View allAll Photos Tagged TRANSMUTATION
Technology is transmuting the way people live. When it comes to the healthcare industry, “the technological development has saved the uncountable lives as well as improve the quality of life” emphasis Steven Cavellier.
Various Artists performing live at the Transmute Showcase at Live House in Los Angeles on 11/03/2019.
Fangamer's Special Forces shirts have finally arrived!
Jon Kay has, by popular demand, transmuted his popular Special Forces bag design onto one of our most thorough prints to date: American Apparel shirts with 4 (count 'em!) discharge prints on the chest, sleeve, back, and tag.
Not only is this our first sleeve print, but its also our first shirt to be printed on AA's fantastic "summer shirt", a 50/50 poly/cotton shirt which feels lighter and breathes better than standard cotton shirts.
Whereby the kachina becomes the consort bell to the dorje, peeling life through the morning sky, manifesting as lightning and giving animation to the soil.
An Authentic Portrait of the Middle Way
(A Vajra Song of the Lord of Yogis, Milarepa)
From the standpoint of the truth that’s genuine,
There are no ghosts, there are not even buddhas,
No meditator and no meditated,
No paths and levels traveled and no signs,
And no fruition bodies and no wisdoms,
And therefore there is no nirvana there,
Just designations using names and statements.
All animate, inanimate – the three realms,
Unborn and nonexistent from the outset,
No base to rest on, do not co-emerge.
There is no karmic act, no maturation,
So even the name "samsara" does not exist.
That’s the way these are in the final picture,
But oh, if sentient beings did not exist,
What would the buddhas of three times all come from?
Since fruition with no cause – impossible!
So the stand point of the truth that’s superficial,
Is samsara’s wheel, nirvana past all grief,
It all exists, that is the Sage’s teaching,
Then what exists appearing to be things,
And their non-existence, reality that’s empty,
Are essentially inseparable, one-taste;
And therefore there is neither self-awareness,
Nor awareness of what’s other anywhere.
All of this a union vast and spacious,
And all those skilled in realizing this,
Do not see consciousness, they see pure wisdom,
Do not see sentient beings, they see buddhas,
Don’t see phenomena, they see their essence,
And out of this compassion just emerges,
Retention, powers, fearlessness and all?
The qualities embodied by a Buddha
Just come as if you had a wishing jewel,
This is what I, the yogi, have realized....
Various Artists performing live at the Transmute Showcase at Live House in Los Angeles on 11/03/2019.
Various Artists performing live at the Transmute Showcase at Live House in Los Angeles on 11/03/2019.
Une couronne pour un roi galeux ?
Une auréole pour un saint lépreux ?
Juste une feuille de rien transmutée
En fourreau porte-larves par la vie.
This is a detail of a painting i am still working on. I am jamming to get it ready for opening night of "Transmutation" new paintings at Mercury 20 gallery in Oakland, CA
Featuring my not yet completed Collector/Relay Array for Equiivalent exchange. (I have one allready but that's used for Dark Matter creation. This one's intended for EMC generation / Klein Star Charging)
Also shown: Transmutation Tablet and Energy Condenser
'Amikejo: Uqbar (Irene Kopelman & Mariana Castillo Deball)', Laboratorio 987, MUSAC, 25 June–11 September
Uqbar (Irene Kopelman and Mariana Castillo Deball explore the “interchanges, mutations, transmutations, metamorphosis and contaminations that working together entails... the not belonging to one or the other but rather creating an in between zone”, as the artists have described. The artists investigate the principal of chirality or ‘handedness’ – the property of an object that is not superimposable on its mirror image (human hands being the most recognizable example: the left hand is a non-superimposable mirror image of the right hand). Uqbar take this phenomenon as a metaphor of two organisms working together, mirroring each other; and at the same time being completely different and alien to each other. The exhibition is dominated by a spiral staircase, which serves as a viewpoint for other artifacts and objects. Uqbar create a psychedelic chiral ecosystem, featuring hanging papier-mâché epiphyte sculptures and enlarged stone microfossils, as well as “Banyan tree drawings, a video of a chemical reaction, fables among non-humans and drawings of hybrid creatures”.
Secrets revealed of the Abode of Chaos (132 pages, adult only) >>>
"999" English version with English subtitles is available >>>
HD movie - scenario thierry Ehrmann - filmed by Etienne Perrone
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voir les secrets de la Demeure du Chaos avec 132 pages très étranges (adult only)
999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre
Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.
courtesy of Organ Museum
©2011 www.AbodeofChaos.org
It's a "big look"
In order for music to free itself, it will have to pass over to the other side -— there where territories tremble, where the structures collapse, where the ethoses get mixed up, where a powerful song of the earth is unleashed, the great ritornelles that transmutes all the airs it carries away and makes return.
- Gilles Deleuze
In 2006, the Flaming Lotus Girls present Serpent Mother, an ancient skeletal spirit whose long wait for the unleashing of the life inside her egg is about to be rewarded. She has survived through the transmutation of fear into hope; now the Serpent-Mother invites Burning Man participants along on her journey.
As darkness envelops the landscape, the Serpent fully awakens to an ambient flame down the entire length of her body. The flaming spine can be seen from anywhere on the open playa and burns throughout the night.
www.flaminglotus.com/serpent_mother/web/serpent_cheat_she...
STRUCTURE
* 168' long skeleton snake body, arching up to 20’ and coiling around a10’egg.
* 65' x 50' installation footprint.
* Made of steel, copper, glass, fire, and light.
* A hydraulically-activated moving head
* Structural rib pairs are suspended on bearings allowing them to be moved.
* An interactive LED illumination system.
FIRE
* Ambient flame effect down the entire length of her spine.
* 31 computer-and-participant controlled proofers
* A hydraulically-activated moving head with forced air effect coming out of the fangs.
* An egg with 35 foot multidimensional liquid fuel fire effect erupting out of its interior.
INTERACTIVITY
Serpent Mother is a highly kinetic participant controlled installation. The space that is created by the Serpent around her egg encourages participants to connect and interact with one another, turn inward for reflection or activate her fiery spirit. One can chose to make the serpent’s head and neck move or make the jaws open and close. An individual can initiate 10 different sequenced patterns for the 31 poofers, activate each poofer via buttons or proximity sensors, or operate buttons, which activate the liquid fuel bursts of the egg. The LEDs illuminating the body are also be interactive changing based on a participant’s heartbeat. The freestanding ribs of the serpent can be moved by the participants’ interaction with them.
Siout, Egypt
•Gifford, Sanford Robinson
•American, 1823-1880
•1874
•Oil on Canvas
•Dimensions:
oOverall: 53.3 × 101.6 cm (21 × 40 in.)
oFramed: 91.1 × 139.7 × 13.3 cm (35⅞ × 55 × 5¼ in.)
•New Century Fund, Gift of Joan and David Maxwell
•1999.7.1
•On View
Overview
Although many nineteenth-century American landscape painters traveled abroad in search of subjects, Sanford Gifford was one of the very few who ventured beyond England and the Continent. Early in 1869 he traveled the Nile from Cairo to the first cataract (rapids) and back. On March 4 he reached the village of Siout, which lay amid an extensive and fertile plain below the Libyan Hills at the start of a great caravan route running through the Libyan Desert to the Sudan. The town was known for its picturesqueness and its history, having been the capital of the thirteenth nome (province) of Upper Egypt during antiquity and the birthplace of Plotinus, the great Neoplatonic philosopher. Gifford described the view that inspired this painting in his journal:
Looking westward, the town with its domes and minarets lay between us and the sun, bathed in a rich and beautiful atmosphere. Behind, on the right, were the yellow cliffs of the Libyan mts., running back into the tender grades of distance. Between us and the town were fields of grain, golden green with the transparent light. On the right was a tent with sheep and beautiful horses, the sunlight sparkling on a splendid white stallion. On the left the road ran in, with a fountain and figures of men and women and camels. The whole glowing and gleaming under the low sun. [1]
Siout, Egypt, is the most important and the finest of Gifford’s dozen or so known Egyptian works and ably demonstrates his mastery of both atmospheric and linear perspective. The glowing light serves both to give tonal unity and balance to the overall composition and to reveal the myriad details of the scene with exceptional clarity. The result is a work that is less about the physical facts of the scene it depicts and more about the very act of perceiving. As one of the artist’s contemporaries wrote:
Gifford’s art was poetic and reminiscent… It was nature passed through the alembic [a device that refines or transmutes through distillation] of a finely organized sensibility. [2]
(Text by Franklin Kelly, published in the National Gallery of Art exhibition catalogue, Art for the Nation, 2000)
Notes1. Journal III (Egypt), March 4, 1867; quoted in Sanford Robinson Gifford [exh. cat., University of Texas Art Museum] (Austin, 1970), 29.
2. “Sanford R. Gifford. His Life and Character as Artist and Man,” in A Memorial Catalogue of the Paintings of Sanford Robinson Gifford, N.A. [exh. cat., The Metropolitan Museum of Art] (New York, 1881), 8.
Inscription
•Lower Right: S. R. Gifford 1874; reverse: Siout S R Gifford
Provenance
Possibly Timothy B. Blackstone [1829-1900], Chicago, by 1876.[1] J.I. Nesmith, Brooklyn, by 1880;[2] (Vose Galleries, Boston); Webster and Douglas B. Collins, Longmeadow, Massachusetts, by 1970; (Vose Galleries, Boston); sold 28 January 1977 to Jerald Dillon Fessenden, New York;[3] purchased jointly 1986 by (James Maroney, New York) and (Hirschl & Adler Galleries, New York);[4] purchased 1 February 1999 by NGA.
[1] A painting by Gifford titled Siout, the Capital of Upper Egypt, possibly the NGA painting, was lent to a Chicago exhibition in 1876 by Blackstone, who was the president of the Chicago and Alton Railroad, founding president of the Union Stock Yards, and benefactor of the Art Institute of Chicago. Blackstone also lent eight other paintings to the 1876 exhibition.
[2] The painting was lent by Nesmith to the Gifford memorial exhibition in 1880.
[3] Vose Galleries received payment for the painting on 31 January 1977 (see copy of invoice in NGA curatorial files).
[4] See correspondence and documentation in NGA curatorial files.
Exhibition History
•1876—Possibly The Art Gallery of the Inter-State Industrial Exposition of Chicago, 1876, no. 201, as Siout, the Capital of Upper Egypt.
•1879—Spring Exhibition (Thirty-Eighth Reception), Brooklyn Art Association, 1879, no. 342, as Siout, Upper Egypt.
•1880—The Memorial Collection of the Works of the Late Sanford Robinson Gifford, N.A., The Metropolitan Museum of Art, New York, 1880-1881, no. 114, as Siût, Egypt.
•1970—Sanford Robinson Gifford, University of Texas Art Museum, Austin; The Albany Institute of History and Art; Hirschl & Adler Galleries, New York, 1970-1971, no. 52, repro.
•1980—American Light: The Luminist Movement 1850-1875, National Gallery of Art, Washington, D.C., 1980, fig. 126, as The Desert at Siout, Egypt.
•1984—The Orientalists: Delacroix to Matisse, The Allure of North Africa and the Near East, National Gallery of Art, Washington, D.C., 1984, no. 43, color repro. as The Desert at Siout.
•1988—Adventure & Inspiration: American Artists in Other Lands, Hirschl & Adler Galleries, Inc., 1988, no. 50, as The Desert at Siout.
•2000—Art for the Nation: Collecting for a New Century, National Gallery of Art, Washington, D.C., 2000-2001, unnumbered catalogue, repro.
•2003—Hudson River School Visions: The Landscapes of Stanford R. Gifford, The Metropolitan Museum of Art, New York; Amon Carter Museum, Fort Worth; National Gallery of Art, Washington, D.C., 2003-2004, no. 49, repro.
Various Artists performing live at the Transmute Showcase at Live House in Los Angeles on 11/03/2019.
Adrian Moens. transmit/transmute. Comfort Station. Logan Square, Chicago IL. July 2011.
For more information:
Sixty Inches From Center | The Chicago Arts Archive
sixtyinchesfromcenter.org/archive/?p=8574
Comfort Station
2579 North Milwaukee Avenue
Stanthorpe Orchards.
The season of mellow fruitfulness is in full swing at Stanthorpe, and the orchards are well worth a visit (writes a correpsondent). It is not many years since this district was condemned by agriculturists for its sterility, yet now the landscape is diversified by orchards in all stages of development.
The transformation has been almost magical in its rapidity. The early apples and peaches are now ready, and are being despatched daily in large quantities to the markets. One morning last week six and a half tons of fruit were sent from Ballandean siding to Brisbane, one orchardist accounting for more than 300 cases.
It is gratifying to know that the crop is unusually prolific, and that there is an entire absence of the fruit fly. A stroll through an orchard at this season cannot fail to be absorbing - to the palate. If you go before a meal it is just as well to leave instructions with the cook to refrain from making any preparations for your return. Apicius is said to have desired the neck of a stork that he might enjoy his meals longer. In the Stanthorpe orchards one has a fierce desire for the neck of a giraffe.
However discriminating your palate, and however large your storage capacity may be, there are so many varieties of fruit to sample that the appetite becomes pathetically hebetated before you have got half way through the orchard. Of peaches, the most delicious appear to be "Hale's Early," a prodigious yellow slipstone, and "Brigg's" ruddy-cheeked "Red May," which melt like kisses, being abundantly juicy and exquisitly flavoured.
Of apples, the old "Galdstone" and the saffron-streaked "Gravenstein" are conspicuously fine, the latter being the eating apple par excellence, with yellow flesh that bites hard, and oozes runnels of juice with just a suspicion of acidity. The "Gladstone," seen from a distance, might be the celebrated golden apples Hercules set out to find in the Hesperides. Unlike that doughty warrior, however, we suffered no inconvenience in reaching the fruit, there being not even a codlin moth to molest our progress.
When you give your mouth the freedom on one of these apples you feel disposed, like Mark Twain's small boy, to hold out little hope of there being even so much as the core left. Even in these fair gardens there are apples of discord, but they are generally reserved by an unkind destiny for the marauding schoolboy on his nocturnal visits. They are the green apples which have a deplorable weakness for making discord in the epigastric region.
There is also a luxuriant crop of apricots of ample size. Twelve trees on one property are estimated to yield twenty cases of fruit each, and even this is considered a moderate calculation. Orchardists, in common with farmers, resent the imputation of prosperity, although to the impartial mind there are everywhere unmistakable outward and visible signs of worldly comfort.
The orchards at sunset are strangely beautiful. The long regular rows of symmetrical trees seem painted on a background of gold and sapphire, some of which has drifted amongst the emeral foliage and transmuted the fruit to monster jewels. Gradually the sunset fades, and the fruit gleams like dull, smouldering fire. Then the trees are gathered into the gloom, and become black, solemn shapes, mere phantoms of perished splendour.
Description source: The Brisbane Courier, 7 January 1907
Image source: Queensland State Archives, Digital Image ID 27137
act293. loss. sick. cd. ant-zen
with his third album 'sick' the american artist dan fox a.k.a. loss presents a fresh aural facsimile of his feelings, imagination and passion, transmuting pain, sorrow, love and hate into a powerful sonic ride.
bandcamp:
ant-zen.bandcamp.com/album/sick
discogs:
Various Artists performing live at the Transmute Showcase at Live House in Los Angeles on 11/03/2019.
Aquaphoneia is an alchemical installation centered around the poiesis of time and the transmutation of voice into matter.
credit: Florian Voggeneder
Like an alchemist attempting to transmute lead into gold, Yuken Teruya tries to turn ordinary waste into beautiful works of art, the onlydifference is that Yuken Teruya succeeds where the alchemists failed. Yuken Teruya’s formula from transformation involves pulling the the art from previously used materials like it existed inside always. Yuken Teruya shows us then the value in everything around us and the potential for beauty around every corner, not just in the usual places. Find out more at www.creativetempest.com
Adrian Moens. transmit/transmute. Comfort Station. Logan Square, Chicago IL. July 2011.
For more information:
Sixty Inches From Center | The Chicago Arts Archive
sixtyinchesfromcenter.org/archive/?p=8574
Comfort Station
2579 North Milwaukee Avenue