what I do or any fixed style. I've never studied graphic art, so I'm not bound by any of its tenets. But I think this is my strength. If I had to name one element that carries through in all of my work, it would be the analytical ability that comes from the way my brain works. At any rate, I could narrow down the keywords used to describe my work to "linguistics" and "life".
Two guns in the same battery in Tórshavn. The monograms "C7" and "CR VII" must both refer to Christian VII, born 1749, king from 1766, in 1794 he was declared insane and power was formally transferred to his son Frederik VI. Christian VII died in 1808. Frederik VI then became king.
I'd expect a conservative intitutition like the Danish monarchy of that period to keep its logos stable. Earlier kings used Arabic numerals or no numeral at all, later kings used Roman numerals. (But the present queen, Margrethe 2, uses Arabic '2'.) In women's fashion, the Greek antiquity was in vogue at the time, but does a state change its logo as fast as fashion turns?
One of the guns has a monogram without the royal crown, it is replaced by some silk ribbon. Could mean that he is stripped of his power, except that the general trend is that the Arabic "7" should be older than the Roman "VII".
The third version of his monogram.
I've now read a bit in Lars Lindeberg's Englandskrigene 1801-1814 (Copenhagen 1974). Seems like Christian VII's son, Frederik VI was quite a hobby general. He kept on redesigning uniforms all the time, so he probably messed around with his father's monogram, too.
The present queen, Margrethe 2, has both private and official monograms, but they are both crowned.
Composite of two photos.
I love airports and the semiotics or language of symbols they use to organise and direct movements in their space. To someone like me who doesn't know their meanings it feels alien and beautiful, mysterious even.
I've dreamt of being able to photograph those lights and spaces to be able to make some abstract images but with today's security concerns it's probably not going to happen. The closest possible way is make images from the terminal buildings or to find some obscure airport in the middle of nowhere that will allow you to shoot freely without time constraints ... we can always dream ha ha.
Sat 17th October 2015
Geometrolian Ancestor Worship Triptych 1:1 (Male – Male/Female – FEMALE)
watercolor, ink, pencil, on paper
9in.x6in.
2025
One of my first photographs for my new project titled "Human". The project is about what makes us human and symbols from cultures around the world that mean these things, I've then created the symbols out of humans. This symbol originally meant "Perfect Couple" but I thought it would be fitting for the representation of marriage.
No, the text says you're not allowed to go with dog(s). Why the quotation marks on the sign?
A symbolic sign (red circle with diagonal) negating the iconic sign, which is either a dog, or a dog on a leash.
This hobo glyph project began as research into semiotics in architecture and evolved into a passion for preserving a unique form of historical communication. I’m fascinated by how symbols once helped travelers survive and connect.
In the real world, hobo glyphs were left along rail lines to share warnings, kindness, and guidance. Now, you can carry that tradition into Second Life.
How to Use:
Left-click the hitching post to receive the Hobo Code Key (notecard), then left-click the glyph symbol on the post to open a menu and change the displayed symbol to share a message, like safety, kindness, or warning, for future travelers who pass by.
Perfect for roleplay, railside and historical rail road builds, or anywhere digital nomads or hobos may gather.
The symbols are hand-drawn and based on historically documented hoboglyphs from the early 20th century. While variations exist, the 20 included designs reflect commonly recognized meanings used by transient workers during the Great Depression era.
The hitching post is original mesh, created in Blender. Total land impact: 2.
Thanks and happy travels,
Ann Forbes
Gandy Dancers
For sale on the Marketplace: marketplace.secondlife.com/p/Hobo-Glyph-Interactive-Messa...
(un-legend) : ... Please, add only un-comments !
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Entropy ≥ Memory * Creativity ² . . . when the Memory = void, whatever the Creativity.
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Geometrolian Ancestor Worship Triptych 1:1 (Male – MALE/FEMALE – Female)
watercolor, ink, pencil, on paper
9in.x6in.
2025
.Earliest It's messagesIt is true that there exist one or two other explanations of the origin of things which introduce a personal creator. There is, for instance, the legend—first mentioned by Lieh Tzŭ (to whom we shall revert later)—which represents Nü Kua Shih (also called Nü Wa and Nü Hsi), said to have been the sister and successor of Fu Hsi, the mythical sovereign whose reign is ascribed to the years 2953–2838 B.C., as having been the creator of human beings when the earth first emerged from Chaos. She (or he, for the sex seems uncertain), who had the “body of a serpent and head of an ox” (or a human head and horns of an ox, according to some writers), “moulded yellow earth and made man.” Ssŭ-ma Chêng, of the eighth century A.D., author of the Historical Records and of another work on the three great legendary emperors, Fu Hsi, Shên Nung, and Huang Ti, gives the following account of her: “Fu Hsi was succeeded by Nü Kua, who like him had the surname Fêng. Nü Kua had the body of a serpent and a human head, with the virtuous endowments of a divine sage. Toward the end of her reign there was among the feudatory princes Kung Kung, whose functions were the administration of punishment. Violent and ambitious, he became a rebel, and sought by the influence of water to overcome that of wood [under which Nü Kua reigned]. He did battle with Chu Jung [said to have been one of the ministers of Huang Ti, and later the God of Fire], but was not victorious; whereupon he struck his head against the Imperfect Mountain, Page 82Pu Chou Shan, and brought it down. The pillars of Heaven were broken and the corners of the earth gave way. Hereupon Nü Kua melted stones of the five colours to repair the heavens, and cut off the feet of the tortoise to set upright the four extremities of the earth.5 Gathering the ashes of reeds she stopped the flooding waters, and thus rescued the land of Chi, Chi Chou [the early seat of the Chinese sovereignty].”
Another account separates the name and makes Nü and Kua brother and sister, describing them as the only two human beings in existence. At the creation they were placed at the foot of the K’un-lun Mountains. Then they prayed, saying, “If thou, O God, hast sent us to be man and wife, the smoke of our sacrifice will stay in one place; but if not, it will be scattered.” The smoke remained stationary.
But though Nü Kua is said to have moulded the first man (or the first human beings) out of clay, it is to be noted that, being only the successor of Fu Hsi, long lines of rulers had preceded her of whom no account is given, and also that, as regards the heavens and the earth at least, she is regarded as the repairer and not the creator of them.
Heaven-deaf (T’ien-lung) and Earth-dumb (Ti-ya), the two attendants of Wên Ch’ang, the God of Literature (see following chapter), have also been drawn into the cosmogonical net. From their union came the heavens and the earth, mankind, and all living things.
Only counting books I read (or soon-ish will have read) in their entirety…
Below are starting dates, titles, authors, and some quotes / comments that I could think of. :p Hopefully I have not typo-ed up the quotes too badly.
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15-Jan-2022: 1. Kompendium i klinisk kemi by Ulrika Falkenö, Anna Hillström, Bernt Jones, Inger Lilliehöök, Emma Strage, Bodil Ström Holst, & Harold Tvedten
Almost-a-book on clinical chemistry. Directed at vet students, but my vet nursing class also got copies in 2017. I never got around to reading it until now. :p Promptly LOST my copy at a train station :'( BUT it turned out that my nice boss had it as a PDF! :D
25-Jan-2022: 2. Little brother by Cory Doctorow
Fave! And a re-read.
12-Mar-2022: 3. The alchemist by Paulo Coelho
A re-read.
14-Apr-2022: 4. The language instinct: How the mind creates language by Steven Pinker
"Thinking of language as an instinct inverts the popular wisdom, especially as it has been passed down in the canon of the humanities and social sciences. Language is no more a cultural invention than is upright posture. It is not a manifestation of a general capacity to use symbols: a three-year-old, as we shall see, is a grammatical genius, but is quite incompetent at the visual arts, religious iconography, traffic signs, and the other staples of the semiotics curriculum. Though language is a magnificent ability unique to Homo sapiens among living species, it does not call for sequestering the study of humans from the domain of biology, for a magnificent ability unique to a particular living species is far from unique in the animal kingdom. Some kinds of bats home in on flying insects using Doppler sonar. Some kinds of migratory birds navigate thousands of miles by calibrating the positions of the constellations against the time of day and year. In nature’s talent show we are simply a species of primate with our own act, a knack for communicating information about who did what to whom by modulating the sounds we make when we exhale."
Quotes "the following pseudo-German notice that used to be posted in many university computing centers in the English-speaking world:
'ACHTUNG! ALLES LOOKENSPEEPERS!
Das computermachine ist nicht fuer gefingerpoken und mittengrabben. Ist easy schnappen der springenwerk, blowenfusen and poppencorken mit spitzensparken. Ist nicht fuer gewerken bei das dumpkopfen. Das rubbernecken sightseeren keepen das cottenpickenen hans in das pockets muss; relaxen und watchen das blinkenlichten.'"
"Another team is trying to teach a computer the basics of human common sense, which they estimate to comprise about ten million facts."
"Let me begin with the ability to learn, and by convincing you that there is something to explain. Many social scientists believe that learning is some pinnacle of evolution that humans have scaled from the lowlands of instinct, so that our ability to learn can be explained by our exalted braininess. But biology says otherwise. Learning is found in organisms as simple as bacteria, and, as James and Chomsky pointed out, human intelligence may depend on our having more innate instincts, not fewer. Learning is an option, like camouflage or horns, that nature gives organisms as needed – when some aspect of the organism's environmental niche is so unpredictable that anticipation of its contingencies cannot be wired in. For example, birds that nest on small cliff ledges do not learn to recognize their offspring. They do not need to, for any blob of the right size and shape in their nest is sure to be one. Birds that nest in large colonies, in contrast, are in danger of feeding some neighbor's offspring that sneaks in, and they have evolved a mechanism that allows them to learn the particular nuances of their own babies.
Even when a trait starts off as a product of learning, it does not have to remain so. Evolutionary theory, supported by computer simulations, has shown that when an environment is stable, there is a selective pressure for learned abilities to become increasingly innate. That is because if an ability is innate, it can be deployed earlier in the lifespan of the creature, and there is less of a chance that an unlucky creature will miss out on the experiences that would have been necessary to teach it."
"What an irony it is that the supposed attempt to bring Homo sapiens down a few notches in the natural order has taken the form of us humans hectoring another species into emulating our instinctive form of communication, or some artificial form we have invented, as if that were the measure of biological worth. The chimpanzees' resistance is no shame on them; a human would surely do no better if trained to hoot and shriek like a chimp, a symmetrical project that makes about as much scientific sense. In fact, the idea that some species needs our intervention before its members can display a useful skill, like some bird that could not fly until given a human education, is far from humble!"
"Until the recent invention of the Heimlich maneuver, choking on food was the sixth leading cause of accidental death in the United States, claiming six thousand victims a year. The positioning of the larynx deep in the throat, and the tongue far enough low and back to articulate a range of vowels, also compromised breathing and chewing. Presumably the communicative benefits outweighed the physiological costs."
Contains a list of "human universals" compiled by anthropologist Donald E. Brown. As the list is a 2-page wall of text, I'll just link to the quote here. :)
9-Jul-2022: 5. Vägen till Jerusalem by Jan Guillou
Fave! And a re-read. Book 1 in a trilogy about a knight in the 1100's. The trilogy (which is available in English) has feminism and Arabian horses and shit. :) And there is just something about historical novels, man. :q Now I really want to read another novel series by Guillou, 10 books about the 1900's. :D
15-Jul-2022: 6. The call of the wild by Jack London
My fave novel! And a re-read.
18-Jul-2022: 7. A Shropshire lad by A.E. Housman
Collection of poems that Richard Dawkins kept going on about, so I checked them out. Here's my fave from the collection:
"Along the field as we came by
A year ago, my love and I,
The aspen over stile and stone
Was talking to itself alone.
'Oh who are these that kiss and pass?
A country lover and his lass;
Two lovers looking to be wed;
And time shall put them both to bed,
But she shall lie with earth above,
And he beside another love.'
And sure enough beneath the tree
There walks another love with me,
And overhead the aspen heaves
Its rainy-sounding silver leaves;
And I spell nothing in their stir,
But now perhaps they speak to her,
And plain for her to understand
They talk about a time at hand
When I shall sleep with clover clad,
And she beside another lad."
20-Jul-2022: 8. Books do furnish a life: Reading and writing science by Richard Dawkins
Fave! A compilation of book reviews and the like by the Dawk, my fave writer.
"And the point has often been made to me that if you call somebody an idiot you're not going to change his mind, and that's possibly true, but you may change the minds of a thousand people listening in and so I'm less inhibited about calling him an idiot."
"It is possible to take a robust view of extinction, even mass extinction. We can tough-mindedly point out that extinction is the norm for species throughout geological history. Even our own swath of chainsaw and concrete devastation is only the latest in a long series of cleanouts from which life has always bounced back. What are we and our domination of the world but another natural process, no worse than many before? The catastrophe that ended the dinosaurs had a consequence that might lead us to take a positively cheerful attitude towards it: us. From a more dispassionate point of view, every mass extinction opens up yawning gaps in the market, and the headlong rush to fill them is what, time after time, has enriched the diversity of our planet.
Even the most devastating of mass extinctions can be defended as the necessary purging that makes rebirth possible. No doubt it is fascinating to wonder whether rats or starlings might provide the ancestral stock for a new radiation of giant predators, in the event that the whole order Carnivora was wiped out. But none of us would ever know, for we do not live on the evolutionary timescale. It is an aesthetic argument, an argument of feeling, not reason, and I confess that my own feelings recoil. I find my aesthetics incapable of quite such a long view.
The dinosaurs are gone. I mourn them and I mourn the giant ammonites, and before them the mammal-like reptiles and the club moss and tree fern forests of the coal measures, and before them the trilobites and eurypterids: but they are beyond recall. What we have now is a new set of communities, our own contemporary buildup of mutually compatible mammals and birds, flowering plants and pollinating insects. They are not better than the communities that preceded them. But they are here, we have the privilege of studying them, they took agonizing ages to build up, and if we destroy them we shall not see them replaced. Not in our lifetime, not in five million years. If we destroy the ecosystems of which we are a part, we condemn not just our own generation, but all the generations of descendants that we could realistically hope to succeed us, to a world of devastation and impoverishment."
"I was invited by the world's largest computer company to organize and supervise a whole day's game of strategy among their executives, the purpose of which was to bond them together in amicable cooperation. They were divided into three teams, the reds, the blues and the greens, and the game was a variant on the prisoner's dilemma game which is the central topic of Axelrod's book. Unfortunately, the cooperative bonding which was the company's goal failed to materialize – spectacularly. As Robert Axelrod could have predicted, the fact that the game was known to be coming to an end at exactly 4 p.m. precipitated a massive defection by the reds against the blues, immediately before the appointed hour. The bad feeling generated by this sudden break with the previous day-long goodwill was palpable at the post-mortem session that I conducted, and the executives had to have counselling before they could be persuaded to work together again."
Aaaaaaand… In passing, he mentions an evolutionary biologist called Malte Andersson. This… happened… to… be… the… name… of… my… thesis… examiner… in… 2008. :O Erm. Andersson is a supercommon name; Malte isn't. :B Basically, we can assume that the Dawk mentioned someone who read my craptastic little biology thesis "Breeding requirements of neotropical birds at Universeum science centre, Göteborg"!!!!!!!!!!!11111!!!1 In the same sentence as the great Steven Pinker and 19 other names. He referred to them as "distinguished". Sooooo… THE DAWK THINKS MY THESIS EXAMINER IS DISTINGUISHED! MAYBE THAT MAKES ME APPROXIMATELY 0.00000000001% DISTINGUISHED! THANKS I CAN DIE NOW ^_^
PS. IN OTHER NEWS, THE DAWK GAVE A LECTURE AT THE GOTHENBURG SCIENCE FESTIVAL ON 3-MAY-2022 AND I WAS THERE AND HE SIGNED MY COPY OF "UNWEAVING THE RAINBOW" AND I TOLD HIM HE IS MY FAVE WRITER! :DDDDDDDDDDDDDDDD Will upload the pics soon-ish.
14-Aug-2022: 9. Tempelriddaren by Jan Guillou
Fave! And a re-read. Book 2 in a trilogy about a knight in the 1100's.
10-Sep-2022: 10. Rationality: What it is, why it seems scarce, why it matters by Steven Pinker
Both this book and "The language instinct" where OTTFMDA (Often Too Technical For My Dumb Ass), but had many bits my little brain could enjoy as well.
"A major theme of this book is that none of us, thinking alone, is rational enough to consistently come to sound conclusions: rationality emerges from a community of reasoners who spot each other's fallacies."
"And ultimately even relativists who deny the possibility of objective truth and insist that all claims are merely the narrative of a culture lack the courage of their convictions. The cultural anthropologists or literary scholars who avow that the truths of science are merely the narratives of one culture will still have their child's infection treated with antibiotics prescribed by a physician rather than a healing song performed by a shaman. And though relativism is often adorned with a moral halo, the moral convictions of relativists depend on a commitment to objective truth. Was slavery a myth? Was the Holocaust just one of many possible narratives? Is climate change a social construction? Or are the suffering and danger that define these events really real – claims that we know are true because of logic and evidence and objective scholarship? Now relativists stop being so relative."
He quotes Spinoza: "Those who are governed by reason desire nothing for themselves which they do not also desire for the rest of humankind." (Though I, of course, corrected "humankind" to "sentient beings" - and btw, there should be a catchier word for the latter.) And he quotes Kant's Categorical Imperative: "Act only according to that maxim whereby you can at the same time will that it should become a universal law." :) Good, eh?
"The press is an availability machine. It serves up anecdotes which feed our impression of what's common in a way that is guaranteed to mislead. Since news is what happens, not what doesn't happen, the denominator in the fraction corresponding to the true probability of an event – all the opportunities for the event to occur, including those in which it doesn't – is invisible, leaving us in the dark about how prevalent something really is.
The distortions, moreover, are not haphazard, but misdirect us toward the morbid. Things that happen suddenly are usually bad – a war, a shooting, a famine, a financial collapse – but good things may consist of nothing happening, like a boring country at peace or a forgettable region that is healthy and well fed. And when progress takes place, it isn't built in a day; it creeps up a few percentage points a year, transforming the world by stealth. As the economist Max Roser points out, news sites could have run the headline 137,000 PEOPLE ESCAPED EXTREME POVERTY YESTERDAY every day for the past twenty-five years."
"Trump told around thirty thousand lies during his term…"
"So much of our reasoning seems tailored to winning arguments that some cognitive scientists, like Hugo Mercier and Dan Sperber, believe it is the adaptive function of reasoning. We evolved not as intuitive scientists but as intuitive lawyers. While people often try to get away with lame arguments for their own positions, they are quick to spot fallacies in other people's arguments."
"My greatest surprise in making sense of moral progress is how many times in history the first domino was a reasoned argument." :O
8-Nov-2022: 11. Riket vid vägens slut by Jan Guillou
Fave! Book 3 in a trilogy about a knight in the 1100's. I… read about half of "Riket" in 2000! Then was interrupted for some reason (maybe a library deadline) and never got around to finishing it until now. :B
2-Dec-2022: 12. Arvet efter Arn by Jan Guillou
Fave! A 4th book in Guillou's "trilogy". The hero from the first 3 was fictitious. This one is about his grandson, who existed, and kind of invented Sweden.
"Mest angelägna var männen, föga överraskande, att finna en rik änka. Svårare att begripa var vad de sade sig kunna erbjuda i gengäld för denna rikedom de ämnade inhösta. Om detta som verkade svårfattligt för åtminstone de två Ceciliorna berättade Ingrid Ylva lustigt och i ogudaktigt tal att männen för det första var förvissade om att ingen kvinna kunde leva utan manlig lem och för det andra lika förvissade om att inga små söner kunde fostras utan man i huset."
"Ingrid Ylva kväljdes något av att se människor med gott lynne syssla med denna vedervärdiga djurföda. Ingen människa åt svamp utom fordom när det varit flera års missväxt och svälten härjade i landet. Så mycket visste dock de flesta att svamp var ett osäkert sätt att rädda livhanken även för den mest utsvultne. I värsta fall kunde det leda till döden och i bästa fall klarade man sig med några dagars feber och rännskita."
3-Dec-2022: 13. The return of the native by Thomas Hardy
An audiobook, read by… Alan Rickman, who had THE MOST BEAUTIFUL VOICE IN THE WORLD! D': I actually listened to maybe half of it in… 2007. o_O Usually after my nightly paper round, so I kept falling asleep in the middle of chapters and… Meh… Of course I always meant to finish it, though. :D And of course I now listened from the beginning. Haven't finished it yet. I only listen to it at home where I can properly hear and fully concentrate on THE VOICE. :q
24-Dec-2022: 14. Galileo's daughter: A drama of science, faith and love by Dava Sobel
I had never heard of it until it was recommended by Neil deGrasse Tyson's "Startalk" podcast. :) (A 2009 ep that I listened to in 2022…)
"In 1604, five years prior to Galileo's development of the telescope, the world beheld a never-before-seen star in the heavens. It was called 'nova' for its newness. It flared up near the constellation Sagittarius in October and stayed so prominent through November that Galileo had time to deliver three public lectures about the newcomer before it faded from bright view. The nova challenged the law of immutability in the heavens, a cherished tenet of the Aristotelian world order. Earthly matter, according to ancient Greek philosophy, contained four base elements – earth, water, air, fire – that underwent constant change, while the heavens, as Aristotle described them, consisted entirely of a fifth element – the quintessence, or aether – that remained incorruptible. It was thus impossible for a new star suddenly to materialise. The nova, the Aristotelians argued, must inhabit the sublunar sphere between the Earth and the Moon, where change was permissible. But Galileo could see by comparing his nightly observation with those of other stargazers in distant lands that the new star lay far out, beyond the Moon, beyond the planets, among the domain of the old stars. /…/ Having thus impugned the immutability of the heavens, Galileo further attacked the Aristotelian philosophers by turning the telescope on their territory in 1609. His telescopic discoveries transformed the nature of the Copernican question from an intellectual engagement into a debate that might be decided on the basis of evidence. The roughness of the Moon, for example, showed that some of the features of Earth repeated themselves in the heavens. The motions of the Medicean stars [some of Jupiter's moons] demonstrated that satellites could orbit bodies other than the Earth. The phases of Venus argued that at least one planet must travel around the Sun. And the dark spots discovered on the Sun sullied the perfection of yet another heavenly sphere. /…/ Galileo rued the stubbornness of philosophers who clung to Aristotle's views despite the new perspective provided by the telescope. He swore that if Aristotle himself were brought back to life and shown the sights now seen, the great philosopher would quickly alter his opinion, as he had always honored the evidence of his senses."
31-Dec-2022: 15. Den fräcka kråkan by Ulf Nilsson & Eva Eriksson
Fave! And a re-read, as it's a kiddy book that I used to have read to me in the 80's and that I vaguely remembered. IT'S FUCKING SAD :'(
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Vegan FAQ! :)
The Web Site the Meat Industry Doesn't Want You to See.
Please watch Earthlings.
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You can reach me at yoze83 [AT] yahoo.com
Sunrise peeps through the entrance to Gate House, one of the Upper Houses of Burwash Hall, which faces Old Vic, the oldest building in Victoria University. To the south is E.J. Pratt Library, while the Burwash Dining Hall is on the north.
From Wikipedia:
Victoria University is a college of the University of Toronto, founded in 1836 and named for Queen Victoria. It is commonly called Victoria College, informally Vic, after the original academic component that now forms its undergraduate division. Since 1928, Victoria College has retained secular studies in the liberal arts and sciences while Emmanuel College has functioned as its postgraduate theological college.
Victoria is situated in the northeastern part of the university campus, adjacent to St. Michael’s College and Queen's Park. Among its residential halls is Annesley Hall, a National Historic Site of Canada. A major centre for Reformation and Renaissance studies, Victoria is home to international scholarly projects and holdings devoted to pre-Puritan English drama and the works of Desiderius Erasmus.
Victoria College was originally founded as the Upper Canada Academy by the Wesleyan Methodist Church. In 1831, a church committee decided to locate the academy on four acres (1.6 hectares) of land in Cobourg, Ontario, east of Toronto, because of its central location in a large town and access by land and water. In 1836, Egerton Ryerson received a royal charter for the institution from King William IV in England, while the Upper Canadian government was hesitant to provide a charter to a Methodist institution. The school officially opened to male and female students on October 12, 1836, with Ryerson as the first president and Matthew Ritchie as principal. Although the school taught a variety of liberal arts subjects, it also functioned as an unofficial Methodist seminary. In 1841, it was incorporated as Victoria College, named for Queen Victoria, and finally received a charter from the Upper Canadian Legislature.
Victoria University was formed in 1884 when Victoria College and Albert University federated with each other. In 1890, Victoria University federated with the University of Toronto. In 1892, Victoria University moved from Cobourg to its current campus on Queen's Park Crescent, south of Bloor Street (at Charles Street West), in Toronto.
James Loudon, a former President of the federated universities, had prohibited dancing at the University of Toronto until 1896. However, dancing at Victoria was not officially permissible until thirty years later, in 1926.
King George V gifted to Victoria College a silver cup used by Queen Victoria when she was a child and the Royal Standard that had flown at Osborne House and was draped on the coffin of the Queen when she died there in 1901.
Victoria College is somewhat separated from the rest of the University of Toronto geographically, bordering Queen’s Park, and being located on the eastern portion of the campus along with St. Michael's College. The main building, Old Vic, is an example of Richardsonian Romanesque architectural style. The architect was W. G. Storm, who died shortly after completion. The campus is centred on the main quadrangle of Victoria, outlined by the upper and lower houses of Burwash Hall.
Burwash Hall is the second oldest of the residence buildings at Victoria. Construction began in 1911 and was completed in 1913. It was named after Nathanael Burwash, a former president of Victoria. The building is an extravagant Neo-Gothic work with turrets, gargoyles, and battlements. The architect was Henry Sproatt.
The building is divided between the large dining hall in the northwest and the student residence proper. The residence area is divided into two sections. The Upper Houses, built in 1913, consist of four houses: North House, Middle House, Gate House, and South House. The Lower Houses were built in 1931 and were originally intended to house theology students at Emmanuel College, whose current building was opened the same year. Ryerson House, Nelles House, Caven House, Bowles-Gandier House are now mostly home to undergraduate arts and science students. The latter two are mostly reserved for students in the new Vic One Programme.
To the west the Upper Houses look out on the Vic Quad and the main Victoria College building across it. West of the Lower Houses is the new Lester B. Pearson Garden of Peace and International Understanding and the E.J. Pratt Library beyond it. From the eastern side of the building, the Upper Houses look out at Rowell Jackman Hall and the Lower Houses see the St. Michael's College residence of Elmsley. The only exception is the view from Gate House’s tower that looks down St. Mary’s Street.
Built in 1961 and located at the south end of the quadrangle, the E.J. Pratt Library the main library of Victoria University, with some 250,000 volumes. The collection is geared towards the undergraduates and contains mainly humanities texts with a focus on History, English, and Philosophy. The site of the library and the adjacent Northrop Frye Building was originally on the route of Queen’s Park Crescent. The road was pushed south into Queen’s Park to make way for the new buildings.
Victoria University is governed bicamerally by the Victoria University Board of Regents and the Victoria University Senate. These bodies are represented by faculty, administrators, elected students and alumni. The colleges are governed by the Victoria College Council and Emmanuel College Council. College councils are represented by faculty, administrators and elected and appointed students. Victoria’s governing charter was most recently amended in 1981, with the enactment of the Victoria University Act.
Victoria is presently the wealthiest college at the University of Toronto by net assets. In part this has been because of alumni donations, but much of the growth is specifically due to the rapidly increasing value of Victoria’s large real estate holdings in downtown Toronto. Today, the College has a securities portfolio worth approximately $78 million and a real estate portfolio worth $80 million.
The E.J. Pratt Library is the main library of Victoria College. The Centre for Reformation and Renaissance Studies holdings fall into three main categories: rare books, most of which were printed before 1700 (currently about 4,000 titles), modern books (currently about 25,000 volumes), and microforms (several thousand microfiches and reels). The library contains primary and secondary materials relating to virtually every aspect of the Renaissance and Reformation. In particular, it houses the Erasmus collection, one of the richest resources in North America for the study of works written or edited by the great Dutch humanist Desiderius Erasmus of Rotterdam. The collection holds a substantial number of pre-1700 editions of his works, including the Novum Instrumentum of 1516.
The academic programs of the college include Literary Studies, Semiotics and Communication Theory, Renaissance Studies, the Vic Concurrent Teacher Education Program (developed in conjunction with OISE/UT) and the first-year undergraduate programs Vic One and Vic First Pathways. Recently, the administration of Victoria University has been actively promoting international experiences as a part of the undergraduate student experience.
Centre for Reformation and Renaissance Studies (CRRS) is a research and teaching centre in Victoria University devoted to the study of the period from approximately 1350 to 1700. The CRRS supervises an undergraduate program in Renaissance Studies, organizes lectures and seminars, and maintains an active series of publications. The centre also offers undergraduate, graduate, and postdoctoral fellowships. The Records of Early English Drama (REED), also known as the Centre for Research in Early English Drama, is an international scholarly project that looks at the broader context from which the great drama of Shakespeare and his contemporaries grew. REED examines the historical manuscripts that provide external evidence of drama, secular music, and other communal entertainment and ceremony from the Middle Ages until 1642, when the Puritans closed the London theatres.
Founded in 1975, REED has for the last 31 years worked to locate, transcribe, and edit all surviving documentary evidence of drama, minstrelsy, and public ceremonial in England before 1642. As well, two collections go beyond the original boundaries of our research to cover other parts of the British Isles, RED (Records of Early Drama): Scotland and Wales. Twenty-five collections of records have been completed since the first REED collection, York, appeared in 1979; the most recent one, REED: Lincolnshire, comes out in 2009. Over 30 editors are at work on future collections.
REED’s internal governance is provided by an Executive Board of senior scholars in early drama and related fields, with advisors and collections editors drawn from Canada, the United States, Australia, and the United Kingdom. For many years, REED also published a twice-yearly newsletter (REEDN), now superseded by a refereed journal, Early Theatre (ET/REED). The co-directors of REED are Alexandra Johnston and Sally-Beth MacLean.
This 360° High Dynamic Range panorama was stitched from 68 bracketed photographs with PTGUI Pro, tone-mapped with Photomatix, processed in Color Efex, and finally touched up in Aperture.
Original size: 20000 × 10000 (200.0 MP; 1.04 GB).
Location: University of Toronto, Toronto, Ontario, Canada
From I Live Here:SF, a great show of amazing photography, darkly cool paintings, video and more that opened last night at SOMArts, curated by resident artist and brilliant photographer Julie Michelle.
Highly recommended, the show runs until November 30.
Gallery hours: Tuesday – Friday 12:00 – 7:00 pm, Saturday 12:00 – 5:00 pm
Thanks a lot to Fernando Prats, to his team, and to all other mess-engers (listed below) of this "Y Sin Embargo issue" !
I'm happy to have participated to this issue trying these new ways to pictosophize :
1 - dıaptych(lεƒt) :: mεss-up 1/1 mεss-agε
2 - dıaptych(rıght) :: mεss-up N/N mεss-agε
3 - :: mεss-ıah mεss-up mεss-agε mεss-εngεr
Please, add Y SIN EMBARGO magazine to your bookmarks !
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sep.oct.nov.2008 | primaverasurotoñonorte
PDF (log: build 0011)
Hi-Res PDF (log: build 0011)
Múltiples mensajes.
¿ Cuánto 'texto' entra en un texto ?
¿ Cuánto en una foto, cuánto en un collage ?
¿ Hasta dónde el medio soporta la carga ? ¿ Cuánta información puede encriptarse ?
¿ Cuánto mensaje soporta un mensaje ? ¿ Cuánta lectura ? ¿ Hasta dónde se puede forzar/exigir/multiplicar la densidad de significantes ? ¿ Cuánto suman las capas de contenidos, los subniveles escalonados (jerárquicos, o NO-jerárquicos) ? ¿ Hasta dónde puede extenderse (qué tan hondo) la arquitectura invisible ?
Presentado desde trabajos que exploren/exploten estas posibilidades. Que expliquen y le den la vuelta.
Que se arriesguen. El juego, la burla, el humor. La crítica, la puesta en evidencia de los mecanismos de los mass-media. Narraciones con tantas lecturas como sea posible. Mixed-media con tanto mensaje como pueda contener.
¿ Cuánto mensaje puede entrar en una lata ?
# # #
Multiple messages.
How much texts fit in a text ?
How much in a picture, how much in a collage ?
How far does the medium bears the load ?
How much information can be encrypted ?
How much message stands a message ?
How many readings ?
How far the significant density can be forced / demanded / multiplied ?
How much the content layers add ?
Staggered sublevels (hierarchic or NOT-hierarchic) ?
How far the invisible architecture can be extended (how deep) ?
Launched from works exploring / exploiting this possibilities.
Works which explain and give the topic a turnover.
Which risk.
Game, mockery and humor.
Critics, the mass-media mechanisms put into evidence.
Narrations with as many readings as possible.
Mixed-media with as much message it can contain.
How much message can be stored in a can ?
# # #
Messages multiples.
Combien de textes inscrits dans un texte ?
Combien dans une image, combien dans un collage ?
Jusqu'où le médium supporte-t-il la charge ?
Jusqu'où l'information peut-elle être cryptée ?
Combien de messages dans un message ?
Combien de lectures ?
Dans quelle mesure la consistance peut-elle être forcée / contrainte / multipliée ?
Combien de couches peut-on ajouter ?
Combien de degrés, de sous-niveaux (hiérarchisés ou non) ?
Jusqu'où l'architecture invisible peut-elle être étendue (quelle profondeur) ?
Lancement de travaux qui explorent/exploitent ces possibilités.
Travaux qui expliquent et donnent au sujet de nouveaux angles.
Quels risques.
Jeux, humour et dérision.
Critiques, les mécaniques mass-médiatiques mises en évidence.
Narrations à multiple lectures possibles.
Compositions avec autant de messages qu'il est posssible d'y inclure.
Combien de messages peuvent-ils être stockés dans une boîte ?
(download it. it's free.)
# # #
edit(ing), direct(ing) + complements
art direct(ing) + design(ing)
insistAnçao, correct(ing) + additional stuff
listen(ing)
original music {free cd in-out-side}:
translat(ing)
refill(ing) image:
open(ing) messimages:
frontcover(ing) im(a)g:
bird/girl morphing by olivier-gilet
backc(o)ver(ing) i(mg):
frank mess(ages) by bill-horne trio
phantasmagoric text(ing) & latas:
featuring:
ysinembargo#17... cuál es la frontera... si no se sale ni se llega.
a b r e l a m u r a l l a
amsterdam antwerp
barcelona berlin brno bruxelles buenos aires
grenoble
iowa city
lawrenceville leicester lisbon loch gorman london
madrid mendoza
san rafael
tarragona
varese
warsaw
# # #
YSE #17's Original Music | YSElected videos
# # #
Official WEBsite | MySpace | Flickr Group | Also @ Facebook, YouTube, Hi5, Tumblr
www.martinazelenika.com/portfolio/msss/
VISUALIZATION OF UNIVERSAL SOUND - Semiotic decoding of universal sound into an analogue drawing.
7 drawings – rolls, graphite pencils on canvas, high 200 x wide 90 cm each, 100 cm wide with white wooden sticks