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COMPLEXITY
- turquoise, olive greens, greenish yellows,
I am feeling 100% better now. Crazy to think only a day ago I thought I was dying. just kidding, I can be dramatic
p.s. the feathers were from my Halloween costume this year- I went as a drunk peacock
EXPLORE #398.MARCH 24,2009
“It doesn't matter how much you want.
What really matters is how much you want it.
The extent and complexity of the problem does
not matter was much as does the willingness to solve it.”
I have been Practicing on my guitar. I am new to it. The freedom of being able to have 2 separate tones playing against each other and me being the source for both is pretty darn nice.. I realize the complexity and the ability of my "person". I don't "try" to sound like anyone other then myself. It's strange dissecting it. 40 Years of living leads me to sound THIS way.
I've been experimenting with patterns and tiles lately and have a couple of designs that I'm happy with. The idea started with wanting to find a city and working with the side of a building. I needed some new lines and decided to travel into New York and see what I could find, I wasn't disappointed and managed out a couple of shots that I'll be posting. Some are just me having fun with Protoshop, some are fairly straight. The concept for this is actually pretty simple in that you start with one tile and add until you have four, flatten and that becomes the new tile and you add another three, flatten and repeat. This image is 8x8 tiles and you can get some interesting results! My idea of fun and takes me back to my Vasarely study days.
As 2011 comes to a close, I'd like to thank all my Flickr friends, contacts and everyone else that takes to time to ponder my craziness and perhaps toss a comment and/or fave my way! As my first year on Flickr winds down, I can't believe what an experience it's been trading comments with some of the best photographers-artists that I've seen! I truly enjoy looking at all the fantastic photographic work from the widest of styles/genres and value all the friendships that have started this year. My hope and wish for the New Year is that all the friendships continue to grow in 2012. THANK YOU ALL and Happy New Year.
Sliders Sunday is still on I hope??? :)
A Complex Beautiful Mesh Of Virtual Reality & Tech To Simplify Complexities Of Real Life - IMRAN™
Do you remember the movie Minority Report? Do you remember the days when airline travel was actually fun? Do you want to experience lots of things without danger or going broke?
All those things are coming together. Read on. I enjoyed a great article “Microsoft just revealed the future of Teams (You may love it, airlines won't)” by Chris Matyszczyk in ZDNet. Bad puns and tongue in cheek opinions on serious topics are what I am addicted to as well. 😉
I love technology, including Microsoft Teams that this article mentioned. (Full disclosure, my current {non-sales} day job is with helping global banks do modern work and collaboration using Teams and new tech). Microsoft just demoed some revolutionary new tools enabling holograms and VR to be used in real life and work. Then you’ll love Microsoft Mesh.
I have loved flying since my first trip as a solo-child traveler, at age 7 in Pakistan. And I have been a 3D & VR fan (View Master got me hooked on it) since childhood too.
Every year (except during the pandemic of course) I am able to fly airlines more and more but enjoy it less and less. Here’s why.
I LOVE the “flying in the air, looking out the window” part. I often ABHOR the “sitting in the plane as an airline passenger” part. IMHO, the biggest enemies of the joys of flying have been... drum roll... the airlines themselves.
So when my beloved technologies like computing, networking, software, user interfaces, and virtual reality converge it is a beautiful thing. If futuristic “Minority Report” type technology takes the "necessity of business" part out of airline travel, it is something I celebrate.
I bet I would travel a lot more — even at my own expense — if airlines became sources of unique, great, comfortable, fun customer experiences instead of learning how a UPS package feels packed on a truck. If only airlines learn the lesson that eventually all painful user experiences are replaced by alternates, and it’s their turn next. Maybe they will understand that the only way to survive is to provide customers such great experiences that they are willing to pay for it by choice, not necessity.
Check out youtu.be/Jd2GK0qDtRg . What do you think?
Imran Anwar
© 2021 IMRAN™
ZDnet article: www.zdnet.com/article/microsoft-just-revealed-the-future-... .
#tech #technology #engineering #software #VR #3D #flying #writing #travel #Microsoft #Teams #ViewMaster #holographic #HoloLens
Impression from the former compressed air plant of the coal mine in Heusden-Zolder, Belgium, during Stephan Vanfleteren's exhibition.
© 2016 Daniela Duncan, All Rights Reserved.
Passion flower.
Amigos, I will still be posting to Flickr and checking your latest work, but now I'm becoming more active on Instagram - it's going to be the main social media platform for my images. It's where everybody is. Resistance is futile! Hope we can connect there as well:
Apse, Detail of the choir of angels - Chapel of the Magi (1459) - Medici Riccardi Palace, Florence - frescoes by Benozzo Gozzoli (Benozzo di Lese di Sandro 1411-1488)
Situato al piano nobile del palazzo, rappresenta il capolavoro del pittore fiorentino Benozzo Gozzoli, allievo di Beato Angelico.
Nelle tre pareti maggiori è raffigurata la Cavalcata dei Magi, che fa da pretesto per rappresentare un preciso soggetto politico che diede lustro alla casata dei Medici, cioè il corteo con papa Pio II Piccolomini, e numerose personalità, che arrivò a Firenze nell'aprile del 1458, diretto a Mantova. In tale città il pontefice aveva chiamato principi e autorità ecclesiastiche a partecipare ad un incontro per progettare una crociata in difesa della cristianità contro l'avanzata turca in Europa. Pio II fu preceduto da vari principi italiani che sostarono a Firenze per unirsi al seguito papale: fra gli altri, anche Galeazzo Maria Sforza, il figlio quindicenne di Francesco duca di Milano, e Sigismondo Malatesta, signore di Rimini, alleati dei Medici, che appaiono ritratti all'interno della scena.
Gli affreschi eseguiti nel 1459, si dispiegano scenograficamente attorno allo spettatore e si ha l'impressione di ammirare il corteo senza interruzioni, dall'interno di una curva del suo percorso. L'opulenza e l'esotismo dei dignitari bizantini sono qui ben rappresentati e ci possono dare una misura dell'impatto sorprendente che ebbe sulla popolazione fiorentina, compresi i numerosi artisti attivi in quel periodo a Firenze.
Nella straordinaria complessità delle scene si riconosce la raffinatezza della tecnica esecutiva di Benozzo: la pittura prevalentemente a buon fresco è integrata con alcuni dettagli eseguiti a secco che hanno consentito al pittore di lavorare con cura meticolosa i preziosi gioielli, i sontuosi tessuti, le bardature dei cavalli ma anche gli alberi carichi di frutta, i prati con fiori, il variopinto piumaggio degli uccelli, e le ali multicolori degli angeli. Per produrre tale effetto di magnificenza, l’artista utilizzò materiali rari e costosi, quali il lapislazzuli destinato ai fondali azzurri, le lacche lucenti e le foglie di oro puro che brillavano al buio, nella penombra delle candele.
Located on the main floor of the palace, it represents the masterpiece of the Florentine painter Benozzo Gozzoli, a pupil of Beato Angelico.
On the three main walls is depicted the Cavalcade of the Magi, which is the pretext to represent a specific political subject that gave luster to the Medici family, namely the procession with Pope Pius II Piccolomini, and numerous personalities, who arrived in Florence in April 1458, heading to Mantua. In that city the pontiff had called princes and ecclesiastical authorities to participate in a meeting to plan a crusade in defense of Christianity against the Turkish advance in Europe. Pius II was preceded by several Italian princes who stopped in Florence to join the papal retinue: among others, Galeazzo Maria Sforza, the fifteen-year-old son of Francesco, Duke of Milan, and Sigismondo Malatesta, Lord of Rimini, allies of the Medici, who appear portrayed within the scene.
The frescoes, painted in 1459, unfold scenographically around the viewer and one has the impression of admiring the procession without interruption, from within a curve of its path. The opulence and exoticism of the Byzantine dignitaries are well represented here and can give us a measure of the surprising impact they had on the Florentine population, including the many artists active in Florence at that time.
The extraordinary complexity of the scenes highlights Benozzo's sophisticated technical ability. Indeed, the predominantly wet fresco painting includes various details added after the fresco had dried, allowing the artist to work with meticulous care on the rendering of the precious jewels, sumptuous fabrics, horse trappings, fruit-laden trees, blossoming meadows, vibrant plumage of birds and multicoloured wings of angels. To achieve such magnificent effects, the artist used rare and costly materials such as lapis lazuli for blue deep waters, gleaming lacquers and pure gold leaves that shone in the darkness and candle-lit half-light.
Wistman's Wood on Dartmoor, Devon. This is a very delicate habitat so I'm only taking photos from the very edge of the wood not venturing on to the moss covered rocks.
Like any good photographer I was searching for simplifying shapes and compositions. Very difficult. So what the heck, I'll share this showing all that chaos!!! Let me call it "Enchantment in the complexity"
It also happened to be my first image of the day. Sometimes that's the way it goes :-) Hope you enjoy.
Lincoln cathedral, England.
"the universe tends towards complexity".
Lincoln Cathedral (the Cathedral Church of the Blessed Virgin Mary of Lincoln, or just St. Mary's Cathedral) is an imposing and amazing gothic cathedral located in Lincoln in England and seat of the Bishop of Lincoln in the Church of England.
Building commenced in 1088 and continued in several phases throughout the medieval period. It was reputedly the tallest building in the world for 238 years (1311–1549). The central spire collapsed during an earthquake in 1549 and was not rebuilt.
Even without the spire it is an imposing building dominating the surroundings almost one thousand years since the beginning of its construction.
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Nature, travel, photography: MY YOUTUBE CHANNEL
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Tangle of anthers and multi lobed stigma ensure pollen is dropped and collected when the gypsy moth visits its Latin American tropical rainforest host. Epiphyllum oxypetalum (Queen of the Night) is a member of the cactus family grown in my sub-tropical Gold Coast home garden.
Complexity for us to study and ponder: last year's grass and some brown leaves.
Copyright J.R. Devaney
I had a good laugh at these two; the male was sitting contemplating the complexities of the universe when the female suddenly landed next to him, they exchanged some fairly heated words before the male turned away from the female while she continued her tirade...my husband, grumbles "typical female" next to me LOL!
The Tragedy of Uniformization: Toward a Dialogic of Freedom
In the image the figure of "Miss Chain sawing" embodies the height of "mutilating thought." What we see here is the transformation of an icon of emancipation into a force of reduction, which, under the guise of promoting an abstract freedom, proceeds with the methodical ablation of cultural specificities.
This dynamic illustrates what I call the "barbarism of unity": in wanting to carve up the world according to a single template, this "chainsaw" transforms the concrete richness of cultures into a lifeless transparency. The world, sliced into such thin pieces that it loses its substance, becomes the stage for a pathology of reason that, by seeking to simplify reality, destroys it.
The dialogic, far from being a mere concept, compels us to conceive of a unity that does not negate diversity. We are faced with an inseparable antagonism:
* The need for a freedom that serves as a shared value for all humanity.
* The vital necessity of preserving the roots, mores, and legacies that constitute the unique genius of every culture.
The suffering expressed in **image**—that feeling of a "hidden and insupportable thorn"—testifies to the fact that freedom imposed from the outside, without regard for the singularity of social fabrics, does not liberate: it alienates. To ensure the intellectual and spiritual richness of future generations, we must replace this "chainsaw" logic with an ethics of reliance. It is not a matter of rejecting the universal, but of reconstructing it from within diversity, so that every culture, while remaining itself, can participate in the co-construction of a pluralistic humanity. True emancipation does not lie in the transparency of the void, but in the density of the encounter.
**Suggested Title:** *The Dialectic of the Chainsaw: For an Ethics of Reliance Against the Barbarism of the Uniform*
Complex thinking is an epistemological concept proposed by the philosopher and sociologist Edgar Morin. It is not reduced to science or philosophy, but would allow their communication by operating the shuttle from one to the other[ref. needed]. The complex way of thinking can be useful in addressing organizational, social and political problems. Thought that confronts uncertainty can illuminate strategies in a world that has become uncertain. The first formulation of complex thought dates from 1982 in Morin's book Science with conscience: In the age of Miss Chain Sawing, city planning is no longer a local craft of building with place. It has become the sharp edge of a planetary dialogic: the chainsaw that simultaneously severs the old chains of rooted territories and carves new, standardized wounds into their living flesh. Globalization does not float above cities - it lands inside them, slicing neighborhoods into transparent fragments where local memory, biodiversity, and social thickness are rendered visible only as obstacles to flow. Yet the territory answers back. Every cut produces resistance, every standardized master plan generates its own underground metabolisms. Miss Chain Sawing is therefore not a villain nor a savior; she is the ambiguous operator of our time - the one who makes visible the wound through which territory and globalization ceaselessly remake each other. She cuts the chains of the old world... and the living fabric of the new one. A dialogic inquiry into how globalization slices cities into transparent pieces.
In the spirit of Edgar Morin's complex thought, the encounter between Miss Chain Sawing and urban planning reveals far more than a technical conflict over land use or zoning codes. It exposes a living dialogic - that ceaseless, creative, and often painful interplay between two antagonistic yet inseparable logics: the thick, rooted, auto-eco-organizing fabric of territory on one side, and the thin, accelerating, homogenizing flows of planetary globalization on the other.
Miss Chain Sawing is not a simple villain nor a heroic liberator. She is the ambiguous operator of our time. In one hand she wields the chainsaw that severs the heavy, rusted chains of obsolete structures, colonial legacies, and rigid hierarchies. In the other, the same blade slices through the living tissue of neighborhoods, memories, and ecological relations that still hold cities together. The image that haunts this inquiry makes the wound visible: Lady Liberty's severed head rests upon a body cut into transparent slices, countries rendered so thin they no longer conceal the global flows passing through them. Below lies the gaping skull - the death mask of urban diversity - while the saw works relentlessly. City planning, in its dominant contemporary form, has become the privileged instrument of this cutting.
Globalization does not hover abstractly above cities. It lands inside them, demanding legibility, liquidity, and speed. Master plans financed by international capital, smart-city platforms designed in distant laboratories, real-estate algorithms that treat neighborhoods as data points - all require territories to be rendered transparent. History fabrics are sélectionned into developable plots. into endless soy fields now turns living cities into portfolios of assets. Urban planning, when captured by this planetary grammar, ceases to be the art of composing with place and becomes the art of making place disappear into the smooth space of global circulation.
Yet the dialogic refuses one-way reduction. Territory answers back. Every cut produces its own counter-movements: informal settlements that re-weave social tissue, urban gardens that restore ecological memory, community land trusts that withdraw land from speculative transparency, tactical occupations that slow the chainsaw. These are not mere resistances; they are expressions of the territory's own auto-organizing intelligence asserting itself within the very wound globalization has opened. The part contains the whole: a single neighborhood that refuses to become transparent can reveal the entire logic of planetary urbanization and, at the same time, prefigure other possible cities.
This ongoing mutation transforms the very meaning of freedom. The liberty once symbolized by Lady Liberty - freedom of movement, of enterprise, of individual choice - is increasingly experienced in the sliced city as a new form of enclosure. For those displaced by redevelopment, for those whose daily rhythms are dictated by global real-estate cycles, for those whose cultural and ecological attachments are declared obstacles to progress, the promise of freedom rings hollow. A hidden thorn lodges in the collective flesh: the knowledge that the chains being cut were sometimes also the fragile bonds. that still connected people to place, to memory, to each other. This thorn makes us harsh - toward one another, toward the future, toward any symbol that claims to represent emancipation while participating in the slicing.
Miss Chain Sawing therefore stands at the crossroads of a possible metamorphosis. The same blade that wounds can, under different hands and different intentions, become the tool that carefully prunes dead wood while protecting the living cambium. Urban planning could shift from chainsaw to grafting knife - not erasing the dialogic tension between territory and globalization, but learning to work with it. This would require abandoning the dream of total transparency and total control. It would mean recognizing that every master plan is also a master cut, and that the health of a city lies in its capacity to maintain thickness, opacity, and unpredictability even while remaining open to planetary exchanges. fr.wikipedia.org/wiki/Pens%C3%A9e_complexe
The inquiry remains open. The saw continues its work. Whether it ultimately severs the last living connections or helps birth new, more complex forms of urban autonomy depends on how we inhabitants, planners, citizens, and thinkers - choose to grasp the handle. In the dialogic between territory and globalization, there is no final victory, only the permanent, uncertain work of recomposing what the blade has divided. Complexity characterizes the behavior of a system or model whose components interact in multiple ways and follow local rules, leading to non-linearity, randomness, collective dynamics, hierarchy, and emergence.[1][2]
The term is generally used to characterize something with many parts where those parts interact with each other in multiple ways, culminating in a higher order of emergence greater than the sum of its parts. The study of these complex linkages at various scales is the main goal of complex systems theory.
The intuitive criterion of complexity can be formulated as follows: a system would be more complex if more parts could be distinguished, and if more connections between them existed.[3]
As of 2010, a number of approaches to characterizing complexity have been used in science; Zayed et al.[4] reflect many of these. Neil Johnson states that "even among scientists, there is no unique definition of complexity – and the scientific notion has traditionally been conveyed using particular examples..." Ultimately Johnson adopts the definition of "complexity science" as "the study of the phenomena which emerge from a collection of interacting objects. en.wikipedia.org/wiki/Complexity
Edgar Morin (/mɔːˈræn/; French: [ɛdɡaʁ mɔʁɛ̃]; né Nahoum; 8 July 1921 – 29 May 2026) was a French philosopher and sociologist of the theory of information who has been recognised for his work on complexity and "complex thought" (pensée complexe),[9] and for his scholarly contributions to such diverse fields as media studies, politics, sociology, visual anthropology, ecology, education, and systems biology. He held two bachelors degrees, one in history and geography and one in law, and never did a Ph.D.[10] en.wikipedia.org/wiki/Edgar_Morin