View allAll Photos Tagged VitruvianMan
[...] Bodies which contain a greater proportion of water than is necessary to balance the other elements, are speedily corrupted, and lose their virtues and properties [...]
-- Quote by Vitruvius
Nikon D200, Tokina 12-24 f/4, 19mm - f/8 - 30s, light source the mobile phone led
Ostia, Italy (August, 2015)
“Astronaut Jack R. Lousma, Skylab 3 pilot, participates in the Aug. 6, 1973, extravehicular activity (EVA) during which he and astronaut Owen K. Garriott, science pilot, deployed the twin pole solar shield to help shade the Orbital Workshop (OWS). Note the striking reflection of the Earth in Lousma?s helmet visor. This photograph was taken with a 70mm hand-held Hasselblad camera.”
Above & photograph at:
images.nasa.gov/details-sl3-115-1833
Also:
“Astronaut Jack R. Lousma, Skylab 3 pilot, participates in the Aug. 6, 1973 spacewalk. He and astronaut Owen K. Garriott, science pilot, deployed the twin-pole solar shield to help shade the Orbital Workshop. Note the striking reflection of Earth in Lousma's helmet visor.”
Above & image at:
www.nasa.gov/audience/foreducators/spacesuits/historygall...
I’m having great difficulty in finding/seeing Garriott’s image in the visor reflection. Ignorantly…not even a SWAG, based on the relative position of both Astronauts with respect to each other, I’m thinking it’s within the jutting out portion (at the lower right) of the shadowed area in the center of Lousma’s visor. I think I see the vague outline of Garriott’s helmet/visor assembly, ‘pointing’ to the upper right. He might be positioned in the airlock hatch, possibly prior to full egress. The whole spherical distortion of the visor, lighting, not knowing positions of ATM trusses & other external components/configurations, blah, blah, blah…that’s really confusing me. He’s gotta be in there somewhere.
Bronze sculpture of 'The Vitruvian Man', a world-renowned drawing by Leonardo da Vinci from 1487. the sculpture is in a private garden but can be seen from the road in one or 2 spots
Leonardo da Vinci:
Vitruvian Man, Proportionsschema der menschlichen Gestalt nach Vitruv, L'Homme de Vitruve
什么是理想的生活? What is an ideal life?
Weblog: silkstreet.wordpress.com
"The body is a flow of energies and the greatest harmony in the anatomically correct human form is the symmetrical relations of the extremities to the general magnitude of the body as a whole." -Tomitheos
The Body is a Temple
'In the members of a temple there ought to be the greatest harmony in the symmetrical relations of the different parts to the general magnitude of the whole. Then again, in the human body the central point is naturally the navel. For if a man can be placed flat on his back, with his hands and feet extended, and a pair of compasses centered at his navel, the fingers and toes of his two hands and feet will touch the circumference of a circle described therefrom. And just as the human body yields a circular outline, so too a square figure may be found from it. For if we measure the distance from the soles of the feet to the top of the head, and then apply that measure to the outstretched arms, the breadth is found to be
the same as the height, as in the case of plane surfaces which are completely square.'
Marcus Vitruvius, De Architectura, Book III, Chapter 1, page 3
Copyright © 2011 Tomitheos Photography - All Rights Reserved
Charcoal drawing: STEP 1
Painting process: STEP 2
Hres triptych published in
. Y Sin Embargo Magazine 22 - cap it all/off
___________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
___________________________________
The mecanosphere draws out and actualises configurations which exist amongst an infinity of others in fields of virtuality. Existential machines are at the same level as being in its intrinsic multiplicity. (...) They are to themselves their own material of semiotic expression. Existence, as a deterritorialisation process, is a specific inter-machinic operation which superimposes itself on the promotion of singularised existential intensities. (...) Existence is not dialectical, not representable. It is hardly livable!
(...) The machines of desire, the machines of aesthetic creation, just as scientific machines constantly modify our cosmic frontiers. As such, they hold an eminent place within assemblages of subjectivation, themselves called to relieve our old social machines which are incapable of keeping up the efflorescence of machinic revolutions that shatter our epoch from all sides. Rather than adopting a reticent attitude with respect to the immense machinic revolution sweeping the planet (at the risk of destroying it) or of clinging traditional value systems, pretending to re-establish transcendence, the movement of progress, or if one prefers, the movement of process, will endeavour to reconcile values and machines.
(...) The machinic systems position themselves in a rhizome of interdependence, situating each actual machinic stasis at the conjunction of a passed filiation and a Phylum of future mutations. All value systems - religious, aesthetic, scientific, ecosophical, ... - install themselves at this machinic interface between the required actualised and the virtual possibilist. (...) Thus a double enunciation: finite, territorialised and incorporeal, infinite.
(...) To the sterile opposition between use-value and exchange-value will here be relinquished in favour of an axiological complexion including all machinic modalities of valorisation: the values of desire, aesthetic values, ecological values, economic values, etc. (...) Economic law, like juridical law, must be deducted from the ensemble of Universes of value, for whose collapse it continually strives. Its reconstruction, on the scaterred debris of planned economies and neoliberalism and according to new ethico-political finalities (ecosophy) calls for, in contradistinction, an untiring renewal of the consistency of machinic assemblages of valorisation.
( Félix Guattari - Chaosmosis - 1992 )
___________________________________
rectO-persO | E ≥ m.C² | co~errAnce | TiLt
Hres triptych published in
. Y Sin Embargo Magazine 22 - cap it all/off
___________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
___________________________________
La mécanosphère prélève et actualise des configurations qui existent parmi une infinité d'autres dans des champs de virtualité. Les machines existentielles sont de plain-pied avec l'être dans sa multiplicité intrinsèque. (...) Elles sont à elles-mêmes leur propre matière d'expression sémiotique. L'existence, en tant que procès de déterritorialisation, est une opération intermachinique spécifique qui se superpose à la promotion d'intensités existentielles singularisées. (...) L'existence n'est pas dialectique, n'est pas représentable. Elle est à peine vivable!
(...) Les machines de désir, les machines de création esthétique, au même titre que les machines scientifiques remanient constamment nos frontières cosmiques. A ce titre, elles ont à prendre une place éminente au sein des agencements de subjectivation, eux-mêmes appelés à relayer nos vieilles machines sociales incapables de suivre l'efflorescence de révolutions machiniques qui font éclater notre temps de toute parts. Plutôt que d'adopter une attitude frileuse à l'égard de l'immense révolution machinique qui balaie la planète (au risque de l'emporter) ou de se cramponner aux systèmes de valeur traditionnels, dont on prétendra refonder la transcendance, le mouvement du progrès, ou si l'on préfère, le mouvement du processus, s'efforcera de réconcilier les valeurs et les machines.
(...) Les systèmes machiniques se positionnent en rhizome de dépendance réciproque, situant chaque stase machinique actuelle à la rencontre d'une filiation passéifiée et d'un Phylum de mutations à venir. Tous les systèmes de valeur - religieux, esthétiques, scientifiques, écosophiques, ... - s'instaurent à cet interface machinique entre l'actuel nécessaire et le virtuel possibiliste. (...) Double énonciation, territorialisée finie et incorporelle infinie.
(...) A l'opposition stérile entre valeur d'usage et valeur d'échange, il convient d'opposer une complexion axiologique incluant toutes les modalités machiniques de valorisation : les valeurs de désir, les valeurs esthétiques, les valeurs écologiques, économiques, etc. (...) La loi économique, comme la loi juridique, doit se déduire de l'ensemble des Univers de valeur, à l'affaissement duquel elle ne cesse d'oeuvrer. Sa reconstruction, sur les décombres mêlés des économies planifiées et du néolibéralisme et selon de nouvelles finalités éthico-politiques (écosophiques) appelle une inlassable reprise de consistance des agencements machiniques de valorisation.
( Félix Guattari - Chaosmose - 1992 )
___________________________________
rectO-persO | E ≥ m.C² | co~errAnce | TiLt
"The Bion satellites (Russian: Бион), also named Biocosmos, is a series of Soviet (later Russian) biosatellites focused on space medicine. They are part of the Kosmos satellites.
Bion Space Program
Bion precursor flights and Bion flights:
The Soviet biosatellite program began in 1966 with Kosmos 110, and resumed in 1973 with Kosmos 605. Cooperation in space ventures between the Soviet Union and the United States was initiated in 1971, with the signing of the United States and Soviet Union in Science and Applications Agreement (which included an agreement on space research cooperation). The Soviet Union first offered to fly U.S. experiments on a Kosmos biosatellite in 1974, only a few years after the termination (in 1969) of the U.S. biosatellite program. The offer was realized in 1975 when the first joint U.S./Soviet research were carried out on the Kosmos 782 mission.
The Bion spacecraft were based on the Zenit spacecraft and launches began in 1973 with primary emphasis on the problems of radiation effects on human beings. Launches in the program included Kosmos 110, 605, 690, 782, plus Nauka modules flown on Zenit-2M reconnaissance satellites. 90 kg (200 lb) of equipment could be contained in the external Nauka module.
The Soviet/Russian Bion program provided U.S. investigators a platform for launching Fundamental Space Biology and biomedical experiments into space. The Bion program, which began in 1966, included a series of missions that flew biological experiments using primates, rodents, insects, cells, and plants on a biosatellite in near-earth orbit. NASA became involved in the program in 1975 and participated in 9 of the 11 Bion missions. NASA ended its participation in the program with the Bion No. 11 mission launched in December 1996. The collaboration resulted in the flight of more than 100 U.S. experiments, one-half of all U.S. life sciences flight experiments accomplished with non-human subjects.
The missions ranged from five days (Bion 6) (Kosmos 1514) to around 22 days (Bion 1 and Kosmos 110).
Bion-M:
In 2005, the Bion program was resumed with three new satellites of the modified Bion-M type – the first flight was launched on 19 April 2013 from Baikonur Cosmodrome, Kazakhstan. The first satellite of the new series Bion-M1 featured an aquarium by the German Aerospace Center (DLR) and carried 45 mice, 18 Mongolian gerbils, 15 geckos, snails, fish and micro-organisms into orbit for 30 days before re-entry and recovery. All the gerbils died due to a hardware failure, but condition of the rest of the experiments, including all geckos, was satisfactory. Half the mice died as was predicted.
Bion-M2 is scheduled to launch in 2023 on a Soyuz 2.1a rocket to an altitude of 800 km. The orbiter will carry 75 mice and studies will focus on how they are affected at the molecular level by space radiation."
The above from/at. Although I’m sure the links won’t be clickable:
en.wikipedia.org/wiki/Bion_(satellite)
www.wikiwand.com/en/Bion_(satellite)
Credit: Wikipedia/Wikiwand websites
A surprise to me, it's by the hand of Rick Guidice.
It’s beautiful of course, the colors, the ‘texture’, the clouds, their shadows, sun glint…exquisite.
You know, if festooned with another 15 - 20 ungainly antennas, 30+ meters of additional external wiring and several more spherical fuel tanks, one can almost picture Gagarin inside or Leonov egressing. 😉 In fact, if you slap on a couple of solar arrays, you've got a semi-Soyuz.
Note the DaVinci “Vitruvian Man” at the center of what I think is the battery module, which was also incorporated into the Skylab II mission emblem.
Curiously, note also the respective orientation of the flags of the U.S. & U.S.S.R. They are - appropriately enough - the opposite of each other. That is, the Stars & Stripes has the 'fly end' toward the center, whereas the hammer & sickle has the 'hoist' end toward the center. Furthermore, the flags of Romania & Poland are oriented as the U.S. flag is, while the flags of Czechoslovakia, France & Hungary/Magyarország are as that of the U.S.S.R.
If this was truly a "joint/cooperative” effort, all of the flags should’ve been oriented the same, no?
There's probably a 15-page MOU/MOA that took three days to arrive at regarding this trivial point.
At the following, where the depiction is identified as Bion no. 11. However, with all due respect to the proprietor of the excellent website, based on what (admittedly little) I know of the period of Mr. Guidice’s remarkable space/astronomy artwork, along with the photo paper’s watermark, I believe the print to be from the 1970s.
www.astronautix.com/b/bion.html
Credit: Astronautix website
Additionally, based on the identification of one of the images at the above, at:
www.astronautix.com/graphics/c/cosmo782.jpg
...and a mission date which falls within my guesstimated date range, this may be a depiction of Bion 3/Kosmos 782. This would actually make sense, it being the first Bion mission that the United States participated in. That would seem to merit being depicted by the likes of Mr. Guidice. 😉
See also:
en.m.wikipedia.org/wiki/Kosmos_782
Also credit: Wikipedia
Furthermore, at the following link. BTW, Mr. Zak is incredibly knowledgeable regarding Soviet/Russian space…pretty much everything. Really quite impressive. I recommend taking a good look at his stuff, especially on Twitter. You won’t be disappointed:
www.russianspaceweb.com/bion.html
Credit: Anatoly Zak/RussianSpaceWeb.com website
Last, but not least. Unfortunately, with no amplifying information and at very low resolution:
rickguidice.com/nasaart/nasaarti.html
Specifically:
rickguidice.com/images/241_Untitled-51_edited-2.jpg
Credit: the website of Rick Guidice
Squaring the circle is a problem in geometry that involves constructing a square with the same area as a given circle using only a compass and straightedge. The problem was first proposed in Greek mathematics and was later proven to be impossible in 1882. Dante also believed that squaring the circle was an impossible task that humans could not comprehend, which he compared to his own inability to understand Paradise. Dante’s image also evokes a passage from Vitruvius, which is illustrated here in an AI assisted version of Leonardo da Vinci’s Vitruvian Man, depicting a man inscribed in both a circle and a square.
__________________________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________________
__________________________________________________
La mécanosphère prélève et actualise des configurations qui existent parmi une infinité d'autres dans des champs de virtualité. Les machines existentielles sont de plain-pied avec l'être dans sa multiplicité intrinsèque. (...) Elles sont à elles-mêmes leur propre matière d'expression sémiotique. L'existence, en tant que procès de déterritorialisation, est une opération intermachinique spécifique qui se superpose à la promotion d'intensités existentielles singularisées. (...) L'existence n'est pas dialectique, n'est pas représentable. Elle est à peine vivable!
(...) Les machines de désir, les machines de création esthétique, au même titre que les machines scientifiques remanient constamment nos frontières cosmiques. A ce titre, elles ont à prendre une place éminente au sein des agencements de subjectivation, eux-mêmes appelés à relayer nos vieilles machines sociales incapables de suivre l'efflorescence de révolutions machiniques qui font éclater notre temps de toute parts. Plutôt que d'adopter une attitude frileuse à l'égard de l'immense révolution machinique qui balaie la planète (au risque de l'emporter) ou de se cramponner aux systèmes de valeur traditionnels, dont on prétendra refonder la transcendance, le mouvement du progrès, ou si l'on préfère, le mouvement du processus, s'efforcera de réconcilier les valeurs et les machines.
(...) Les systèmes machiniques se positionnent en rhizome de dépendance réciproque, situant chaque stase machinique actuelle à la rencontre d'une filiation passéifiée et d'un Phylum de mutations à venir. Tous les systèmes de valeur - religieux, esthétiques, scientifiques, écosophiques, ... - s'instaurent à cet interface machinique entre l'actuel nécessaire et le virtuel possibiliste. (...) Double énonciation, territorialisée finie et incorporelle infinie.
(...) A l'opposition stérile entre valeur d'usage et valeur d'échange, il convient d'opposer une complexion axiologique incluant toutes les modalités machiniques de valorisation : les valeurs de désir, les valeurs esthétiques, les valeurs écologiques, économiques, etc. (...) La loi économique, comme la loi juridique, doit se déduire de l'ensemble des Univers de valeur, à l'affaissement duquel elle ne cesse d'oeuvrer. Sa reconstruction, sur les décombres mêlés des économies planifiées et du néolibéralisme et selon de nouvelles finalités éthico-politiques (écosophiques) appelle une inlassable reprise de consistance des agencements machiniques de valorisation.
( Félix Guattari - Chaosmose - 1992 )
__________________________________________
rectO-persO | E ≥ m.C² | co~errAnce | TiLt
"cap.it.all/off"
dic.2009.ene.feb.2010
Published on 21.12.2009 | veranosurinviernonorte
ISBN 978-1-4452-5397-8
(ñ)
Esto no se trata de copyright (o leyes), se trata de dinero.
Capitalismo vs. Tecnología.
O de cómo los avances tecnológicos están carcomiendo
los principios axiomáticos, necesarios, del capitalismo
Digamos sus Ideales. El análogo platónico, el Ideal Capitalista.
Sus suposiciones, lecturas o conceptos de fondo. Sus esencias.
Lo que aquí tiembla no es la jurisprudencia o el derecho,
lo que aquí tiembla es una estructura o una arquitectura de poder,
fundamentada en concepciones que están abriéndose como una piel reseca
o un barro calcinado al sol.
Se trata de la digitalidad dando con tierra y clausurando buena parte del landscape materialista.
Se trata de lo inmaterial encontrando SU cuerpo, su perfecto dispositivo,
SU articulación o mecanismo. O al menos un cuerpo mucho más idóneo
que cualquiera que hubiera encontrado antes.
Hubo un tiempo en que la esencia era lo material, la última palabra,
aquello contra lo que difícilmente se podía oponer algo.
Eso cambió.
La cuestión está en el cambio de paradigma.
En el cimbronazo destructivo que sienten en sus cimientos
las jerarquías y absolutos que se conocían.
Lo interesante está en la posibilidad de un replanteo a bajo nivel
del sentido de valor, de los sistemas de valoración y sus escalas.
El objeto digital, infinitamente reproducible, multiplicable y alterable, inmune a las condiciones productivas, a limitaciones de costo, espacio o tiempos de producción, más parecido (mucho más) a las ideas que a los objetos, como una máquina de movimiento continuo, como una fuente inagotable de energía, como un stock de existencias infinito, como un fantasma, instantáneamente distribuible, casi conceptual y abstracto, no formaba parte, no existía, y no está concebido en la estructura material-capitalista.
Y funciona como una espoleta o carga de dinamita que hubiera sido alojada en sus vigas, paredes o columnas. El objeto digital, como el espíritu o el alma (lo descarnado, depurado) de la cultura y el conocimiento.
Información en estado puro, en todas partes y a la vez: Mensaje, mensaje en un soporte que lejos de anclarlo lo dispara.
Sin medio, sin intermediario, sin comisarios ni interposiciones.
Eso es lo que permite la era digital, la tecnología.
Degrada a lo material y al capital a una mera manutención de organismos,
a funciones de alimentación, gestión/administración y transporte.
A un segundo o tercer orden o grado de jerarquía.
A una intrascendencia vulgar o despreciable.
A un lugar que extrañaba.
# # #
(e)
This is not about copyright (or law), this is about money.
Capitalism vs. Technology.
Or how technological advances are undermining
The axiomatic, necessary principles of capitalism.
Let’s say its Ideals. The platonic analogous, the Capitalist Ideal.
Its core assumptions, readings or concepts. Its essences.
What is shattering here is not jurisprudence or rights,
What is shattered is a structure or an architecture of power,
Founded on conceptions that are cracking like parched skin
Or scorched mud.
It is digitality pulling down and closing down much of the materialist landscape.
It is the immaterial finding ITS body, its perfect device,
ITS articulation or mechanism. Or at least a much more suitable body
Than any of which it had found before.
There was a time when essence was material, the last word,
That to which hardly anything could be opposed.
That changed.
The crux of the matter lies in the paradigm shift.
In the destructive blast the known hierarchies and absolutes
feel in their foundations.
The interest lies in the possibility of a low-level redefinition
Of the sense of value, valuation systems and their scales.
The digital object, infinitely reproducible,multipliable and alterable,
Immune to productive conditions, cost, space or production time limitations, more (much more) similar to ideas than to objects, like a perpetual movement machine, like an endless stream of energy, like an infinite stock, like a ghost, instantaneously distributable, almost conceptual and abstract, did not belong, did not exist, and is not conceived in the material-capitalist structure.
And it works like a fuse or dynamite load that had been lodged in its beams, walls or pillars. The digital object, like the spirit or the soul (the stark, purified) of culture and knowledge.
Information in its purest form, everywhere at the same time: message, message in a medium that, far from anchoring, rockets it.
Without fear, without intermediaries, without curators or interpositions.
That’s what the digital era, technology allow.
It degrades the material and the capital to a mere organism maintenance,
To feeding, management/administration and transport functions.
To a second or third order or degree of hierarchy.
To a place it missed.
# # #
edit(ing), direct(ing) + complements
art direct(ing) + design(ing)
colacao, correct(ing) + additional stuff
translat(ing)
original music
open(ing) trip: john kosmopoulos
front cover(ing) concept: rivera valdez
back cover(ing) tongue: azurebumble
from
roman aixendri azurebumble brancolina sebastián de cheshire oriol espinal john kosmopoulos
graciela oses alicia pallas alejandra pater leonie polah fernando prats beatriz giovanna ramírez
miguel ruibal jef safi rivera valdez susan wolff + flavio crescenzi ele de lauk jordi calvet
hernán dardes ana pastor isabel pérez del pulgar sara saez zoe lópez
from...
a coruña amsterdam antwerp barcelona bogotá buenos aires camp redó dundee granada grenoble madrid mar del plata montréal tarragona terrassa toronto
# # #
YSE #22 Original Music | YSElected videos
# # #
Official WEBsite | Flickr Group | Facebook | MySpace | Twitter
A 3D printed version of the The Vitruvian Man drawing by Leonardo da Vinci. This is a homage to my time in Italy which was the first location and experiment in working remotely as a digital nomad. The Drawing is used on the back of a 1 Euro coin. Available at Shapeways
__________________________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________________
__________________________________________________
La mecanosfera extrae y actualiza configuraciones que existen entre una infinidad de ellas en los campos de la virtualidad. Las máquinas existenciales están al mismo nivel que el ser en su multiplicidad intrínseca. (...) Son para sí mismas su propio material de expresión semiótica. La existencia, como proceso de desterritorialización, es una operación inter-maquínica específica que se superpone a la promoción de intensidades existenciales singularizadas. (...) La existencia no es dialéctica, no es representable. ¡Apenas es vivible!
(...) Las máquinas del deseo, las máquinas de la creación estética, en tanto máquinas científicas modifican constantemente nuestras fronteras cósmicas. Como tales, ocupan un lugar eminente dentro de los ensamblajes de subjetivación, ellas mismas llamadas a relevar a nuestras antiguas máquinas sociales que son incapaces de seguir la floración de revoluciones maquinarias que sacuden nuestra época desde todas partes. Más que adoptar una actitud reticente con respecto a la inmensa revolución maquinaria que arrasa el planeta (a riesgo de destruirlo) o agarrarse a sistemas de valores tradicionales, fingiendo reestablecer la trascendencia, el movimiento del progreso, o si se prefiere, el movimiento del proceso, se esforzará por reconciliar los valores con las máquinas.
(...) Los sistemas maquínicos se posicionan a sí mismos en un rizoma de interdependencia, situando cada estasis maquínica real en la conjunción de una filiación pasada y un Phylum de futuras mutaciones. Todos los sistemas de valores - religiosos, estéticos, científicos, ecosóficos...- se instalan en esta interfaz maquínica entre lo actual necesario y lo virtual posibilista. (...) De ahí un doble enunciado: finito, territorializado e incorpóreo, infinito.
(...) A la estéril oposición entre valor de uso y valor de intercambio es preciso oponer una complexión axiológica que incluya todas las modalidades maquínicas de valoración: los valores del deseo, los valores estéticos, los valores ecológicos, los valores económicos, etc. (...) La ley económica, como la ley jurídica, debe ser deducida del conjunto de Universos del valor, por cuyo colapso lucha constantemente. Su reconstrucción, sobre los escombros desperdigados de las economías planificadas y el neoliberalismo y según nuevas finalidades etico-políticas (ecosofía), requiere, en contraste, una inagotable renovación de la consistencia de los ensamblajes maquínicos de valoración.
( Félix Guattari - Caosmosis - 1992 )
( traducción por Alicia Pallas )
__________________________________________
rectO-persO | E ≥ m.C² | co~errAnce | TiLt
1280x800 version of the Vitruvian Badger wallpaper.
Originally available from the badgerbadgerbadger website in 1024*768. This file is no longer available, but can be found here.
__________________________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________________
__________________________________________________
The mecanosphere draws out and actualises configurations which exist amongst an infinity of others in fields of virtuality. Existential machines are at the same level as being in its intrinsic multiplicity. (...) They are to themselves their own material of semiotic expression. Existence, as a deterritorialisation process, is a specific inter-machinic operation which superimposes itself on the promotion of singularised existential intensities. (...) Existence is not dialectical, not representable. It is hardly livable!
(...) The machines of desire, the machines of aesthetic creation, just as scientific machines constantly modify our cosmic frontiers. As such, they hold an eminent place within assemblages of subjectivation, themselves called to relieve our old social machines which are incapable of keeping up the efflorescence of machinic revolutions that shatter our epoch from all sides. Rather than adopting a reticent attitude with respect to the immense machinic revolution sweeping the planet (at the risk of destroying it) or of clinging traditional value systems, pretending to re-establish transcendence, the movement of progress, or if one prefers, the movement of process, will endeavour to reconcile values and machines.
(...) The machinic systems position themselves in a rhizome of interdependence, situating each actual machinic stasis at the conjunction of a passed filiation and a Phylum of future mutations. All value systems - religious, aesthetic, scientific, ecosophical, ... - install themselves at this machinic interface between the required actualised and the virtual possibilist. (...) Thus a double enunciation: finite, territorialised and incorporeal, infinite.
(...) To the sterile opposition between use-value and exchange-value will here be relinquished in favour of an axiological complexion including all machinic modalities of valorisation: the values of desire, aesthetic values, ecological values, economic values, etc. (...) Economic law, like juridical law, must be deducted from the ensemble of Universes of value, for whose collapse it continually strives. Its reconstruction, on the scaterred debris of planned economies and neoliberalism and according to new ethico-political finalities (ecosophy) calls for, in contradistinction, an untiring renewal of the consistency of machinic assemblages of valorisation.
( Félix Guattari - Chaosmosis - 1992 )
__________________________________________
rectO-persO | E ≥ m.C² | co~errAnce | TiLt
Photo © Tristan Savatier - All Rights Reserved - License this photo on www.loupiote.com/30178381430
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Photo taken at the Burning Man 2016 festival (Black Rock Desert, Nevada).
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Leonard da Vinci was born on April 15, 1452, and today is his birthday!
Leonardo has often been described as the archetype of the Renaissance Man. In fact he was somewhat of a polymath. He was a painter, sculptor, architect, musician, scientist, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist and writer.
Our troopers thought they would honour Leonardo by recreating his Vitruvian Man, but instead they created a Virtruvian Trooper!
(Although you may not believe it, this is one shot. There are two troopers being held by a wooden stick from the back. Check out the set up shot here).
Enjoy!
This is a Alternative version for one of my daily shots of 365 Days of Clones.
This photo is part of my mini series Cloned Photos.
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“A Little Tale”…
Contained within this ancient box are all the secrets, ancient knowledge, of such things as the creation of the Universe, time, the planets, ancient civilizations and their architecture, Atlantis, the ancient ways, ancient tongues, the truths, the true laws of nature, the powers mankind possesses, but are unaware of, life, death…just to name a few.
Only one on earth can possess it ~ the Wizard Who Manages the Enchanted Woods. For, you see, the Enchanted Woods are a cosmos of the entire planet. The Enchanted Woods is the place where it all began, where all is, and where all will remain until the end of time.
This powerful Wizard guards this box of all the secrets by use of a magical and very ancient spell. The spell makes the box invisible to all but to him. Clever, isn’t he?
Even though most humans, nonhumans, and elementals are completely unaware of its existence, there are a few who do know it exists. And, naturally, they want to gain possession of it for evil purposes.
~Marsha J. West, Author (Edited for Flickr)
This is my original story, idea, and actual creation. This is my personal property and is not to be stolen, copied, reproduced, used by anyone for any purpose, in any medium or used in blogs.
From my personal collection.
Another day, another Dr. Killdeath drawing. This time it's the Doctor as if drawn by da Vinci.
I played around with various Photoshop brushes until I found one that simulated ink strokes pretty well. It was a bear trying to get his hands to match up with the circle and square like the original drawing. Fortunately the Doctor is pretty flexible.
For the background I just used a splotchy Photoshop brush and painted until I thought it looked like parchment. I applied some kind of canvas texture to it in Photoshop as well.
In case anyone's wondering, the text really does say something, but I doubt you can read it.
Drawn in Photoshop on the graphic tablet.
Want to see more? Check out my new blog! All the cool kids are doing it!