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Live visual at Kazantip Festival in Ukraine played live with my homemade software CloneMixer 3.0
100% realtime and 100% generated graphics.
Video here : vimeo.com/48329794
This is a visual journal I'm making as I work through the book "Your Heart's Desire" by Sonia Choquette. I've decided to work differently than I usually do--I'm "prepping" the pages before I do the journaling instead of doing it all at the same time.
Le foto dello speciale del Visual Lab di repubblica.it sui Meganoidi
Musica da Asporto, i Meganoidi alla Ex Snia
"Un luogo di Roma sempre diverso per alcuni degli artisti più interessanti del panorama italiano per una session di musica live. La produzione del Visual Desk esce dalla redazione per Musica da Asporto. Terza tappa con i Meganoidi nell’ex Snia Viscosa, a ridosso del Parco delle Energie, lì, dove nel ‘92, è nato per errore un lago, incastonato tra i palazzi di via Prenestina. Tre brani per il gruppo genovese, tra il passato di ‘Zeta Reticoli’, il presente di ‘Gocce’ e l’omaggio a Ivano Fossati con ‘La musica che gira intorno’."
lab.gedidigital.it/repubblica/2018/spettacoli/musica-da-a...
Yashica Mat 124G
Kodak Portra 160 expired
Kodak 400 TX
Sony A7SII
Nikkor 35mm f2 AiS
In the 20th century, Morse code morphed into binary code and binary became condensed via the visual binary system. Visual Binary was created in the U.S. by Bell Laboratories in the 1940-1950s. It was used by the allies to win World War II. Visual Binary code was used by the U.S. in the original computing networks that grew to become the Semantic Web (Web 3.0). During the cold-war, Visual Binary code was perfected and used to spread freedom and democracy via the satellite networks.
In the year 2000, the Visual Binary code was released to the public via AOL. This release of information resulted in many developments that continue to create value. The code was modified to fit into a single cube, and the cube code began to be taught in online schools. Websites running visual binary cube applications were able to attract a larger audience. The visual binary cube websites survived the boom and bust of the dot-com bubble. Visual binary cube code has become an acceptable international standard for public communications online. Via the thumb keyboard and applications such as visual binary twitter, the cube code is enabling this generation of text messengers to send precise and efficient messages online. Meanings and definitions are stored in public-access memory. Global server databases for the Semantic Web enable definitions and tags and links to be associated with the meaning of each symbol.
About one hundred invited guests and media attended the official opening of the Visual Voltage exhibition at Miraikan in Tokyo in the evening of October 20. The exhibition was inaugurated by Mr. Mamoru Mohri, Chief Executive Director of The National Museum of Emerging Science and Innovation (Miraikan), and Mr. Stefan Noreén, Ambassador of Sweden in Tokyo. Interactive Institute’s Magnus Jonsson and Sara Backlund gave a talk entitled ”Swedish Frontiers – design trends and innovation” at Mirakan in connection to the inauguration.
Photo: Interactive Institute.
Die Fing'rs Girlfriends 2009 zeigen wie's geht - die neuen Kunstnägel von Fing'rs verleihen einen tollen Look und sind schnell gemacht!
Pharmaplan, ISAPS, 2010, March, BMW Pavilion, Aesthetics, Plastic Surgery, Implants, Esthelis, Fortelis, Mesolis, Dysport, Aquamid, Glass, Graphic, display, visuals, images, exhibition stand, trade show, congress, medical, fluorescent lighting, backlit lighting, reverse printed glass, stand offs, stainless steel, floorgraphic, floor print, nautical steel, modern, contemporary
Visual Diplomacy means the use of images in public diplomacy. With the advent of social media, every public diplomatist can be a photographer or videographer. The U.S. Department of State carries out an aggressive training program for public diplomacy staffers around the world. Video trainer Georg Steinbeck holds a video camera at center in this picture, taken in Amman in 2013. Photo courtesy of Brigitte Pressler.
Todays notes come from an online workshop from VizthinkU on visual notetaking, featuring Austin Kleon, Mike Rohde, and Sunni Brown.
Test Card 8.5x11 for a black & white photocopy machine / 1998 / SML Graphic Design
Assignment
Art 366a Visual Studies
Fall Semester 1998
T-TH 1:30-3:20, 215 Park Street
Paul Elliman, Instructor
paul.elliman [at] yale.edu
1. Testcard
(Week 1-2) Devise a testcard, 8.5x11, for a black & white photocopy machine
The card is basically a set of questions or exercises - point, type specimen, line, pattern, half-tone, grey-scale spectrum, moire - designed to test the machine's effectiveness or value.
The testcard should explore not only the effective (proper?) function of the photocopier, but also any other qualities (Test the limits of its language/your language)
Investigate both the history and teh working mechanics of thsi machine, then (week 3-4) extend the scope of the testcard to include this kind of informaion.
Process (42 pages)
+ 2: Research: The Atlantic Monthly: 2006-02: pp.64: Copies in Seconds by David Owen
+ 3: Research: The Atlantic Monthly: 2006-02: pp.65: Copies in Seconds by David Owen
+ 4: Research: The Atlantic Monthly: 2006-02: pp.66: Copies in Seconds by David Owen
+ 5: Research: The Atlantic Monthly: 2006-02: pp.67: Copies in Seconds by David Owen
+ 6: Research: The Atlantic Monthly: 2006-02: pp.68: Copies in Seconds by David Owen
+ 7: Research: The Atlantic Monthly: 2006-02: pp.69: Copies in Seconds by David Owen
+ 8: Research: The Atlantic Monthly: 2006-02: pp.70: Copies in Seconds by David Owen
+ 9: Research: The Atlantic Monthly: 2006-02: pp.71: Copies in Seconds by David Owen
+ 10: Research: The Atlantic Monthly: 2006-02: pp.72: Copies in Seconds by David Owen
+ 11: Research: The Atlantic Monthly: 2006-02: pp.73: Copies in Seconds by David Owen
+ 12: Research: Anatomy of a Xerox test card
+ 13: Research: Anatomy of a Xerox test card
+ 18: Xerox: Historial Highlights: 1
+ 19: Xerox: Historial Highlights: 2
+ 20: Xerox: Historial Highlights: 3
+ 21: Xerox: Historial Highlights: 4
+ 22: Xerox: Historial Highlights: 5
+ 23: Xerox: Historial Highlights: 6
+ 24: Xerox: Historial Highlights: 7
+ 25: Xerox: Historial Highlights: 8
+ 28: Research: Basic Copier Operation: 1
+ 29: Research: Basic Copier Operation: 2
+ 30: Design: The working of a xerox machine: 1
+ 31: Design: The working of a xerox machine: 2
+ 34: Research: Basic Copier Model: 1
+ 35: Research: Basic Copier Model: 2
+ 36: Design: Anatomy of a Basic Copier
+ 37: Design: The Basic Copy Process
+ 38: Design: Anatomy of a basic copier
+ 39: Design: Anatomy of a basic copier
+ 40: Design: The Basic Copy Process
+ 41: Design: The Basic Copy Process
+ 42: Design: The Basic Copy Process
SML Copyright Notice
Copyright 1998 See-ming Lee / SML Flickr / SML Universe. All rights reserved.
Visual Binary Thumb Keyboard.
This IPod I have designed with the central thumb-keyboard.
Think supply and demand. Call Apple and demand that they produce a new IPod with the Graeme Kilshaw thumb keyboard.
1-800-MY-APPLE
MFA in Visual Studies candidates invite the public into their studio space for an evening of art, performance, and conversation. MFA Visual Studies Class of 2013:
Christina Bailey, Terri Bradley, Erin Dengerink, Kaila Farrell-Smith, Kiel Fletcher, Linden How, Timothy Janchar, John Knight, Matthew Leavitt, Daniel Long, Andrew Lorish, Jordan Meyers, Cristin Norine, Justin Schwab, Edward Trover, Lindsay Williams, Takahiro Yamamoto
MFA VIsual Studies Class of 2012:
Nadia Buyse, Jodie Cavalier, Patrick Driscoll, Kei Horiuchi, Juleen Johnson, Oriana Lewton-Leopold, Fletcher Meisenburg, Jamie Nadherny, James Papadopoulos, Stefan Ransom, Victoria Reynolds, Marilyn Skalberg, Timothy Stigliano
November 19, 2011. Photos by: Matthew Miller '11.
VISUAL LIBRARIES - Leave your Mark.
A collaborative, visual project which encourages you to sign out a Visual Library Book and ‘Leave Your Mark’.
A Visual Library Book is whatever you want it to be, a sketchbook, a journal, a diary, a notepad.
You can ‘Leave Your Mark’ in whatever way you want, ranging from drawing, writing, sewing, adding photographs, markings, printing and sticking. How you make your marks is entirely up to you. All we ask is that you have fun with the different themes. Just borrow it on your library card with other books and materials. If you are not already a member, just ask the staff to help you.
45 Visual Library Books have been placed in Portsmouth Central Library and each has its own theme ranging from; Portsmouth, My City, When I Open My Eyes, Whilst I Was Waiting, Love, What’s in My Pocket and Memories. The intention is for you to feel free to explore the Visual Library Books and choose a theme that you like.
In Association with: Rhodia, Seawhite, Portsmouth City Council, University of Portsmouth, COPIC Pens
For Further Details: claire.sambrook@port.ac.uk
by Kuo Yi-Hsuan
Bao-Ling Lin’s night paintings are characterized by ink painting techniques and abstract compositions. The artist not only recreates memories through variations in light and shadow, but also explores the visual perceptions and aesthetic philosophies they create. Taking the Nocturne series (2008) as an example, the artist outlined nightscapes using murky lights to create enigmatic street views. Sometimes Lin also uses water reflections and scenes of rain to enhance the nightscape’s visual covertness. Such covertness reflects the artist’s contemplations over binary dialectical reality, while filling imaginations with infinite possibilities.
With nightscapes as a recurring theme, Lin began to paint cities using monochromatic colors in the 2010s. His transformation is most apparent in the portrayal of brightly lit cities through various shades of white. In addition to rendering and splashing, the artist intentionally distorted and obscured the outlines of city landscapes to create a dreamlike mental image that truthfully yet fancifully reflects the opposition between virtual and real on a different level. These ink-rendering techniques build a sense of momentum foreshadowed in Lin’s character portraits from as early as 2004 that demonstrated the artist’s solid sketching skills and use of seamless outlines to paint vivid characters on blur backgrounds. This hazy style of brushstrokes has been preserved in Lin’s signature night painting series.
Oftentimes, the appearances of “characters” are not the key emphasis in these night paintings as they merely serve to provide contrasting backgrounds for night-time glamor. Meanwhile, these characters mostly appear as silhouettes turning away from viewers, which may be hinting at the modern sense of interpersonal distance among urbanites. Sometimes the artist completely removes “characters” from the layout when he intends to direct viewers’ attention to specific parts of the city landscape. For example, Lin’s Merry-Go-Round series (2013-2015) features various scenes of characters playing the merry-go-round in an amusement park. However, no riders are present in paintings that focus on the model horses. Through Lin’s depiction through different angles, these model horses seem to start revolving under light and shadow combinations with an enhanced atmosphere of solitude in the hustling playground. While the rendering brushstrokes and fading borders convey the artist’s interpretation of dynamic street views, the light-shadow composition and visual focus arrangement also demonstrate a sense of consistency in the paintings. This interaction between “dynamic” brushstrokes and “static” temporality is what gives birth to Lin’s artworks.
A Declarative and Free Mind
In 2006, the artist introduced The Nameless Little Guy as a new creative theme to his works, which was later incorporated into the night painting series in the 2010s as the only “character” rather than background silhouettes. Created by quick sketching and mixed media in 2015, The Nameless Little Guy became an avatar paired with text to express the artist’s daily life experiences and ideas. In its early integration with cold-colored night paintings, the little guy’s facial expressions and postures display sadness in contexts far away from the hustle and bustle of the concrete jungle–in mountains, forests, river valleys, and even on clouds overlooking the ground. This distance from the world presents a sense of solitude in sharp contrast to the intriguing nightscape. The image also features the artist’s rendering brushstrokes and colorful backgrounds, whereas the little guy is drawn by distinct contour lines to accentuate its presence. In recent creations (2020-2022), the artist began to apply warm color tones and even added companions to the paintings, instilling the wondrous little guy with lively energy in the mystical night.
Lin emphasized a breakthrough and pursuit of true freedom under limited frameworks in his artist statement. By projecting the emotions as a creator to The Nameless Little Guy in different contexts, the artist discovers a glimmer of freedom through creative imaginations–from adventures around the world to inner silence. Being “nameless” can also be interpreted as a breakthrough from framework limitations. Regarding the little guy’s noticeable appearance at night, a critic once commented, “Lin’s paintings are not so much about identifying city landscapes through shapes or structures, but rather about creating spiritual connections through these light-shadow variations and enduring metropolitan landscapes.” These spiritual connections are felt between the artist and viewers. As previously mentioned, this covertness of the night fills imaginations with infinite possibilities, making the little guy’s “night tour” extremely natural in every way.
Having explored light and shadow techniques, Lin has become more direct about expressing personal ideas in his works. Lin’s paintings not only bring back viewers’ city landscape memories, but also awaken their childlike innocence to take them on a journey on which they experience a personal tranquility and find the power of freedom.
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About the author
Kuo Yi-Hsuan, Master’s degree from the Graduate Institute of Art History, National Taiwan University. PhD program in Art History at Kyushu University, Japan. Currently employed at the Research and Development Department, National Taiwan Museum of Fine Arts. Curated The Carving of Gaze－Cheng-Hsiung Chen Solo Exhibition 2021 and Dialogues in Palms—The Exhibition of Woodcut Prints by Pan, Yuan-shih for Tainan Art Museum. Participated in the planning of Formosa in Formation at Taipei Fine Arts Museum and The Everlasting Bloom at the Museum of National Taipei University of Education.
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▎展 名 Exhibition丨 自由的光芒 – 林葆靈個展丨The Light of Freedom – A Solo Exhibition by Lin Bao Ling
▎藝 術 家 Artist丨林葆靈 Lin Bao Ling
▎展 期 Date丨2022/09/03 (Sat.) - 2022/10/29 (Sat.)
▎開放時間 Opening Hours丨週二至週六 10:00-19:00
▎地點丨索卡藝術 台北市中山區堤頂大道二段350號
Live visual at Kazantip Festival in Ukraine played live with my homemade software CloneMixer 3.0
100% realtime and 100% generated graphics.
Video here : vimeo.com/48329794
Trying to create a visual code for my sketchnoted recipes. Is only an experiment for now but I would like to understand if is possible to make recipes more visual.
The lonely light. Night fog transforms St George's Park in Bristol into something straight out of a mystery novel. The way that single lamppost cuts through the heavy mist on the path is just pure magic. Bristol nights.
Diana doesn't think she's photogenic. So please leave a comment and help me persuade her that she is just plain wrong on this point.
Another week, another blast of cold, ice and snow...
© Mark V. Krajnak | JerseyStyle Photography | All Rights Reserved 2014