View allAll Photos Tagged SpecFic
My Boyfriend and I went to see an exhibit of Keith Haring's artwork, specfically the Ten Commandments pices that he created.
Visual arts site-specific installation dealing with plastic pollution by Wang Ruobing (Singapore) at the Esplanade Concourse.
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
My Boyfriend and I went to see an exhibit of Keith Haring's artwork, specfically the Ten Commandments pices that he created.
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
DEEP in the inner recesses of TAM…dedicated men work THANKLESS HOURS on another LANC.
Yep.
And HERE IT is.
GOOD PROGRESS, Gentlemen!!
SPECIAL OPERATIONS: THIS LANCASTER FM 104 played a part of Canada's role, with its operational assistance of the United States, during the volatile CUBAN MISSLE CRISIS in 1962.
It's specfic mission at the time: STILL CLASSIFIED
My Boyfriend and I went to see an exhibit of Keith Haring's artwork, specfically the Ten Commandments pices that he created.
www.npr.org/sections/goatsandsoda/2022/09/12/1121599445/s...
So you haven't caught COVID yet. Does that mean you're a superdodger?
Back in the early 1990s, Nathaniel Landau was a young virologist just starting his career in HIV research. But he and his colleagues were already on the verge of a landmark breakthrough. Several labs around the world were hot on his team's tail.
By this point in the pandemic, most Americans have had at least one bout of COVID. For children under age 18, more than 80% of them have been infected, the Centers for Disease Control and Prevention estimates.
But just as with HIV, some people have been exposed multiple times but never had symptoms and never tested positive.
"We've heard countless anecdotes about nurses and health-care workers being exposed without any protection and remaining negative over and over again," says pediatrician Jean-Laurent Casanova, who studies the genetics of viral resistance at Rockefeller University. "Or people share a household with someone who's been coughing for a couple of weeks, and one person stays negative."
So why haven't these people caught COVID?
After two years of hunting, a team at the University of California, San Francisco has come pretty close to answering the question.
"These findings are like hot off the presses," says immunogeneticist Jill Hollenbach, who led this research. "We haven't published them yet. It's all stuff that's been happening this summer."
Hollenbach and her team have found a genetic mutation that doesn't prevent the virus from infecting cells – that's what Landau was searching for in his HIV research – but still does something remarkable: It prevents a person from having COVID symptoms.
Turns out, stopping an infection altogether is an extremely tough nut for our bodies to crack.
What does it take to be a true superdodger?
Over the course of human history, scientists have identified only two instances of true virus superdodgers. That is, where a specific mutation in their genes makes people completely resistant to a virus. So that it slides off their cells, "like water sliding off a glass window," as Casanova puts it..
In 2003, a team in London showed how some people never get a stomach bug, called norovirus, which causes vomiting and diarrhea. The researchers found that one mutation in their genes prevents them from making a molecule the virus needs to infect the cell.
(In 1995, researchers in France figured out why some people appeared to never be infected with a species of malaria known as Plasmodium vivax. However, over the past decade, further studies have clarified that these superdodgers actually do become infected with the parasite; they simply don't show symptoms.)
The best-known superdodgers in human history
By far, the most famous virus superdodgers are people protected against HIV — the ones Landau and his colleagues were studying back in the early 1990s.
In 1996, his team was getting really close to solving that puzzle. One morning they found a huge clue. The night before, they had set up an experiment to test which molecules HIV needed to infect a human cell. The experiment garnered spectacular results.
It showed that HIV didn't enter cells the way scientists had believed. Instead it needed a little bit of extra help. Specifically, HIV needs a specific molecule, called CCR5, on the surface of the cell to "open the door" and let the virus enter, Landau says. Without CCR5, the virus only sticks to the cell's surface but can't enter. "It's kind of like the virus is knocking at the door, but nobody's opening the door. The door is locked," he says.
"That was what we call a eureka moment," Landau says. "That was the moment where we could say, 'We found something that had never been seen before.' "
Landau and his colleagues rushed to the computer and wrote up the findings as quickly as possible. Then he literally ran to the FedEx store to submit the paper to the journal Nature, knowing that other teams were likely to have the same finding soon.
"In those days you couldn't just submit your paper through your computer," he says. "You had to mail a hard copy of it to the journal. And my job was to sprint over to the FedEx store so we could get the paper mailed on time."
Then only a few short weeks later, Landau and his colleagues made another huge discovery, and in the process solved the final piece of the HIV puzzle. "We were quite amazed that it all happened so quickly," Landau says.
In collaboration with a research group down the hall, Landau and his colleagues sequenced the CCR5 gene in two people completely resistant to HIV. Lo and behold! Both people had the same mutation in the gene – and it's a powerful mutation. It completely cripples the molecule so that it doesn't appear on the cells' surface, the group reported in the journal Cell. Remember, without CCR5, HIV can't infect the cell.
"You can put as many virus particles as you want onto those cells, and they will not get infected," he says. "So in the case of resistance to HIV, the story was very clear."
The finding completely shifted the field of HIV. It led to the first – and only – way to cure a person of HIV and suggested a new route, using gene editing with CRISPR. But it did something else: It showed scientists that one mutation could make a person completely resistant to an infection. One mutation in their genes could make them a true superdodger.
Trying to find out if there really are COVID superdodgers
"So when SARS-CoV-2 came along, of course, many labs looked to see if the same might be true for this virus," Landau says. And inspired by the story of CCR5, they went looking for mutations in the genes required for SARS-CoV-2 to enter and infect cells.
For COVID superdodgers, the situation appears to be more complex than for people resistant to HIV, Landau says, because the way SARS-CoV-2 infects cells is different from that of HIV.
Instead of using CCR5 to "open the cell's door," SARS-CoV-2 uses the ACE2 receptor. People can't live without ACE2. "The receptor regulates your blood pressure," Landau explains. So, unlike CCR5, you can't simply knock out the ACE2 receptor, he says. "You're not going to have many people walking around that don't have ACE2.
"Of course, there may be more subtle mutations in ACE2 which could play a role in resistance to SARS-CoV-2," he adds. "But there doesn't seem to be an obvious and dramatic mutation as is the case for HIV."
But perhaps what's more likely, he says, is that people have mutations in genes other than ACE2, and these mutations probably don't protect them from getting infected per se but do protect them from getting sick.
Maybe there are ... mini-dodgers?
So having one of these mutations would make you a sort of COVID mini-dodger, if you will. There are other ways to resist an infection besides denying the virus entrance into the cell, Landau explains. And they likely involve your body's immune system.
That's exactly what the team at UCSF has found.
Since the pandemic begin, Jill Hollenbach and her colleagues at UCSF have been studying people who test positive COVID but show no symptoms. "Not even a sniffle or a scratchy throat," she says. "So they are entirely asymptomatic."
After analyzing DNA from more than 1,400 people, they identified a mutation that helps a person clear out a SARS-CoV-2 so fast that their body doesn't have a chance to develop symptoms.
The mutation occurs in a gene called HLA, which is critical during the earliest stages of infection. Hollenbach and her colleagues found that having a particular mutation in that gene increases a person's chance of being asymptomatic by almost 10 times. They reported those preliminary findings online last September.
Since then, they've gone on to show how this mutation works. And it has to do with your immune system preparing for SARS-CoV-2 before the pandemic even began back in 2019.
When a virus first enters cells, HLA signals to the immune system that cells are invaded and need help. That signal triggers a cascade of events that ultimately leads your body to make potent weapons specifically designed to fight SARS-CoV-2. These weapons include antibodies and T cells that uniquely recognize pieces of this virus. Once these targeted weapons are available, your immune system has a much easier time clearing up the infection. But these weapons take time to manufacture. And that delay allows the infection to spread and symptoms to develop.
But what if, for some lucky reason, your immune system already had weapons specifically targeted to SARS-CoV-2?
This summer, Hollenbach and her colleagues demonstrated that, with a specific mutation in HLA, some people have T cells that are already pre-programmed to recognize and fight off SARS-CoV-2. So there's no delay in generating COVID-specfic weaponry. It's already there.
"Your immune response and these T cells fire up much more quickly [than in a person without the HLA mutation]," Hollenbach says. "So for lack of a better term, you basically nuke the infection before you even start to have symptoms."
But here's the kicker. For the HLA mutation to work (and for you to have these pre-armed T cells), you first had to have been infected with another coronavirus.
"Most of us have been exposed to some common cold coronavirus at some point in life," she explains. And we all generate T cells to fight off these colds. But if you also have this mutation in your HLA, Hollenbach says, then just by mere luck, these T cells you make can also fight off SARS-CoV-2.
"It's definitely luck," she says. "But, you know, this mutation is quite common. We estimate that maybe 1 in 10 people have it. And in people who are asymptomatic, that rises to 1 in 5."
Seeking possible superdodgers who'll spit into a cup
While Hollenbach and her team continue to look for more mini-dodger genes, Casanova over at Rockefeller University and his colleagues are still trying to determine if there are true superdodger genes. And he's looking for participants right now for his study.
"You fill out a questionnaire online about your exposures to SARS-CoV-2," he says. And then if you meet the criteria of a superdodger, the team sends you a testing kit. Basically you spit in a cup and mail it back to Casanova and his collaborators.
"We'll extract your DNA and sequence your genome," he explains. "We hope that in a group of 2,000 to 4,000 people, some people will have genetic mutations that tell us why they're resistant to infection."
And perhaps, like with HIV, that finding will one day shift the field of COVID research and lead to a vaccine that does what everyone wishes our current vaccines would do: turn everyone into a COVID superdodger.
www.wired.com/story/the-mystery-of-why-some-people-dont-g...
The Mystery of Why Some People Don’t Get Covid
A small number of people appear naturally immune to the coronavirus. Scientists think they might hold the key to helping protect us all.
We all know a “Covid virgin,” or “Novid,” someone who has defied all logic in dodging the coronavirus. But beyond judicious caution, sheer luck, or a lack of friends, could the secret to these people’s immunity be found nestled in their genes? And could it hold the key to fighting the virus?
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
The calculations and sketches provided an important design for the architect and his partner; with living accomodation and working spaces. All the areas can be interchanged and not specfically allocated an activity as variety can occur over a 24 hour daily life. As a knot interwinding and mixing metaphorically characterises.
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
My Boyfriend and I went to see an exhibit of Keith Haring's artwork, specfically the Ten Commandments pices that he created.
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
My Boyfriend and I went to see an exhibit of Keith Haring's artwork, specfically the Ten Commandments pices that he created.
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her.
What is your artisic process?
I came up with my idea from seeing different pictures on pinterest and photos that were shown to us on the powerpoint. My eye specfically drawn to the color in the background and in the leaves this was intentional.
2. How did you take/set up the photo?
I took my photo inside. I did use natural light. I did not take both photos. I used a stock image background from stockvault.com
3. Editing
The type of program I used was photoshop. Pick two photos, decided what will be my base exposure, take the second image adjusted the opacity slider to 42%, went to the drop down menu for the layer blending options, set the default to normal adjust. Layer 0 is overlay Layer 2 is normal Layer 1 is also normal. Use the polygonal tool to crop around my base pgoto to take the background out and change the backeground to purple to kinda blend with the leaves and I used the paint brush for that.
4. Message.
There wasn't a mood I was really specifically trying to capture but if I was to pick a mood it would be a happy/ free mood. The connection I have to the subject matter of photo is the color purple whichis my favorite color. I wasn't going to use this speific background I was going to use i hippie background because its something that desribe this person more.
4. Reflection
Most successful aspect of my photo is the double exposure
Least successful aspect of my photo is the base picture
I could take the picture again but change the lighting or take the photo outside to fix it
The most difficult part is remembering everything about double exposure.
I was able to achieve what I was going for.
I learned how to work more of photoshop how to make a double exposure and how to use the polygonal tool.
I did enjoy photoshop week. Taking notes and watching videos was helpful. I would love to see more videos because that helps.
This is a shot of my nephew. The shot doesn't show any specfic emotion and is very bland. I am not to happy with the shot although it has great clarity it is very boring with nothing to make it interesting to look at.
Visual arts site-specific installation dealing with plastic pollution by Wang Ruobing (Singapore) at the Esplanade Concourse.
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
My Boyfriend and I went to see an exhibit of Keith Haring's artwork, specfically the Ten Commandments pices that he created.
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
More for your BoS. These drawings and the accompanying text www.flickr.com/photos/30591976@N05/5550778824/ are taken from The Natural History of Teesmouth - A Simple Introduction and was published by the Cleveland Naturalist;s Field Club and The Teesmouth Bird Club in 1966. While dealing specfically with Teesmouth in North East England, the species are found elsewhere in Britain and at similar latitudes across the globe.
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
Who doesn't like a delicious gold twinkie with a white creamy filling? This portector does. Armed with a twinkie cream blaster, cream canister and cream blade. Hes ready to portect the yummy bundles of obesity!
First entry for Junie's Contest. Yup first i plan on making a second one with the theme of hard candy. Jolly ranchers in specfic. Good luck to everyone!
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
My Boyfriend and I went to see an exhibit of Keith Haring's artwork, specfically the Ten Commandments pices that he created.
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her.
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
My Boyfriend and I went to see an exhibit of Keith Haring's artwork, specfically the Ten Commandments pices that he created.
This is Crane Park in West Caldwell, New Jersey, a jewel in the face of the tin crown that is West Caldwell's central business district. It's a lovely green oasis surrounded by an assemblage of strip malls, chain drugstores, gas stations, and office buildings that passes for our downtown.
Crane Park was named for a local family that operated a saw mill. Specfically, the name refers to Caleb Crane, who became West Caldwell's first mayor when the originally rural town was incorporated in 1904.
The West Essex campus of Essex County College is in the background.
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her
My Boyfriend and I went to see an exhibit of Keith Haring's artwork, specfically the Ten Commandments pices that he created.
My Boyfriend and I went to see an exhibit of Keith Haring's artwork, specfically the Ten Commandments pices that he created.
"However, to accept the expression 'Eurocentrism' as a concept with negative connotations is-in a certain perspective-to reject European modernity with all its implications including democracy, human rights, and mass communication."
Sven Erik Nordenbo in "What Is Implied by a 'European Curriculum?' Issues of Eurocentrism, Rationality and Education" uses the above mentioned quote in his writing to broaden the lens through which the readers view Eurocentrism. It is absolutely imperative that we look at the holistic impact of it instead of narrowing it just to the race of individuals. Fortunately, the world has derived some good things from the diffusion of European culture. For example, mass education and democracy. He challenges critics of the term to be more thorough in the narrowing of the aspect they take issue with, specfically race pertaining to Eurocentrism. He also states that there is a Eurocentric curriculum. This means that there are certain aspects that are distinct to those of the Eurocentric mindset. However, that curriculum is used for people not of the Eurocentric mindset, leaving others disadvantaged. It also tries to create a homogeneous society. It fails to realize the beauty in diversity.
In before an after pictures one usually is trying to ameliorate their outer appearance. Applying this logic, this picture explicitly states that the European look is better than the Asian.
This article can be found here:
www.jstor.org.ezproxy.auctr.edu:2051/stable/1050792?seq=2...
"I establish boundaries which determine both what is collected and where it is collected from. Accumulating and assembling single-coloured objects, I consider the psychological influence of colour, its effect and sensory impact upon the viewer.”
Chroma is the culmination of Manchester artist Liz West’s interests and ideas over a five-year period.This new body of work, site-specific to BLANKSPACE, explores the themes of colour theory, collecting and the exploration of real and illusory space.
West’s playful and magical works, each of which she builds by hand, consist of unexpected and carefully arranged combinations of materials. Systems of ordering, classification and coding are applied in the development and generation of West’s work. She invokes the monumental, whilst utilising commonplace objects that are found and collected from the world around her