View allAll Photos Tagged conceptualart
Submitted by Christan Rupp
Exhibitions and Participations
2007
Bioforms2” - Cheapart-Gallery, Athen
Project "Reflecting Media" - Art Athina 2007 ArtFair in Athens
Organizer, CoCurator and participating Artist in ARTmART, viennaartweek, Künstlerhaus, Vienna
2006
"cheapart 12" - Cheapart-Gallery, Athen
ex_sampling European Month of Photography, Künstlerhaus, Vienna
WO[+]MAN, 5th Human Rights Arts Festival, Athen
://selfportrait - a show for Bethlehem
Betlehem Cologne Poland Naples Santa Fe (Argentina) Rosario (Argentina)
Körperchen, Medienwerkstatt, Vienna
SOHO in Ottakring 2006“, Vienna
26 Flags 4th European Social Forum , Athens
2005
"cheapart 11" - Antonopoulou-Gallery, Athen
"update" - Künstlerhaus, Vienna
SOHO in Ottakring 2005, Vienna
2004
"cheapart 10" - Cheapart-Gallery, Athen
Guest-Artist for the year 2004 with the group K.U.L.M.: steirischer herbst, Palais Attems, Graz, MAK-Nite, Vienna, FotoFluss Wolkersdorf, etc...
"RRF 2004", www.newmediafest.org/rrf2004 by Wilfried Agricola de Cologne
Grafist 8, Mimar Sinan Fine Arts University, Istanbul
2003
"Quo vadis Logo Freiraum/quartier21, MQ, Vienna
2001
"Expanding Realities“, Kulturgelände Nonntal, Salzburg
1998
"Intervention zur Situation der Erwerbslosen", being part of the group Wochenklausur, Kunstamt Kreuzberg and NGBK, Berlin
Education: University of applied Arts in Vienna, Austria / Högskolan
för Design och Konsthantverk in Göteborg, Sweden / Technical
University of Vienna, Austria / IFF Wien, University of Vienna,
Austria
Oil on canvas, handwritten text, wood, paper.
Collection Ludwig Forum Aachen. Germany.
“The basis of my works from the series “text-objects” is a literary text put onto canvas. For me the text has two aspects: firstly it is a reality (written words are part of the real world around us), and secondly the text delivers information about the reality outside it. In my works I use many different texts. I turn to literature: novels, stories, classical dramas. In one work, several works from various authors may be combined: the works are not always given completely and may be broken off at the edge of the canvas or be used fragmentarily.
I work directly with the material and exploit its specific physical characteristics: the elasticity of the weave makes it possible to shape it at will, and its thinness and flexibility let it bee torn into pieces of various sizes. I produce objects on which simple geometrical forms or landscapes are delineated or objects whose material is freely arranged in various large folds. In this way the original form of the text is changed, and the new form gives rise to a new sequence of letters and signs. The visual form takes precedence over the text, and the attention of the viewer springs from the drawing to the text, which, however, can no longer bee read simply, since the words disintegrate and then come together in unbelievable constructions. A game arises with the text-reality and the words, or rather with the visual form of the words (as distinct from their semantic and phonetic aspects).
I have arranged happenings, where the text-objects have been read out and tape-recordings made. Finally the text was printed, to document the happening.
In the series of works, where the texts and the depictions of landscapes interact, this series follows the intention of having two realities and two illusions appear together: the one of the picture with its physical reality and the illusion of the depiction, and the one of the text with the visual reality of its form and with the worlds which are described in it.”
Svetlana Kopystiansky, 1988.
UNICODE 5.1.0 meets Universalcode∞.1.0
Unicode represents the Tower ob Babel en.wikipedia.org/wiki/Tower_of_Babel In computing, Unicode is an industry standard allowing computers to consistently represent and manipulate text expressed in most of the world's writing systems. Developed in tandem with the Universal Character Set standard and published in book form as The Unicode Standard, Unicode consists of a repertoire of more than 100,000 characters, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic or Hebrew, and left-to-right scripts). en.wikipedia.org/wiki/UniCode
Universalcode∞.1.0 represents a new Universal Language de.wikipedia.org/wiki/Universalsprache derived within the Doctine Of Essense by
de.wikipedia.org/wiki/Karl_Christian_Friedrich_Krause
Encoding Unicode into the Universalcode∞.1.0 all traditional languages become semantically transformed within the new universal language parameters. portal.or-om.org/art/UnicodemeetsOrOmCode/tabid/6319/Defa...
Series from the Pandemic Years.
Limited Edition of 5 sets of 5 artworks.
Using a 2 year film development process.
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Site
Bramfield Woods, Bramfield, Hertfordshire, South East, UK
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Found Materials
Pine needles, cone fragments, trace earth, pine woods’ standing water.
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How do I do this??
Minute amounts of water, windfall samples - organic and mineral - are collected from the very landscape depicted within each picture - and chemically bonded with the film over 9 to 24 months. The result: a developed film and unedited, printed images that are somewhere between a classic photograph and a totally abstract image, depicting the interaction between fundamental chemical elements present at each place & time, representing a more visceral and literal experience of being present in landscapes in a constant state of natural or unnatural flux.
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(C) Copyright 2024. All Rights Reserved. Process Patent Pending.
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******** Next Exhibition! ********
Keep watching for news on the next years upcoming exhibitions!
*********************************
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See & browse more at www.michaelrawling.com/fine-art
.
Saatchi Gallery: Buy this and other limited edition artworks from:
saatchigallery.michaelrawling.com/
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Or reach me via direct message.
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#film #modernart #35mm #artgallery #artcollector #chemical #art #artoftheday #filmsoup #alchemy #creative #contemporaryart #conceptualart #nophotoshop #nofilter #surreal #artwork #filmdestruction #experimentalfilm #landscape #fineart #artist
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Pitzer Art Galleries Curator Ciara Ennis, Mary-Sue Ader Andersen and Guest Curator Pilar Tompkins Rivas.
Submitted by Christan Rupp
Exhibitions and Participations
2007
Bioforms2” - Cheapart-Gallery, Athen
Project "Reflecting Media" - Art Athina 2007 ArtFair in Athens
Organizer, CoCurator and participating Artist in ARTmART, viennaartweek, Künstlerhaus, Vienna
2006
"cheapart 12" - Cheapart-Gallery, Athen
ex_sampling European Month of Photography, Künstlerhaus, Vienna
WO[+]MAN, 5th Human Rights Arts Festival, Athen
://selfportrait - a show for Bethlehem
Betlehem Cologne Poland Naples Santa Fe (Argentina) Rosario (Argentina)
Körperchen, Medienwerkstatt, Vienna
SOHO in Ottakring 2006“, Vienna
26 Flags 4th European Social Forum , Athens
2005
"cheapart 11" - Antonopoulou-Gallery, Athen
"update" - Künstlerhaus, Vienna
SOHO in Ottakring 2005, Vienna
2004
"cheapart 10" - Cheapart-Gallery, Athen
Guest-Artist for the year 2004 with the group K.U.L.M.: steirischer herbst, Palais Attems, Graz, MAK-Nite, Vienna, FotoFluss Wolkersdorf, etc...
"RRF 2004", www.newmediafest.org/rrf2004 by Wilfried Agricola de Cologne
Grafist 8, Mimar Sinan Fine Arts University, Istanbul
2003
"Quo vadis Logo Freiraum/quartier21, MQ, Vienna
2001
"Expanding Realities“, Kulturgelände Nonntal, Salzburg
1998
"Intervention zur Situation der Erwerbslosen", being part of the group Wochenklausur, Kunstamt Kreuzberg and NGBK, Berlin
Education: University of applied Arts in Vienna, Austria / Högskolan
för Design och Konsthantverk in Göteborg, Sweden / Technical
University of Vienna, Austria / IFF Wien, University of Vienna,
Austria
acrylic on canvas, handwritten text appropriated from classical novels.
Two panels, 90 x 60 cm
Produced in New York
“The basis of my works from the series “text-objects” is a literary text put onto canvas. For me the text has two aspects: firstly it is a reality (written words are part of the real world around us), and secondly the text delivers information about the reality outside it. In my works I use many different texts. I turn to literature: novels, stories, classical dramas. In one work, several works from various authors may be combined: the works are not always given completely and may be broken off at the edge of the canvas or be used fragmentarily.
I work directly with the material and exploit its specific physical characteristics: the elasticity of the weave makes it possible to shape it at will, and its thinness and flexibility let it bee torn into pieces of various sizes. I produce objects on which simple geometrical forms or landscapes are delineated or objects whose material is freely arranged in various large folds. In this way the original form of the text is changed, and the new form gives rise to a new sequence of letters and signs. The visual form takes precedence over the text, and the attention of the viewer springs from the drawing to the text, which, however, can no longer be read simply, since the words disintegrate and then come together in unbelievable constructions. A game arises with the text-reality and the words, or rather with the visual form of the words (as distinct from their semantic and phonetic aspects).
I have arranged happenings, where the text-objects have been read out and tape-recordings made. Finally the text was printed, to document the happening.
In the series of works, where the texts and the depictions of landscapes interact, this series follows the intention of having two realities and two illusions appear together: the one of the picture with its physical reality and the illusion of the depiction, and the one of the text with the visual reality of its form and with the worlds which are described in it.”
Svetlana Kopystiansky, 1988.
" Psyche ", il mio primo progetto fotografico
Chi volesse avere una copia della zine può contattarmi in privato 💪 ho ancora alcune copie disponibili
Per chi invece fosse interessato all'acquisto di una delle opere, all'interno sono presenti dei Qrcode che indirizzano direttamente alla pagina della galleria Looking For Art .
Le opere sono tutte stampate su carta da museo e incorniciate. All'acquisto vengono rilasciati anche l'atto di vendita e certificato di autenticità.🔝
Per dare uno sguardo ecco il link :
⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️
lookingforart.it/artista/argiolas-sara/
Vi lascio una piccola anteprima ❤
Grazie per il sostegno 🙏
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"Psyche", my first photographic project. Anyone wishing to have a copy of the zine can contact me privately. I still have some copies available. For those interested in buying one of the works, inside there are Qrcodes that direct you to the Looking For Art gallery page. The artworks are all printed on museum paper and framed. Upon purchase, the deed of sale and certificate of authenticity are also issued To take a look here is the link :
⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️⬇️
lookingforart.it/artista/argiolas-sara/
Thanks
UNICODE 5.1.0 meets Or-Omcode∞.1.0
Unicode represents the Tower ob Babel en.wikipedia.org/wiki/Tower_of_Babel In computing, Unicode is an industry standard allowing computers to consistently represent and manipulate text expressed in most of the world's writing systems. Developed in tandem with the Universal Character Set standard and published in book form as The Unicode Standard, Unicode consists of a repertoire of more than 100,000 characters, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic or Hebrew, and left-to-right scripts). en.wikipedia.org/wiki/UniCode
Or-Omcode∞.1.0 represents a new Universal Language de.wikipedia.org/wiki/Universalsprache derived within the Doctine Of Essense by
de.wikipedia.org/wiki/Karl_Christian_Friedrich_Krause
Encoding Unicode into the Or-Omcode∞.1.0 all traditional languages become semantically transformed within the new universal language parameters. portal.or-om.org/art/UnicodemeetsOrOmCode/tabid/6319/Defa...
Das Manifest
Wherever you go we have been there
Was erkennen wir, was Picasso und alle bisherigen Künstler, welcher Richtung sie auch im Kubus angehörten, nicht erkannten?
∞ Wir erkennen den gesamten Kubus der Kunst or-om.org/Manifestorom.pdf und alle möglichen Inhalte aller erwähnten Kunstgattungen = Universalität, Or-Om-Heit der Kunsttheorie.
∞ Ist die Or-Om-Kunst eine neue Kunstrichtung? Nein! Die Or-Om-Kunst enthält alle Richtungen und sieht auch, wie alle Richtungen im unendlichen Raum strukturiert ihren Platz in den Hallen und ihren Überschneidungen erhalten. Die Or-Om-Kunst überblickt alle Partialtrichtungen: ihre Grundlagen sind absolut unendlich. Sie liefert neue Grundlagen der Materie-Geist-Dualität und erfasst diese beiden miteinander verbundenen und nebeneinander positionierten unendlichen Sphären als innere Teile eines Absolut-Unendlichen
∞ Die Postmoderne kennt immer nur eine zumeist nicht vollständige Vielfalt von Partialformen in den Hallen I und II. Die Halle III und alle Zusammenhänge lehnt sie strikte ab. Die Or-Om-Kunst überwindet die Postmoderne ohne einer Einzelrichtung ein Haar zu krümmen or-om.org/_wp/arttheory/postpostmoderne/
∞ Die Or-Om-Kunst enthält Grundlagen einer neuen Ästhetik und ermöglicht die Entwicklung neuer KünstlerInnenprofile. Sie schafft Universalpersönlichkeiten, die sich nicht mit Partialitäten begnügen. Die neue Ästhetik enthält einen freieren Umgang mit allen unendlich vielen endlichen Formen innerhalb der absoluten Unendlichkeit. Bisher nicht erdachte Komplexitäten, Collagen, Mischungen, Synthesen und Harmonien werden erkenn- und realisierbar. Die Or-Om-Kunst enthält unendliche utopische Potenziale. Sie ist Grundlage einer unendlich vielseitigen und unerschöpflichen Konzeptkunst jenseits der Postmoderne. Sie liefert die letzte und "höchstmögliche" Struktur des Konzeptuellen selbst.
∞ Die bisherige Kunstgeschichte ist unser Material, das Internet unser Archiv analoger und digitaler Inhalte. Wir erschließen neune Potentiale der Digitalität. Die Bilderfolge PIC.JPG-Bilderfolge (etwa unter www.flickr.com/groups/oromkunst ) zeigt die strukturelle Basis des neuen Ansatzes. Die digitalen grafischen Tools ermöglichen analog nur äußerst schwer realisierbare neue Mixturen, Collagierungen, Kopierungen, Invertierungen, Effekte und Animationen aller Inhalte aller Richtungen in einem neuen, emanzipierten Konnex. Diese Werke unterliegen keinem Copyright und sind kostenloses Gemeingut.
Black Lake Park, 2021
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Work from pandemic years. Limited edition Series of 3.
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** Site of Photograph **
Dartmoor, Devon, South West England, UK.
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** Found Materials at Location **
Standing water, lake water, pine needles & bark, lichen, reeds, algae. .
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How do I do this??
Minute amounts of water, windfall samples - organic and mineral - are collected from the very landscape depicted within each picture - and chemically bonded with the film over 12 months.
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The result:
A nature-disrupted film process that creates unedited images that are inbetween a classic photograph and a totally abstract image, depicting the interaction between fundamental chemical elements present at each place & time, representing a more visceral and literal experience of being present in landscapes in a constant state of natural or unnatural flux.
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.
(C) Copyright 2024. All Rights Reserved. Process Patent Pending.
.
******** Next Exhibition! ********
Keep watching for news on the next years upcoming exhibitions!
*********************************
.
See & browse more at www.michaelrawling.com/fine-art
.
Saatchi Gallery: Buy this limited edition artwork from:
saatchigallery.michaelrawling.com/
.
Or commission me via direct message.
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#film #modernart #35mm #artgallery #chemical #art #artoftheday #filmsoup #alchemy #instagood #creative #contemporaryart #conceptualart #nophotoshop #noai #notai #surreal #artwork #filmdestruction #experimentalfilm #landscape #fineart #artist
Submitted by Franz-Ludwig Bruhns
as "Anderes_Ufer-FLID"
Jahrgang 1947
Weltbürger im Sinne der Weltbruderkette
Beruf: Ingenieur
Berufung: Menschenfreund
Anhänger des Philosophen Karl Christian Friedrich Krause
UNICODE 5.1.0 meets Or-Omcode∞.1.0
Unicode represents the Tower ob Babel en.wikipedia.org/wiki/Tower_of_Babel In computing, Unicode is an industry standard allowing computers to consistently represent and manipulate text expressed in most of the world's writing systems. Developed in tandem with the Universal Character Set standard and published in book form as The Unicode Standard, Unicode consists of a repertoire of more than 100,000 characters, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic or Hebrew, and left-to-right scripts). en.wikipedia.org/wiki/UniCode
Or-Omcode∞.1.0 represents a new Universal Language de.wikipedia.org/wiki/Universalsprache derived within the Doctine Of Essense by
de.wikipedia.org/wiki/Karl_Christian_Friedrich_Krause
Encoding Unicode into the Or-Omcode∞.1.0 all traditional languages become semantically transformed within the new universal language parameters. portal.or-om.org/art/UnicodemeetsOrOmCode/tabid/6319/Defa...
Elton John with Svetlana and Igor Kopystiansky in front of the installation by Svetlana. Munich 1989
www.flickr.com/photos/artexh/12589730314/in/album-7215764...
www.flickr.com/photos/artexh/21451063404/in/album-7215764...
Meanings multiplying, falling away in wordplay. Blue sky over gray clouds swirling over greenery. TypeDrawing calls this typeface SnellRoundhand-Black, although here only the background is black.
Enchaining melodies that catch me sometimes are silly words from songs, though I've known others who say they have much more trouble with such maladies. Maybe repacing one syllable and then another and another can trick these unwanted guests into fading away sooner.
In a sea full of fish, she is tempted to choose a lover. She is also reluctant to select. She is vulnerable, but owns every part of her body. One must capture the true essence of her nature. Understanding who she is instead of seeing her physicality. Then, reel her into safety. Securing her from the cruelty in the world. Respecting her as a woman and not objectifying her. Being her peace and not her headache. As she uncovers her body, and allows you to drink her from her fountain. You will not only indulge, but even drown in her love.
Burnham Beechs, 2021
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Work from pandemic years. Series of 3.
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** Site of Photograph **
Burnham Beeches, Hawthorn Lane, Lord Mayors Drive, Slough, England.
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** Found Materials at location **
Standing forest water, stream water, , pine needles, windfall leaves and moss, humus.
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How do I do this??
Minute amounts of water, windfall samples - organic and mineral - are collected from the very landscape depicted within each picture - and chemically bonded with the film over 12 months.
.
The result:
A nature-disrupted film process that creates unedited images that are inbetween a classic photograph and a totally abstract image, depicting the interaction between fundamental chemical elements present at each place & time, representing a more visceral and literal experience of being present in landscapes in a constant state of natural or unnatural flux.
.
.
(C) Copyright 2024. All Rights Reserved. Process Patent Pending.
.
******** Next Exhibition! ********
Keep watching for news on the next years upcoming exhibitions!
*********************************
.
See & browse more at www.michaelrawling.com/fine-art
.
Saatchi Gallery: Buy this limited edition artwork from:
saatchigallery.michaelrawling.com/
.
Or commission me via direct message.
.
.
.
.
.
.
.
.
.
.
.
.
.
#film #modernart #35mm #artgallery #chemical #art #artoftheday #filmsoup #alchemy #creative #contemporaryart #conceptualart #nophotoshop #noai #notai #surreal #artwork #filmdestruction #experimentalfilm #landscape #fineart #artist
.
UNICODE 5.1.0 meets Or-Omcode∞.1.0
Unicode represents the Tower ob Babel en.wikipedia.org/wiki/Tower_of_Babel In computing, Unicode is an industry standard allowing computers to consistently represent and manipulate text expressed in most of the world's writing systems. Developed in tandem with the Universal Character Set standard and published in book form as The Unicode Standard, Unicode consists of a repertoire of more than 100,000 characters, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic or Hebrew, and left-to-right scripts). en.wikipedia.org/wiki/UniCode
Or-Omcode∞.1.0 represents a new Universal Language de.wikipedia.org/wiki/Universalsprache derived within the Doctine Of Essense by
de.wikipedia.org/wiki/Karl_Christian_Friedrich_Krause
Encoding Unicode into the Or-Omcode∞.1.0 all traditional languages become semantically transformed within the new universal language parameters. portal.or-om.org/art/UnicodemeetsOrOmCode/tabid/6319/Defa...
Installation view: Igor and Svetlana Kopystiansky. Phyllis Kind Gallery, NYC, 1990
“The basis of my works from the series “text-objects” is a literary text put onto canvas. For me the text has two aspects: firstly it is a reality (written words are part of the real world around us), and secondly the text delivers information about the reality outside it. In my works I use many different texts. I turn to literature: novels, stories, classical dramas. In one work, several works from various authors may be combined: the works are not always given completely and may be broken off at the edge of the canvas or be used fragmentarily.
I work directly with the material and exploit its specific physical characteristics: the elasticity of the weave makes it possible to shape it at will, and its thinness and flexibility let it bee torn into pieces of various sizes. I produce objects on which simple geometrical forms or landscapes are delineated or objects whose material is freely arranged in various large folds. In this way the original form of the text is changed, and the new form gives rise to a new sequence of letters and signs. The visual form takes precedence over the text, and the attention of the viewer springs from the drawing to the text, which, however, can no longer bee read simply, since the words disintegrate and then come together in unbelievable constructions. A game arises with the text-reality and the words, or rather with the visual form of the words (as distinct from their semantic and phonetic aspects).
I have arranged happenings, where the text-objects have been read out and tape-recordings made. Finally the text was printed, to document the happening.
In the series of works, where the texts and the depictions of landscapes interact, this series follows the intention of having two realities and two illusions appear together: the one of the picture with its physical reality and the illusion of the depiction, and the one of the text with the visual reality of its form and with the worlds which are described in it.”
Svetlana Kopystiansky, 1988.
Logo unplugged - Universalästhetik als Logokritik
Von der Kapitalismuskritik Webers über diejenige der Frankfurter Schule ("universaler Verblendungszusammenhang") bis zur Kritik des Neoliberalismus durch die Globalisierungskritiker reicht die Reflexion über die Fesselung der Lebensbedingungen der Menschen durch die ökonomisch instrumentalisierte Vernunft vgl. etwa
or-om.org/_wp/society/raaatingtheworld/
Die Marken und Logos manipulieren die sozialen Identitäten und beugen sie in die Gefängnisse ökonomischer Begrenzung. Neben der Produktion von Waren und Dienstleistungen bilden Logo und Bilderdesign immaterielle ideologische – oft globale – Ebenen kollektiver Halluzinationen.
Durch kritische Überschreitung der Logoideologie in eine formal und inhaltlich infinit begründete Universalästhetik wird der instrumentalisierte Formenkanon von Logo und Marken aufgehoben und neuen, zweckfreien Feldern der Kunstästhetik erschlossen, die gleichzeitig auch Grundlagen einer universalistischen Systemkritik mit kontrastierenden neuen Sozialformationen einschließt. Alle Klassen-, Schichten-, Kasten- und Stammesgesellschaften mit repressiven Über- und Unterodnungsstrukturen können evolutiv in universalistisch-soziale Globalformen eines Menschheitsstaates überführt werden
or-om.org/_wp/society/grundrechtskatalog/
or-om.org/_wp/society/universalemenschheit/
Basics
Folder: or-om.org/logoq21.pdf
FLICKR: www.flickr.com/groups/logounplugged/
Grundtheorie: goo.gl/G4RNgD
UNICODE 5.1.0 meets Or-Omcode∞.1.0
Unicode represents the Tower ob Babel en.wikipedia.org/wiki/Tower_of_Babel In computing, Unicode is an industry standard allowing computers to consistently represent and manipulate text expressed in most of the world's writing systems. Developed in tandem with the Universal Character Set standard and published in book form as The Unicode Standard, Unicode consists of a repertoire of more than 100,000 characters, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic or Hebrew, and left-to-right scripts). en.wikipedia.org/wiki/UniCode
Or-Omcode∞.1.0 represents a new Universal Language de.wikipedia.org/wiki/Universalsprache derived within the Doctine Of Essense by
de.wikipedia.org/wiki/Karl_Christian_Friedrich_Krause
Encoding Unicode into the Or-Omcode∞.1.0 all traditional languages become semantically transformed within the new universal language parameters. portal.or-om.org/art/UnicodemeetsOrOmCode/tabid/6319/Defa...
UNICODE 5.1.0 meets Or-Omcode∞.1.0
Unicode represents the Tower ob Babel en.wikipedia.org/wiki/Tower_of_Babel In computing, Unicode is an industry standard allowing computers to consistently represent and manipulate text expressed in most of the world's writing systems. Developed in tandem with the Universal Character Set standard and published in book form as The Unicode Standard, Unicode consists of a repertoire of more than 100,000 characters, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic or Hebrew, and left-to-right scripts). en.wikipedia.org/wiki/UniCode
Or-Omcode∞.1.0 represents a new Universal Language de.wikipedia.org/wiki/Universalsprache derived within the Doctine Of Essense by
de.wikipedia.org/wiki/Karl_Christian_Friedrich_Krause
Encoding Unicode into the Or-Omcode∞.1.0 all traditional languages become semantically transformed within the new universal language parameters. portal.or-om.org/art/UnicodemeetsOrOmCode/tabid/6319/Defa...
UNICODE 5.1.0 meets Universalcode∞.1.0
Unicode represents the Tower ob Babel en.wikipedia.org/wiki/Tower_of_Babel In computing, Unicode is an industry standard allowing computers to consistently represent and manipulate text expressed in most of the world's writing systems. Developed in tandem with the Universal Character Set standard and published in book form as The Unicode Standard, Unicode consists of a repertoire of more than 100,000 characters, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic or Hebrew, and left-to-right scripts). en.wikipedia.org/wiki/UniCode
Universalcode∞.1.0 represents a new Universal Language de.wikipedia.org/wiki/Universalsprache derived within the Doctine Of Essense by
de.wikipedia.org/wiki/Karl_Christian_Friedrich_Krause
Encoding Unicode into the Universalcode∞.1.0 all traditional languages become semantically transformed within the new universal language parameters. portal.or-om.org/art/UnicodemeetsOrOmCode/tabid/6319/Defa...
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My Virtue...
"Virtue is more to man than either water or fire. I have seen men die from treading on water and fire, but I have never seen a man die from treading the course of virtue."
#Fineart #Photography #Conceptual #Conceptualphotography #Surrealism #Finearts #Squere #Photooftheday #Creative #Creativity #Art #Photographers #edit_perfection #Photoshop #Darkart #Project52 #surreal #promotingpassionchallenge #morneprinsloophotography #surrealphotography #conceptualart #southafricanphotographer #Nikon #adobephotoshop #liveforthestory
UNICODE 5.1.0 meets Universalcode∞.1.0
Unicode represents the Tower ob Babel en.wikipedia.org/wiki/Tower_of_Babel In computing, Unicode is an industry standard allowing computers to consistently represent and manipulate text expressed in most of the world's writing systems. Developed in tandem with the Universal Character Set standard and published in book form as The Unicode Standard, Unicode consists of a repertoire of more than 100,000 characters, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic or Hebrew, and left-to-right scripts). en.wikipedia.org/wiki/UniCode
Universalcode∞.1.0 represents a new Universal Language de.wikipedia.org/wiki/Universalsprache derived within the Doctine Of Essense by
de.wikipedia.org/wiki/Karl_Christian_Friedrich_Krause
Encoding Unicode into the Universalcode∞.1.0 all traditional languages become semantically transformed within the new universal language parameters. portal.or-om.org/art/UnicodemeetsOrOmCode/tabid/6319/Defa...
Logo unplugged - Universalästhetik als Logokritik
Von der Kapitalismuskritik Webers über diejenige der Frankfurter Schule ("universaler Verblendungszusammenhang") bis zur Kritik des Neoliberalismus durch die Globalisierungskritiker reicht die Reflexion über die Fesselung der Lebensbedingungen der Menschen durch die ökonomisch instrumentalisierte Vernunft vgl. etwa
or-om.org/_wp/society/raaatingtheworld/
Die Marken und Logos manipulieren die sozialen Identitäten und beugen sie in die Gefängnisse ökonomischer Begrenzung. Neben der Produktion von Waren und Dienstleistungen bilden Logo und Bilderdesign immaterielle ideologische – oft globale – Ebenen kollektiver Halluzinationen.
Durch kritische Überschreitung der Logoideologie in eine formal und inhaltlich infinit begründete Universalästhetik wird der instrumentalisierte Formenkanon von Logo und Marken aufgehoben und neuen, zweckfreien Feldern der Kunstästhetik erschlossen, die gleichzeitig auch Grundlagen einer universalistischen Systemkritik mit kontrastierenden neuen Sozialformationen einschließt. Alle Klassen-, Schichten-, Kasten- und Stammesgesellschaften mit repressiven Über- und Unterodnungsstrukturen können evolutiv in universalistisch-soziale Globalformen eines Menschheitsstaates überführt werden
or-om.org/_wp/society/grundrechtskatalog/
or-om.org/_wp/society/universalemenschheit/
Basics
Folder: or-om.org/logoq21.pdf
FLICKR: www.flickr.com/groups/logounplugged/
Grundtheorie: goo.gl/G4RNgD
Site: South east of Zernez, Fuorn Pass, eastern Switzerland, Europe.
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Found materials: Mountain stream water, high altitude standing water, snow, weathered rock minerals, chalk & lichens, flowering mountain heather.
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What am I looking at?
Michael Rawling’s Elemental Series uses traditional film combined with Found Materials at every photograph’s location to create a new way of representing the landscape.
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How do you do this??
Tiny amounts of water, windfall organic and mineral samples are collected from the very landscape depicted within each picture - and chemically bonded with the film over ~12 months. The result: a developed film and unedited, printed images that are somewhere between a classic photographs & a totally abstract image, depicting the interaction between fundamental chemical elements present at each place & time, representing a more visceral and literal experience of being present in landscapes in a constant state of natural or unnatural flux.
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(C) Copyright 2021. All Rights Reserved. Process Patent Pending.
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******** Next Exhibition! ********
Keep watching for news on my next exhibition!
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See & browse more at www.michaelrawling.com
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Saatchi Gallery: Buy this limited edition artwork from:
saatchigallery.michaelrawling.com/
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Or commission me via direct message.
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#instacool #instaart #film #modernart #35mm #artgallery #artcollector #chemical #art #artoftheday #filmsoup #alchemy #instagood #creative #contemporaryart #conceptualart #nophotoshop #nofilter #surreal #artwork #filmdestruction #experimentalfilm #landscape #artistsofinstagram #artistoninstagram #fineart #artist
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De Studio Belichtingsmeter is een schijf met draaibaar deksel. Op de schijf zijn in een cirkel op de ene helft diafragma's en op de andere helft sluitertijden aangebracht. In het deksel bevinden zich tegenoverliggend twee venstertjes. Het deksel wordt met de spil tussen duim en wijsvinger snel aan het draaien gebracht. Bij stilstand kunnen de waarden worden afgelezen.
Tekening: Jan Klatter, naar een idee van Karel Meijers.
Exhibtion: BiennaMetaWorlds© and The Deductive Generator©
Group Or-Om or-om.blogspot.com/
The art works collected at www.flickr.com/groups/biennametaworlds present our critical approach to meta-strategies and -tactics of certain modern types of exhibitions using the 53rd International Art Exhibition at Venice as an example. We create BiennaMetaWorlds© integrating elements of the art works of the exhibition as sub-elements and parts of new pluralities and infinite variations within the universal semantics of our Deductive Generator© - at portal.or-om.org/art/EndofPostmodernism/TheDeductiveGener... a method to relativize the obvious trends to arbitrariness.
The compilation of the works presented at the 53rd International Art Exhibition (Biennale) at Venice under the motto: "Making Worlds", its meta-strategy is subject of our criticism. It is not intended any intrusion of any individual contribution or art work presented. The text of the catalogue argues:
"A work of art represents a vision of the world, is a kind of making a world. The theme of this year's Art Exhibition emerges through a plurality of languages. Art works are created in the tension between nationalism and globalizing forces, between the limitations of local cultures and the danger of levelling cultural differences into monotonous sameness. The art works invited to the exhibition are responsible only to their own vision, insisting on differences. "This is an exhibition without sections, articulating different themes woven into one whole".
Our critique
In spite of this statement the meta-theme cannot deliver any semantic reason, why all the particular worlds and their plurality of semantic and formal backgrounds should be woven into any oneness and wholeness. Only the director's choice, his personal, subjective criteria and semantics are collecting and uniting different worlds into an arbitrary postmodern plurality, without any essential oneness, they could be derived and deduced from.
The flag-liberation, as basic paradigma of the exhibition, the break down of the national flags of the worlds to basic visual shapes displaying unexpected painterly qualities, a new graphic design language allowing for repetition and difference producing infinite variation should be handled with care. The suggested visionary liberty of infinite options for variation of the globalized former flag elements after the end of nationalism veils the brutal problems of structural violence caused by criminal elites of the globalized finance industry and the neo-colonialist economic and military suppression of the second and third world systems by the states of the Western center.
New Solutions
The algorithm of our Deductive Generator© creates all artworks of past, presence and future. It creates all worlds and visions, artist could and will produce. You cannot imagine any picture, fantasy, imagination, vision or spatial constellation, which is not included in this concept.
The Deductive Generator© gives a glimpse of the steps of descent from the Infinite to the finite forms in arts and concepts in philosophy and sciences including new semantic structures, to integrate all finite formal possibilities. Art and sciences become redefined in new connections and universal Or-Om-structures – and this means: The End and catharsis of Postmodernism portal.or-om.org/art/EndofPostmodernism/tabid/6080/Defaul...
We declare all art works of the 53rd International Art Exhibition (Biennale) at Venice part of the Deductive Generator©. By this integration they experience a semantic change and new encoding, they are picked out of the arbitrary unification of any postmodern "wholeness" and get their semantic place within the absolute and infinite essence and its universality (or-om-ness). Not the "director`s choice" but the structures of the infinite and absolute divine essence and ratio are the key to bring all art works of BiennaWorlds© trans-subjective universality and balance.
The superficial flag-liberation-metaphor could be extended by the perspectives of the idea of the integrated mankind at www.internetloge.de/krause/krurbild.pdf and www.internetloge.de/krause/krr.pdf .