View allAll Photos Tagged creatures
ATLANTA, GA – July 5, 2012
The Casket Creatures opened for Wednesday 13 at the Masquerade in Atlanta.
© Danielle Boise/Target Audience Magazine
ATLANTA, GA – July 5, 2012
The Casket Creatures opened for Wednesday 13 at the Masquerade in Atlanta.
© Danielle Boise/Target Audience Magazine
Holiday Creature With Christmas Lights - Gilman Creature from the Black Lagoon Monster Christmas Tree Lights - action figure Universal Pictures Studio Monsters - New York City Green creatures undead zombie cadaver it's alive scary - horror terror Halloween fright toy toys creature moody shadow shadows face portrait 1931 movie film Frankenstein Hollywood Transylvania collectable collectible Boris Karloff type lite light Holiday 2012 amphibian fish man
Blue and white glazed composition tile depicting two rekhyt birds.
FindspotExcavated/Findspot: Tell el-Yahudiya(Africa,Egypt,Lower Egypt,Nile Delta,Tell el-Yahudiya)
© Trustees of the British Museum
---English below---
______________________
Creatures #5
Pier Giorgio De Pinto & Katja Vaghi
Una collaborazione tra il performer e artista transmediale Pier Giorgio De Pinto e la coreografa e danzatrice Katja Vaghi
Sede
i2a Istituto Internazionale di Architettura.
Limonaia di Villa Saroli, Viale Stefano Franscini 9, 6900 Lugano, Svizzera
Durata dell'evento
Venerdì 5 Maggio, 2017
dalle 19:00 alle 19: 30 (30 minuti totali)
Sabato 6 maggio 2017
Quattro eventi: alle 11.30 poi ogni due ore ovvero 13.30, 15.30, 17:30 (30 minuti ad evento)
Creatures # 5 fa parte della Festa Danzante / Fête de la Danse / Tanzfest
Festa Danzante Ticino
----
CREATURES #5 è un'installazione interattiva di Pier Giorgio De Pinto coadiuvata dalla presenza della danzatrice Katja Vaghi. Lei osserverà, riprodurrà ed elaborerà il movimento generato dal pubblico di fronte all'installazione digitale.
Oltre ai cinque sensi tradizionali, importanti per le nostre attività quotidiane ci sono anche l'equilibrio e il senso cinestetico o propriocezione. Questi ultimi due sono centrali nella danza. La danza, in tal modo, lavora prevalentemente con il nostro sesto e settimo senso! L'installazione vuole rendere il pubblico consapevole del proprio movimento e di quello degli altri per trasmettere il messaggio che qualsiasi movimento prodotto da qualcuno può potenzialmente generare materiale per la danza.
Una fotocamera tramite il software utilizzerà alcuni effetti per webcam che decodifica I visitatori davanti ad uno schermo. L'installazione modifica il risultato degli effetti grazie al movimento e alla forza della luce naturale che viene catturata dalla telecamera. Analogamente, ad intervalli specifici, la danzatrice osserverà, riprodurrà ed elaborarà i movimenti prodotti dal pubblico davanti all'installazione.
L'intento è quello di rendere il pubblico consapevole dei propri movimenti e di quelli degli altri. Quando I visitatori interagiranno con l'installazione saranno per lo più a conoscenza delle loro intenzioni, ma non del potenziale estetico che staranno generando. Allo stesso modo, il pubblico avrà la scelta di continuare ad interagire con l'installazione e/o con la danzatrice.
Un sentito grazie a Tiziana Conte, Ludovica Molo, Luca Crosta, i2a Istituto Internazionale di Architettura e a tutto lo staff di Festa Danzante.
______________________
Creatures #5
Pier Giorgio De Pinto & Katja Vaghi
Collaboration between the performer and digital interaction artist Pier Giorgio De Pinto and the choreographer and dancer Katja Vaghi
Venue
i2a International Institute for Architecture.
Limonaia, Villa Saroli, Viale Stefano Franscini 9, 6900 Lugano
Event duration
On Friday 5th May 2017
19:00-19:30
On Saturday6th May 2017
On going with dancer’s intervention every 2 hours for 30 min. Four slots starting at: 11.30, 13.30, 15:30, 17.30
Creatures #5 is part of the Fête de la Danse / Tanzfest / Festa Danzante
Festa Danzante Ticino
#creatures5 #festadanzante
---
CREATURES #5 is an interactive installation by Pier Giorgio De Pinto supplemented with the presence of the dancer Katja Vaghi. She will observe, reproduce and elaborate the movement generated by the audience in front of the digital installation.
Beside the five traditional senses, important to our everyday activities are balance and the kinesthetic sense or proprioception. These last two are central to dance. Dance thus work predominantly with our six and seven sense! The installation wants to make the audience aware of their and other people’s movement and convey the message that any movement produced by any one can potentially generate dance material.
A camera via software will use webcam effects decoding people in front of a screen. The installation modifies the result of the effects thanks to movement and strength of natural light caught by the camera. Similarly, at set interval, the dancer will observe, reproduce and elaborate the movements produced by the audience in front of the installation.
The intent is to make the audience conscious of their own movements and that of others. When interacting with the installation they will mostly be aware of their intentions but not of the aesthetic potential they are generating. Thus, the audience will have the choice of continuing interacting with the installation and/or with the dancer.
Many thanks to Tiziana Conte, Ludovica Molo, Luca Crosta, i2a International Institute for Architecture i2a and the staff of Festa Danzante.
#creatures5 #festadanzante
Thousands of small, spectral creatures came spilling out from where he struck; moving shadows with shapes too simple to be natural: wide hollow slices for eyes, horns sweeping back from their brows; their mouths hingeless and open, their arms long and impossibly thin; their three-digit hands palmless and sharp. Their claws scratched at -----------, trying to grab on, then scraped across the ground as they fought their inevitable return to the -----------. In a few moments, they were all gone; ----------- lay panting on the ground, exhausted.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
i would love it if you join my facebook :)
Mathieu Melul souffleur de verre à Ustaritz expose ses créations à l'Atabal (salle de concert à Biarritz) du 23 novembre 2007 au 26 janvier 2008.
Bibliothèque nationale de France, Département des manuscrits, Français 9197, detail of f. 181v (Bacchus) Evrart de Conty, Le livre des échecs amoureux. Flanders, 15th century. Artist: Maître dAntoine Rolin
Glad to get these boys back into the collection. I was eleven when these started showing up in Happy Meals...
Nikon D90- 1/500s,
Through AF-S DX NIKKOR 18-105mm f/3.5-5.6 G ED VR Lens,
Focal length- 105.0mm -f/11.0,
ISO- 200
N. B. - All photographs are copyrighted by the photographer and may not to be used without witten deed permission.
Jose Alejandro de la Orden
Madrid - Estatua de Lope de Vega
ESTATUA DE LOPE DE VEGA
( Свернуть )
Dirección: Plaza de la Encarnación, s/n.
Inaugurado en 1902, fue proyectado por el arquitecto José López Salaberry. Consta de pedestal, realizado por el mismo Salaberry, y de una estatua en bronce que realizó el celebre escultor Mateo Inurria.
La estatua representa al insigne escritor Félix Lope de Vega y Carpio, llamado el Fénix de los Ingenios, tocado con una sotana y leyendo un libro. En las caras del pedestal aparecen una alegoría en relieve que representa la poesía, un escudo de Madrid, y algunos títulos de las obras que escribió este genio de la literatura.
En un principio, el monumento estuvo situado en la plaza del Cisne (hoy de Rubén Darío), en el cruce de las calles de Eduardo Dato con Almagro. En 1967 se trasladó a su actual emplazamiento en la plaza de la Encarnación.
Another one taken in Richmond park, this was just before I gave up and went home. This was the first shot I took fully manually and actually liked. Was quite difficult to expose against the brooding grey sky that day, but I think it came out okay. Also the first pic that I'm happy with in terms of composition. Anyway, enjoy.
“The inspiration for the Al-Burāq, according to T.W. Arnold, was drawn from many pre-Islamic representative traditions in western Asia, including the centaur of Babylon, the ‘man-headed bulls’ of Assyria and the Sphinx.”
Lucerne, Zentral- und Hochschulbibliothek, Msc. 42. fol., f. 109r. Nicholas of Lira, Commentary on the Bible [Isaiah], 1459
ATLANTA, GA – July 5, 2012
The Casket Creatures opened for Wednesday 13 at the Masquerade in Atlanta.
© Danielle Boise/Target Audience Magazine
Terra cotta creatures on the front of the Ellis-Singleton (Petroleum) Building at 221 S. Broadway. It was built in 1929 and was designed by the architect firm Schmidt, Boucher, and Overend. It was the first in Wichita with a connected ramp garage, appealing to "business and professional men who like the idea of having their cars where they may step directly from their office floor." Due to housing nearly a dozen oil companies and geology firms offices the name was changed to the Petroleum Building in 1942. It is a good example of Art-Deco in Wichita.
Taken on February 28, 2010 photowalk with my father.
NRIS #06000389. Added in 2006.
For more information:
www.kshs.org/resource/national_register/nominationsNRDB/S...
JBL Creature Sub Woofer
TTV image, shot through the viewfinder of a Voigtänder Vito BL using an Olympus Stylus / µ 1030SW as the taking camera
© Dirk HR Spennemann 2010, All Rights Reserved
ATLANTA, GA – July 5, 2012
The Casket Creatures opened for Wednesday 13 at the Masquerade in Atlanta.
© Danielle Boise/Target Audience Magazine
St Peter's at Church Lawford is medieval in origin, but what we see today is a mostly Victorian structure by Slater & Carpenter (built 1871-3) and quite a handsome building. The only medieval part is the north arcade inside and a plain blocked Norman south door, the exterior is otherwise wholly the result of the Victorian rebuilding. Externally there are some eye catching carved adornments and the fine west tower is a good local landmark, prominently sited to be visible from the nearby railway (the sight of it has welcomed me home on numerous occasions over the years).
Inside the church is rather spacious, if a little grey owing to the unpainted or grey-washed render that lines its walls. The remaining medieval part is apparent in the late 14th century north nave arcade with its banded piers of alternating coloured stonework. The Victorian south arcade happily follows a similar design in order to give harmony to the interior. Alas there is little else to see of the pre-Victorian church aside from the rather plain font and some intriguing 17th century carved woodwork in the chancel (dated 1618) and the pulpit of similar date (alas I didn't get photos of this or the architectural remnants under the tower as time was limited). There is much late Victorian or early 20th century glass in the chancel and north aisle, with an east window by Kempe and several fine windows by Heaton, Butler & Bayne.
I'd first got into this church many years ago by luckily stumbling across a keyholder. It is still kept locked now but on this occasion a group visit enabled me to revisit. Unfortunately the casual visitor is unlikely to get inside without prior arrangement, a pity as it does reward a visit.