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En la eterna interrogación me resultare hasta morirme de asco una vez más.
Ni por ti, ni por mí, yo te quiero igual...
yolandavalenzuela.blogspot.com.es/2013/06/venus-yolanda-v...
©.monpetitartbonmarche by yles
The portrait of Sakip Sabanci, 2014 (détail), suspendu au centre de la salle
par Kutlug Ataman (1961, Turquie, vit et travaille à Londres)
L'oeuvre, conçue comme un portrait collectif en mémoire de Sakip Sabanci, est composée de 9.216 panneaux LCD regroupés en 144 modules de 64 panneaux chacun.
www.kutlugataman.com/site/artworks/work/254/
Cette oeuvre est un hommage à Sakip Sabanci, un homme d'affaires turc, philanthrope, né en 1933 et mort en 2004. Elle est composée de portraits, au format d'une carte d'identité, de personnes qui ont connu Sakip Sabanci ou qui ont bénéficié de ses activités philanthropiques.
Le site du musée Sakip Sabanci
date : 1997
description : this proposal was for six glass houses to have been sited in Orchard Street, Derry/Londonderry, in Northern Ireland. the site is adjacent to the city wall, on either side of the newgate bastion, and the wall at this place would have been an integral component of the artwork. each glass house would be sixteen feet long, seven feet wide, and nine feet high, and be of 13mm toughened and laminated glass construction in an anodised aluminium and irish oakwood frame. each glass house would contain soil to a depth of about two feet, with three horticultural luminaires suspended above the soil. the soil would be taken from the exact line of the political border between the Republic of Ireland and Northern Ireland, being thoroughly dried and sterilized before installation.
1997 artist's statement
intellectual context : thinking which seems to prevail in the west, in the latter half of the 20th century, has begun to question how we construct the world as such. we read that spoken language is the basis of this structure, and that our linguistic relationship to the things around us is representational. we re-present things in the physical environment by words, and by doing this we are able to fix them into a linguistic world structure, as objects standing in reserve for the use of a technological society. this is how we have capitalized on our relationship of dominance over them. that we have begun to question this dominance or ownership, has perhaps been prompted by recent events in the physical environment. much contemporary art tries to deal with the relationship of subject to object (or the denial of this relationship) and of our understanding of time on which it founds itself. this often results in works of apparent abject, naked desperation, because when social structure is placed in jeopardy, there is no world. my current thinking concerns an anomaly in this artistic setup, in that it is precisely just that. what I say is that these experiments can never be anything more than the examples of how to deconstruct, and not actual deconstructions, so long as they take place under the auspices of the construct 'Art'. what is so intriguing about this project in Derry/Londonderry, is that it will take place in a street, of a city, of land that has known abject desperation. there is no need to find it, or manipulate it into art. it is simply here in people's memories, and this could lay open the unique possibility for real development in language. i anticipate that people will write on the surface of the glass houses. in fact, spray painted 'graffiti' (slogans like 'IRA' and 'UVF') would be a catalyst for the meaning of the work. but to discourage the possibility of more vigorous inscription, and to encourage a feeling of personal and community investment in the work, we should develop a strategy aimed at creating the right atmosphere around the project, and for disseminating information about its basic elements. as part of this initiative, i would live and work on site, for the duration of the project.
concept : the glass houses pertain to their situation, and they perform as one component of a work of art that can be viewed and thought about. like any work of art, they operate at the periphery of colloquial language, in a domain of ambiguities. i can attempt to write some of these down, but the list is by no means definitive:
• with careful design and construction, the six glass houses could be seen as special places of sacred nurturing. almost like small temples. but they would also be empty of life, with dry sterile soil, almost like dust. their internal space would be quite distant; is that the distance of the spiritual or of the incarcerated?
• a warm glow from the horticultural luminaires inspects the soil for signs of life, but it also gives a dark, and distant glimpse of prison lighting.
• the soil they contain is taken from six places on the exact boundary between two political structures. it has become thoroughly mixed up in the process, and it rejects all claims to ownership. any territorial slogans spray painted onto the glass would instantly become associated with colourful flowers in a greenhouse.
• the city wall is an important part of the artwork. the impregnability of its defensive structure as such could be interrogated, when seen through the glass houses.
• territorial marking is a language composed equally from territory and marks. it is already well established in Derry/Londonderry, and is a language perhaps more symbolic and spatial than signifying and linear. because the soil within the six glass houses would reject any claim to ownership, when the first writing does take place on their surface, a new more poetic syntax would be formed. a written language that cannot be derived from dominating speech, but which can only be written as a subtle difference from the surface on which it is written.
• in effect it would reduce 'territory' to ground, and reinstate marking as arche-writing.
• a mythogrammic language such as this might have ancient associations, and to refer to Doire or Daire seems right. this is why the main stanchions and beams of the glass houses are to be made from irish oak wood. the whole space here could be an oak grove of the mind.
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monday 30th march 2015
in part 10 we consolidated our comprehending of the thinghood of a thing and of its constituent phenomena. our task now is to look more carefully at the temporality of the thing 'through the eyes' of its constituent phenomenon {r(gv)}.
we must re-emphasise that these articulations of temporality are instantaneous, and that proper time would only appear to flow as a remembered accumulation for {r(gv)}, and only then if it were possessed of a brain.
likewise we should also note that there are no fractional states. these are temporal articulations of sheer absolute difference - which is in every case our own quantized or discrete comprehending, as the alterity of pure singleness.
(although the discrete nature of the electron shells of an atom are vastly more complex than this primitive thing, we hope to go there eventually.)
but let us here begin by simply adding up the total instances of the constituents at every moment of the thing’s existence. note that at any moment, the phenomenon 'is what it is at the present', and these are the accumulating quantities of interest.
(graphic)
tuesday 31st march 2015
(graphic)
we can see from the diagram that although {r(gv)} auto-comprehends as a simple alterity (i am spatially different from the other for a time), this 'binary' alterity is always comprised of a proportionality of three. we can also see that for each succeeding moment of time, their proportions are different. in other words, the complex (but symmetrical) proportional understandings of {r(gv)} are reduced at every moment to a simple, but gravitationally different (asymmetrical) alterity. (vis. a-symmetry).
moment 0
pure singleness extends as the elementary moment of a threefold thing {r(gv)}
moment 1
thingly phenomenon {r(gv)} instantaneously realises its binary alterity of proportions
red 0, green 1, violet 1...
(∴ phenomenal proportionality = 0 : 2)
moment 2
...which instantly presents its binary alterity of proportions
red 2, green 1, violet 1...
(∴ phenomenal proportionality = 1 : 1)
moment 3
...which instantly re-presents its binary alterity of proportions
red 2, green 3, violet 3...
(∴ phenomenal proportionality = 1 : 3)
moment 4
...which instantly re-presents its binary alterity of proportions
red 6, green 5, violet 5...
(∴ phenomenal proportionality = 3 : 5)
moment 5
...which instantly re-presents its binary alterity of proportions
red 10, green 11, violet 11...
(∴ phenomenal proportionality = 5 : 11)
we have raised a few terms here which we should try to consolidate.
things and phenomena
a 'thing' is constituted by 'phenomena' (later we will see that it is always three phenomena that constitute any thing - things are always comprised of threefold entanglements of their constituent phenomena.)
but things are always also the entangled phenomena of other more complex things. in other words, 'things' and 'phenomena' are our comprehending of regional entanglements of alter-universes.
‘phenomenal proportionality’ refers to the differential gravitation of momentary understanding among entangled phenomena. it is the measure of force of self-at-a-distance for any phenomenon of our comprehending.
whereas ‘thingly proportionality’ is the gravitational potential of a thing at any moment of its proper time; and is the product of dividing the quantity of phenomenal alterity by phenomenal self. it is the force of self-not-at-a-distance which the thing carries over into any subsequent phenomenality. thingly proportionality is gravity.
wednesday 1st april 2015
let us look further into the proportionality of the first few moments of thing {r(gv)}. (let us re-emphasise that these arguments are theoretical - concerning an impossibly isolated phenomenal thing {r(gv)}, and its thingly phenomena - rgv.) (we should also remember that what applies to red also applies equally and simultaneously to green and violet). (and also we will try wherever possible to make the pronouns personal, to reflect the fact that it is always our own comprehending under discussion).
moment 1 - the moment when the phenomenal thing {r(gv)} comes into existence, and thingly phenomenon r becomes real as the gravitational difference of its others (gv).
there being zero instances of red with one instance each of green and violet, let us assume that at the start of any thing’s existence, our phenomenal red self (whom we are trying to comprehend and which is in every case the one who is entangled with the others) is only real as the alterity of our phenomenal others, green and violet. therefore when we divide the instances of our alterity by the instances of our self, we see that at moment 1 the thing {r(gv)} is infinitely other. (2÷0 = ∞).
given that our self is nothing but its differential gravitation from alterity, this is to say that at the first moment of any thing’s existence, our gravitation to the other from which comes our differential existence, is infinite.
at the first real moment of any isolated thing, that thing has infinite gravity. (a thing only appears isolated to the thing which comprehends itself as isolated - therefore 'with infinite gravity at the beginning of time'.
moment 2 - at the second moment of any thing’s existence, there are two instances of our red self, with one each of our green and violet alterity. so we describe moment 2 as being of 1 : 1 phenomenal proportionality, and of gravity (1÷1 = 1).
(these numbers simply reflect the constitution of our alterity at the previous moment r(gv)- the constitution of our red self at any moment is always that of the constitution of our alterity green and violet at the previous moment of our co-existence).
(graphic)
the complete photo/video collection (1972-2016) of Stan Bonnar's artworks is accessible here :
We are being observed
Reputation increased through each directed gaze
To be honest
To be treated favourably
Protect your identifiable self
Do not display selfishness
Do not display impulsivity
Be known for your co-operative behaviour
The opportunity to be more of yourself
To think, behave and dress differently
Play the role to the situation
Put on a costume
Switch roles
Be in the situation
Read more: www.jjfbbennett.com/2019/07/seoul-palace-observe.html
date : 1997
description : this proposal was for six glass houses to have been sited in orchard Street, Derry/Londonderry, in Northern Ireland. the site is adjacent to the city wall, on either side of the newgate bastion, and the wall at this place would have been an integral component of the artwork. each glass house would be sixteen feet long, seven feet wide, and nine feet high, and be of 13mm toughened and laminated glass construction in an anodised aluminium and irish oakwood frame. each glass house would contain soil to a depth of about two feet, with three horticultural luminaires suspended above the soil. the soil would be taken from the exact line of the political border between the Republic of Ireland and Northern Ireland, being thoroughly dried and sterilized before installation.
1997 artist's statement
intellectual context : thinking which seems to prevail in the west, in the latter half of the 20th century, has begun to question how we construct the world as such. we read that spoken language is the basis of this structure, and that our linguistic relationship to the things around us is representational. we re-present things in the physical environment by words, and by doing this we are able to fix them into a linguistic world structure, as objects standing in reserve for the use of a technological society. this is how we have capitalized on our relationship of dominance over them. that we have begun to question this dominance or ownership, has perhaps been prompted by recent events in the physical environment. much contemporary art tries to deal with the relationship of subject to object (or the denial of this relationship) and of our understanding of time on which it founds itself. this often results in works of apparent abject, naked desperation, because when social structure is placed in jeopardy, there is no world. my current thinking concerns an anomaly in this artistic setup, in that it is precisely just that. what I say is that these experiments can never be anything more than the examples of how to deconstruct, and not actual deconstructions, so long as they take place under the auspices of the construct 'Art'. what is so intriguing about this project in Derry/Londonderry, is that it will take place in a street, of a city, of land that has known abject desperation. there is no need to find it, or manipulate it into art. it is simply here in people's memories, and this could lay open the unique possibility for real development in language. i anticipate that people will write on the surface of the glass houses. in fact, spray painted 'graffiti' (slogans like 'IRA' and 'UVF') would be a catalyst for the meaning of the work. but to discourage the possibility of more vigorous inscription, and to encourage a feeling of personal and community investment in the work, we should develop a strategy aimed at creating the right atmosphere around the project, and for disseminating information about its basic elements. as part of this initiative, i would live and work on site, for the duration of the project.
concept : the glass houses pertain to their situation, and they perform as one component of a work of art that can be viewed and thought about. like any work of art, they operate at the periphery of colloquial language, in a domain of ambiguities. i can attempt to write some of these down, but the list is by no means definitive:
• with careful design and construction, the six glass houses could be seen as special places of sacred nurturing. almost like small temples. but they would also be empty of life, with dry sterile soil, almost like dust. their internal space would be quite distant; is that the distance of the spiritual or of the incarcerated?
• a warm glow from the horticultural luminaires inspects the soil for signs of life, but it also gives a dark, and distant glimpse of prison lighting.
• the soil they contain is taken from six places on the exact boundary between two political structures. it has become thoroughly mixed up in the process, and it rejects all claims to ownership. any territorial slogans spray painted onto the glass would instantly become associated with colourful flowers in a greenhouse.
• the city wall is an important part of the artwork. the impregnability of its defensive structure as such could be interrogated, when seen through the glass houses.
• territorial marking is a language composed equally from territory and marks. it is already well established in Derry/Londonderry, and is a language perhaps more symbolic and spatial than signifying and linear. because the soil within the six glass houses would reject any claim to ownership, when the first writing does take place on their surface, a new more poetic syntax would be formed. a written language that cannot be derived from dominating speech, but which can only be written as a subtle difference from the surface on which it is written.
• in effect it would reduce 'territory' to ground, and reinstate marking as arche-writing.
• a mythogrammic language such as this might have ancient associations, and to refer to Doire or Daire seems right. this is why the main stanchions and beams of the glass houses are to be made from irish oak wood. the whole space here could be an oak grove of the mind.
sunday 5th april 2015
at the beginning of graham bell’s ski run on the hahnenkamm downhill course at kitzbühel in austria on 25th january, we said that we would try to comprehend how all the things flashing past us come to exist - to extend in space and time.
to guide this quest, we are concentrating on trying to comprehend the phenomenon of quantum entanglement, and to answer the implied fundamental question - how can one thing be in two places at once?
in trying to answer this, we have concluded that one thing could only appear to be in two places at once to some other thing which is right there in the entanglement. and we concluded that this other would always be our self.
as we patently cannot comprehend this ‘being in two places at once’ in the mix of everyday events, we are forced to the conclusion that prior to our existence in space and time, we are a pure singleness of difference.
our quest so far has been to comprehend how pure singleness could extend differentially, and we have looked in detail at two-fold and three-fold alter-universes in this respect - coming to the conclusion that ‘a universe’ as such could not exist in isolation, and therefore is always merely one of an infinity of entanglements of alter-universes - in which we ourselves, as our comprehending, are always properly entangled.
we tried to rationalise time and space as functions of our own pure singleness, and we concluded that our proper space is a differential realization of pure singleness extending, while our proper time persistently re-presents that extending until the entanglement is no longer comprehended.
we started to give some structure to the idea of extending as such, and concluded that structured extending is always on the basis of a three-fold entanglement of alter-universes. the relationship that these have with each other is one of profound understanding. (profound because each extends only as a differential constituent of the others. in other words they are entangled).
we say of these three entangled alter-universes that they are ‘phenomena’, because they show themselves to the others, as the others, in their proper spacetime.
we also considered the thinghood of a thing, and we concluded that a thing is the persistence of an entanglement of phenomena. we also said that whereas things are constituted by phenomena, they are themselves always entangled phenomena with other things. things are phenomena, phenomena are things, and we are phenomena that comprehend our own understanding of entanglement as a thing among things.
we also considered carefully how each moment is realized and re-presented, saying that although time seems to always be our becoming of the future, we do so only through that alterity which we already are. (this relates to the symmetry of pure singleness and the asymmetry of being - and the subsequent need for a rationale of a-symmetry).
we started to think about the meaning of force for entangled alter-universes, and we concluded that for every difference-from there is a gravitation-to. we concluded that whereas the difference-from/gravitation-to of our understanding with alterity is phenomenal, we comprehend this as the force of gravity of things. in other words, the gravity of entangled things is always our comprehending of our own gravitational understanding.
in the second album we will be trying to comprehend and describe how more complex entanglements of phenomena and things come into existence. we will be looking to describe how three-fold entanglements are part of four- and five-fold entanglements, and we will also consider how infinitely complex things like atoms are entangled. we hope also to broach the topic of the periodic table of elements, from the perspective of binary comprehending of three-fold entanglements.
my own efforts in all this will be assuming a less public face for the few months of summer, and posts will temporarily be more sporadic. nevertheless there is one question, which for me comes out of what we have been considering so far, and it is this…
does our universe at its beginning have infinite gravity and does it expand from a big bang simply because of the way we understand phenomena and comprehend things?
the complete photo/video collection (1972-2016) of Stan Bonnar's artworks is accessible here :
date : 1997
description : this proposal was for six glass houses to have been sited in orchard Street, Derry/Londonderry, in Northern Ireland. the site is adjacent to the city wall, on either side of the newgate bastion, and the wall at this place would have been an integral component of the artwork. each glass house would be sixteen feet long, seven feet wide, and nine feet high, and be of 13mm toughened and laminated glass construction in an anodised aluminium and irish oakwood frame. each glass house would contain soil to a depth of about two feet, with three horticultural luminaires suspended above the soil. the soil would be taken from the exact line of the political border between the Republic of Ireland and Northern Ireland, being thoroughly dried and sterilized before installation.
1997 artist's statement
intellectual context : thinking which seems to prevail in the west, in the latter half of the 20th century, has begun to question how we construct the world as such. we read that spoken language is the basis of this structure, and that our linguistic relationship to the things around us is representational. we re-present things in the physical environment by words, and by doing this we are able to fix them into a linguistic world structure, as objects standing in reserve for the use of a technological society. this is how we have capitalized on our relationship of dominance over them. that we have begun to question this dominance or ownership, has perhaps been prompted by recent events in the physical environment. much contemporary art tries to deal with the relationship of subject to object (or the denial of this relationship) and of our understanding of time on which it founds itself. this often results in works of apparent abject, naked desperation, because when social structure is placed in jeopardy, there is no world. my current thinking concerns an anomaly in this artistic setup, in that it is precisely just that. what I say is that these experiments can never be anything more than the examples of how to deconstruct, and not actual deconstructions, so long as they take place under the auspices of the construct 'Art'. what is so intriguing about this project in Derry/Londonderry, is that it will take place in a street, of a city, of land that has known abject desperation. there is no need to find it, or manipulate it into art. it is simply here in people's memories, and this could lay open the unique possibility for real development in language. i anticipate that people will write on the surface of the glass houses. in fact, spray painted 'graffiti' (slogans like 'IRA' and 'UVF') would be a catalyst for the meaning of the work. but to discourage the possibility of more vigorous inscription, and to encourage a feeling of personal and community investment in the work, we should develop a strategy aimed at creating the right atmosphere around the project, and for disseminating information about its basic elements. as part of this initiative, i would live and work on site, for the duration of the project.
concept : the glass houses pertain to their situation, and they perform as one component of a work of art that can be viewed and thought about. like any work of art, they operate at the periphery of colloquial language, in a domain of ambiguities. i can attempt to write some of these down, but the list is by no means definitive:
• with careful design and construction, the six glass houses could be seen as special places of sacred nurturing. almost like small temples. but they would also be empty of life, with dry sterile soil, almost like dust. their internal space would be quite distant; is that the distance of the spiritual or of the incarcerated?
• a warm glow from the horticultural luminaires inspects the soil for signs of life, but it also gives a dark, and distant glimpse of prison lighting.
• the soil they contain is taken from six places on the exact boundary between two political structures. it has become thoroughly mixed up in the process, and it rejects all claims to ownership. any territorial slogans spray painted onto the glass would instantly become associated with colourful flowers in a greenhouse.
• the city wall is an important part of the artwork. the impregnability of its defensive structure as such could be interrogated, when seen through the glass houses.
• territorial marking is a language composed equally from territory and marks. it is already well established in Derry/Londonderry, and is a language perhaps more symbolic and spatial than signifying and linear. because the soil within the six glass houses would reject any claim to ownership, when the first writing does take place on their surface, a new more poetic syntax would be formed. a written language that cannot be derived from dominating speech, but which can only be written as a subtle difference from the surface on which it is written.
• in effect it would reduce 'territory' to ground, and reinstate marking as arche-writing.
• a mythogrammic language such as this might have ancient associations, and to refer to Doire or Daire seems right. this is why the main stanchions and beams of the glass houses are to be made from irish oak wood. the whole space here could be an oak grove of the mind.
This is a preview of a longer video I made that you can see here: www.youtube.com/watch?v=69h1isFDBqo&feature=youtu.be
The song in the video is my own original creation.
- Josh
the visible part of the sculpture consists of two columns of figures that face each other. beyond the point of visibility, at the very tip of these columns, the figures (one female, one male) are infinitely small.
at the top of the sculpture (the point at which they become visible to the naked eye) the couple each have a height of 1mm; and from that point, they grow in size towards the planet Earth with the following proportionality…
0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987, 1597…
… at which point they cease to be visible to the naked eye as they pass into the Earth and beyond.
at the very tip of the sculpture, there extends no space or time. so no matter how far the columns are placed apart, at the uttermost tip, the two figures are one - the pure singleness of Ourself.
If you would like to read the philosophy which underpins this work, please visit
www.flickr.com/photos/stan_bonnars_artworks/albums/721576...
if you would like to see more detailed studio images of the sculpture please visit www.flickr.com/photos/stan_bonnars_artworks/sets/72157644...
the complete photo/video collection (1972-2016) of Stan Bonnar's artworks is accessible here :
date : 1997
description : this proposal was for six glass houses to have been sited in orchard Street, Derry/Londonderry, in Northern Ireland. the site is adjacent to the city wall, on either side of the newgate bastion, and the wall at this place would have been an integral component of the artwork. each glass house would be sixteen feet long, seven feet wide, and nine feet high, and be of 13mm toughened and laminated glass construction in an anodised aluminium and irish oakwood frame. each glass house would contain soil to a depth of about two feet, with three horticultural luminaires suspended above the soil. the soil would be taken from the exact line of the political border between the Republic of Ireland and Northern Ireland, being thoroughly dried and sterilized before installation.
1997 artist's statement
intellectual context : thinking which seems to prevail in the west, in the latter half of the 20th century, has begun to question how we construct the world as such. we read that spoken language is the basis of this structure, and that our linguistic relationship to the things around us is representational. we re-present things in the physical environment by words, and by doing this we are able to fix them into a linguistic world structure, as objects standing in reserve for the use of a technological society. this is how we have capitalized on our relationship of dominance over them. that we have begun to question this dominance or ownership, has perhaps been prompted by recent events in the physical environment. much contemporary art tries to deal with the relationship of subject to object (or the denial of this relationship) and of our understanding of time on which it founds itself. this often results in works of apparent abject, naked desperation, because when social structure is placed in jeopardy, there is no world. my current thinking concerns an anomaly in this artistic setup, in that it is precisely just that. what I say is that these experiments can never be anything more than the examples of how to deconstruct, and not actual deconstructions, so long as they take place under the auspices of the construct 'Art'. what is so intriguing about this project in Derry/Londonderry, is that it will take place in a street, of a city, of land that has known abject desperation. there is no need to find it, or manipulate it into art. it is simply here in people's memories, and this could lay open the unique possibility for real development in language. i anticipate that people will write on the surface of the glass houses. in fact, spray painted 'graffiti' (slogans like 'IRA' and 'UVF') would be a catalyst for the meaning of the work. but to discourage the possibility of more vigorous inscription, and to encourage a feeling of personal and community investment in the work, we should develop a strategy aimed at creating the right atmosphere around the project, and for disseminating information about its basic elements. as part of this initiative, i would live and work on site, for the duration of the project.
concept : the glass houses pertain to their situation, and they perform as one component of a work of art that can be viewed and thought about. like any work of art, they operate at the periphery of colloquial language, in a domain of ambiguities. i can attempt to write some of these down, but the list is by no means definitive:
• with careful design and construction, the six glass houses could be seen as special places of sacred nurturing. almost like small temples. but they would also be empty of life, with dry sterile soil, almost like dust. their internal space would be quite distant; is that the distance of the spiritual or of the incarcerated?
• a warm glow from the horticultural luminaires inspects the soil for signs of life, but it also gives a dark, and distant glimpse of prison lighting.
• the soil they contain is taken from six places on the exact boundary between two political structures. it has become thoroughly mixed up in the process, and it rejects all claims to ownership. any territorial slogans spray painted onto the glass would instantly become associated with colourful flowers in a greenhouse.
• the city wall is an important part of the artwork. the impregnability of its defensive structure as such could be interrogated, when seen through the glass houses.
• territorial marking is a language composed equally from territory and marks. it is already well established in Derry/Londonderry, and is a language perhaps more symbolic and spatial than signifying and linear. because the soil within the six glass houses would reject any claim to ownership, when the first writing does take place on their surface, a new more poetic syntax would be formed. a written language that cannot be derived from dominating speech, but which can only be written as a subtle difference from the surface on which it is written.
• in effect it would reduce 'territory' to ground, and reinstate marking as arche-writing.
• a mythogrammic language such as this might have ancient associations, and to refer to Doire or Daire seems right. this is why the main stanchions and beams of the glass houses are to be made from irish oak wood. the whole space here could be an oak grove of the mind.
Julia's Hair, enjoy this short animated hairstyle adventure, watch it grow! (+Turn On Music!)
Here's my new portraits of Julia. She is elusive, in her moving ever changing hair, I see a beautiful deep heart, full of a love and strength that will not be defined by anyone but herself, no matter how many portraits I try, I can happily admit a wonderful spirit dances in her and shall forever remain her mystery.
Julia's own hair is a cloak of living magic, it is her Lion's mane!
These experimental hairstyles flow around the inspiration of Julia's face. Using magnets I expressively manipulate the iron filings powders and photograph each result. Her beautiful spell casts me a passion to evoke heroic character's in her, I imagine her many adventures as stories told in hairstyles!
To pencil draw Julia, I used one of her selfies, a shot of her face emerging into the light, out of a black Winter night last year, somewhere in the teenage wilds of Gomel Belarus with her friends.
A quarter of Belorussia's people died fighting and defeating the fascists in what we call world war two, it is an unimaginable debt we owe them in respect. Hundreds of villages in Gomel where completely murdered by Hitler's invasion. Belarus like Julia, is inevitably emerging confident into the light of Summer, her lovely talented wealth of people shine, their variety of characters are bubbling up and the world is going to meet them much more!
-besos Antonio
Music is Thanks to: 'Julia' written & sung by John Lennon with The Beatles on 'The White Album' (1968) & the main instrumental music is: 'The Ecstatics' by the band 'Explosions In The Sky' off their album 'The Wilderness' (2016)
thursday 5th february 2015
alter-universes and things
we came to the conclusion in part 1 of this text, that pure singleness is the condition prior to our being real in space and time, and if this conclusion is forced upon us by quantum entanglement, then we ourselves are always entangled with every other thing - we see things because we are those very things that we see.
in other words, i am actually not conscious of seeing you, being out there in the distance, rather i have extensive understandings-with you which are the basis of our shared reality. there is no space (or time) between us - i see you because i am you. each of these understandings-with the other we call an ‘entanglement of alter-universes’, and later we hope to show exactly how these alter-universes are entangled, and extend as the basis of everything. suffice to say, the more entangled we are, the closer you appear to be.
each real thing we see around us is actually an infinite complexity of entangled alter-universes of pure difference - each extending (-with us) as its own time and space. (later we hope to show how time and space come into being-with things.) this infinite entanglement of relative spacetimes has profound implications for our comprehending of gravity, light, and the constancy of light speed in particular.
let us assume that the speed of light is constant for all observers only because the infinite number of alter-universes which constitute the observers are entangled. in other words, light does not travel through space, rather it is a function of my symmetrical becoming-with the others with which i am entangled.
saturday 7th february 2015
pure singleness, symmetry and force
we asserted previously that the pure singleness of difference must be symmetrical. the reason we said this is simply because that for each extending of pure singleness which is ‘different from its other’, there must also be that very other from which it is different, and which is also ‘different from its other’.
this is our core comprehending of the pure singleness of difference, (on which is based the phenomenon of entanglement). in other words, we say that these two differentials are most profoundly entangled, because each is the very extending of the other. difference is the auto-entanglement of pure singleness.
if each differential that forms this simplest of all alter-universes is nothing but its difference from the other, then each must depend on the other for its very extending - its entire (pre)existence. this symmetrical extending out of the other we call their mutual understanding-with, and each differential feels this understanding-with the other as the force of its own otherness - its ‘self at a distance’ - its life force. all force is the force of otherness, the force of our own entanglement-with pure singleness.
wednesday 11th february 2015
alter-universes, strings and things
before we go any further, we need to re-emphasize this precept: that our comprehending of things is not isolated from that which we comprehend; and the means by which we comprehend the universe very much depends on how we comprehend the universe. plainly, it is because we comprehend the universe in a quantized way as ‘different things in time and space,’ that we must assume that our comprehending is quantized (packeted, grainy or particulate).
however, having said that, we have been considering pure singleness as the basis of this universe of things in time and space; and we have begun to think of things, not as separate particles, but as entangled alter-universes.
in other words, anything of any scale - from something the size of the universe, to something the size of a star, to something the size of a motor car, to something the size of an atom, to something the planck scale of a string (theory), is actually the extending of pure singleness as an entanglement of alter-universes. it's not that things don’t exist, it’s just that reality is quantized as we comprehend it.
we must also be clear that we do not mean to suggest that pure singleness is a thing which extends as subsidiary things. as yet we have few ideas actually about pure singleness, other than to assert that the basic condition of things is that we extend as pure singleness.
last saturday we touched briefly on the most primitive of all possible alter-universes - the symmetrical extending of two differentials. but we must admit that although it understands itself, there is no way for this primitive ‘twofold’ alter-universe to comprehend itself. the most primitive alter-universe - which can also comprehend itself - is a threefold alter-universe; simply because for any basic difference of two, there must also be a third entangled differential to comprehend the difference between the other two. this it does by extending as nothing but its difference from them. inasmuch as all three constitute a singular, symmetrical, threefold entanglement of alter-universes, the manner of their comprehending is identical; but each actually comprehends as its ownmost differentiated constitution - a product of the combined constitutions of the others.
to be clear, the reason that any threefold(+) entanglement of alter-universes comprehends itself as a thing, is because each of its constituent differentials comprehends this and nothing else - ‘i am nothing but my difference from you’. this is the identical manner of their comprehending, but the basic understanding of each with the others is as its ownmost difference from them. for example: a threefold entanglement of alter-universes whose understandings-with are A(BC) B(CA) C(AB) comprehends itself as the thing ABC{(BC)(CA)(AB)}.
understanding is the most primitive extending of difference. we call it 'understanding' because each differential extends ‘under the standing’ of the other - as the very extending of the other. this is what we mean by entanglement.
in concluding this section, let us assert that these primitive alter-universes are the purely single extending of the strings of string theory.
saturday 14th february 2015
force, energy, space and time
let us imagine that all things as we comprehend them (such as the moon) extend as nothing but their difference from every other thing; and that every different thing is an infinitely complex entanglement of alter-universes (each of which is constituted as an infinitely complex entanglement of alter-universes……∞) let us also imagine that this infinitely complex universe of things is based on the simple primitive n-fold entanglements of alter-universes that we have started discussing; primitives which are constituted as nothing but a differential extending of pure singleness.
although we have not so far been meditating on how time and space are proper to our quantized comprehending as things, later we will try to show how space and time are actually the differential extending of pure singleness.
but in the meantime, let us assume that, just as alter-universal things are infinitely entangled, so too must their proper times and spaces be infinitely entangled. in other words, we must assume that if the ‘particles of science’ are shown to be entangled, then so also are their times and spaces entangled - simply because their basic primitives propagate, and are propagated by, their own proper time and space.
in our earlier brief consideration of primitives, we said (of a twofold alter-universe) that if each of its constituent differentials is nothing but its difference from the other, then each must depend on the other for its very extending. this symmetrical extending out of the other we call their mutual understanding-with, and each differential feels this understanding-with the other as the force of its own otherness. all force is the force of otherness.
if that is the case, and taking proper time and space into account, let us say (provisionally) that energy is force - relative to time.
let us also say provisionally that space extends as the difference of pure singleness and that time extends as the reiteration of that difference
continued in part 3
the complete photo/video collection (1972-2016) of Stan Bonnar's artworks is accessible here :
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monday 23rd march 2015
on the a-symmetry of entangled alter-universes
at the beginning of part 1 we stated that we would try to comprehend how all the things flashing past us (courtesy of skier graham bell on the hahnenkamm downhill course) come to exist - how they come to extend in space and time.
we also said that we would meditate on the means by which our own comprehending brings these things into existence, as a ‘grasping together’ of the extensive understandings that we have of our own pure singleness.
in part 5 we further stated that our task was to comprehend how the differential gravitation of red-green-violet might develop, not only as the symmetry of our own pure singleness, but also with each constituent differential extending as an asymmetrical entanglement with the others; and we called this asymmetrical symmetry ‘the a-symmetry of entangled alter-universes’ - which is the means of our gravitational-differentiation of our self at a distance.
let us be clear that why we are doing this is because from moment to moment in our flows of time, our common existence is by our asymmetrical differences from each other. but as well as our being in time and space we are also the absolute symmetry of our own pure singleness. if this is the case, we must be part of an infinitely complex entanglement of a-symmetrical alter-universes; absolute symmetry which must be reduced - as and at each moment - to a gravitational difference from the other. the other which is there in space for a time.
our task now is to describe in detail the basis of our a-symmetry, by comprehending this primitive threefold entangled alter-universal thing, red-green-violet…
tuesday 24th march 2015
(graphic)
perspective view of the first five moments of extending of pure singleness as three entangled realities r(gv)g(vr)v(rg)
(graphic)
now let us open up this entanglement of alter-universes - this 'thing' - so that we can see its three entangled realities r(gv)g(vr)v(rg)
wednesday 25th march 2015
(graphic)
a ‘thing’ is the proper name for a comprehending of entangled alter-universes (primitive or complex); and these three primitive entangled alter-universes r(gv)g(vr)v(rg), comprise the primitive comprehending thing called rgv{(gv)(vr)(rg)}. where { } = grasping together or comprehending.
each alter-universe is the entangled spatio-temporality of pure singleness, and in this way is it constitutionally real as the others with which it extends. in other words, there are three (partial) realities r(gv) g(vr) v(rg) that comprise the real comprehending thing rgv{(gv)(vr)(rg)}.
but although the thing thus constituted - rgv{(gv)(vr)(rg)} - is nothing but the comprehending of the three entangled realities r(gv) g(vr) v(rg), it does not comprehend the (symmetrical) constitutional complexities of its own entanglement. rather does it comprehend its own alterity as such, as a simple difference of one from the other - there in space and time. (the reason that this can be the case is that space and time are functions of pure singleness extending as an alter-universal thing).
in other words, an entangled alter-universe does not have the kind of constitutional reality that could comprehend the thing of which it is part. at any moment it only understands as its own constituency. only the thing can comprehend, and it does so, not with a brain as such, but as the fact of its own alterity, moment by moment, and thus does the alter-universe comprehend its own alterity by proxy, via the thing of which it is a part. in other words, each entangled alter-universe understands its own gravitational difference as the others, but it comprehends as the thing of which it is a part - as the sheer extending otherness of the others.
the upshot is that there is no form of comprehending, no decision which i take, no action that i make, that is not also taken simultaneously by the others around me, which constitute with me, this or that thing.
we are trying to comprehend our own comprehending of things in time and space, and now we can say that our comprehending of any thing is a-symmetrical… the absolute symmetry of pure singleness as asymmetrical gravitational differentiation.
this means that we can symbolize the a-symmetrical comprehending of the rgv{(gv)(vr)(rg)} thing as one of its entangled realities r(gv), which will enable us to evaluate the constitutional gravitational difference of the thing, moment by moment.
(graphic)
the complete photo/video collection (1972-2016) of Stan Bonnar's artworks is accessible here :
*Veo que viene una mano negra que quiere asfixiarme ... pero yo soy FUERTE y PODEROSA, me salvare de ella y la destruiré en un periquete!
yolandavalenzuela.blogspot.com.es/2012/03/ahora-estancias...
©.Mon petit art bon marchè by Yles
From the self-produced bendigai album 'Thank You, NASA - available on all streaming platforms and Bandcamp: bendigai.bandcamp.com
This incredible story
A phenomenon
The untold story
Wondrous and terrifying
Read more: www.youtube.com/watch?v=whzX3RIu_pY
Boston Common, Winter 2015
Nikon D7000 with post processing in Photoshop CS6
The song here is an original creation of mine called "Watercolor Scene". You can check it out here: soundcloud.com/josh-rokman/flowing-watercolor-river
- Josh
This is NOT an AI generated video. The music track in the video is my own original creation. One half of a kaleidoscope effect powers this video, which owes its existence to an accidental discovery.
This is NOT an AI generated video. I made this with Blender. The music track in the video is my own original creation.
This is a preview of a longer (6:47) video I made, which you can see here: www.youtube.com/watch?v=jOxMIhgsvpo
The song in the video is my own original creation.
The footage here is the same as for my other video "Heartbeat of the Earth", but in this video it is sped up 10X instead of 40X.
- Josh
This is NOT an AI generated video. For this video, I made some music with VCV rack, which is free modular synthesis software. I made a screen shot video of myself performing music in the program. I went into Kdenlive and used a chroma key filter or something similar to make much of the background transparent. I then put a video I shot in the background and adjusted the colors of the foreground as well.