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THE SHAIDON EFFECT - Live at Flygeln
New Media Meeting 3 (Norrköping, SE)
New Media Meeting is an annual international media art festival taking place in Norrköping, Sweden. The festival premiered in 2006 and is devoted to innovative works and projects in electronic art, media, music and visualization. In only two years NMM has become one of the most important media festivals in the Nordic Region – attracting an impressive line-up of renowned and upcoming international artists on the Media art and electronic music scene.
Taken to higher level of excitement by the undefined entity 02L > OUTSIDE STANDING LEVEL, a one-shot and unforgettable show will take place on 19th's night, in a fight between interactive technologies, devastating beats and delectable dancing.
A swedish dancer group (Dom Duliga), DJ, VJ and the public will join an immersive show arbitrated by a sophisticated motion tracking environment that will take dance and sound into a complete merge.
171/365 - One of the many effects that used to be applied in the darkroom that is easily recreated in photoshop.
In Mass Effect 3, an ancient alien race known only as Reapers, has launched an all-out invasion of the galaxy, leaving nothing but a trail of destruction in their wake. Earth has been taken, the galaxy is on the verge of total annihilation, and you are the only one who can stop them. The price of failure is extinction. You, as Commander Shepard, must lead the counter assault to take it back. Only you can determine how events will play out, which planets you will save from annihilation and which alliances you will form or abandon as you rally the forces of the galaxy to eliminate the Reaper threat once and for all.
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This is just ridiculous.
Heres the code for those who want it:
@-moz-document domain("digg.com") {
.news-buried{display:none;}
}
JES organiseert onder de noemer 'Effect' voortrajecten voor jongeren uit het deeltijds onderwijs of een Syntra-instelling. Het doel is om de jongeren voor te bereiden op en te laten doorstromen naar de arbeidsmarkt.
JES organiseert onder de noemer 'Effect' voortrajecten voor jongeren uit het deeltijds onderwijs of een Syntra-instelling. Het doel is om de jongeren voor te bereiden op en te laten doorstromen naar de arbeidsmarkt.
Richard Parkes Bonington, born in Arnold, England, 1802; active in England and France; died in London, England, 1828
A Fish-market near Boulogne - 1824
This depiction of a lively fish market reveals not only Bonington’s keen attention to the customs of coastal life in northern France but also his commitment to direct observation from nature, as seen in details such as the slimy white skate spilling out onto the beach and the wicker baskets laden with fish. However, the artist did not render this scene exactly from life. He composed his painting for theatrical effect, contrasting the brilliant dawn sky with the shadowy group of figures in the foreground and echoing the form of the solitary woman at the water’s edge with that of the sailboat in the distance. The result is a master-piece — a celebration of everyday life — by an artist who died tragically young.
Richard Parkes Bonington spent most of his artistic career in France. In February 1824, he traveled to Dunkirk, in northern France, where he devoted himself to marine painting. While there, Bonington made A Fish-Market near Boulogne, one of his largest oil paintings and, undoubtedly, his masterpiece in coastal views. Against a ravishing golden sky, fishermen unload their catch and gather the first buyers of the day. The subtle variations of clear light and reflections on the smooth water are painted with a fluid technique that Bonington had mastered in his watercolors. The young artist created a sensation at the 1824 Paris Salon, where he exhibited his oil paintings for the first time and was awarded the gold medal for a marine painting, possibly this very same one.
Richard Parkes Bonington lived in France for most of his short life, training in the studio of Antoine-Jean Gros, where he met and befriended Eugène Delacroix. He began painting in oils in about 1823, and his earliest oil paintings are predominantly of scenes along the coasts of Normandy and Picardy. While it had previously been suggested that A Fish-market near Boulogne was one of the paintings that caused a sensation at the Paris Salon of 1824, and for which Bonington was awarded a gold medal, this now seems less likely. Nonetheless, A Fish-market is without question one of the most ambitious and accomplished of his early paintings. Within four years, his career as a painter would be cut short by tuberculosis.
collections.britishart.yale.edu/catalog/tms:5023
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In a New Light: Five Centuries of British Art
This installation sheds light on the surprising and complicated history of British art, bringing into focus the people and cultures that produced these artworks. From the sixteenth century to the present, Britain has attracted artists from all over the world, with their outputs as diverse as their origins. Many artists traveled or migrated to India, the Caribbean, and beyond. Individual and family portraits uncover the systems of class, gender, and race that undergirded societies around the globe and privileged the wealthy and influential. Other works depict landscapes, seascapes, manor houses, and cathedrals, often offering a record of the industrialization of an agrarian world. Allegorical, historical, and religious subjects further enrich our understanding of the expansive culture of a changing nation.
Many highlights from the Paul Mellon Collection including Hadleigh Castle, The Mouth of the Thames—Morning after a Stormy Night by John Constable, Lion and Lioness by George Stubbs, and The Island of Barbados, attributed to Isaac Sailmaker, find new resonance with several recent acquisitions—such as Emma Soyer’s Young Mariner and Dog, Thomas Beach’s Four Servants of Ston Easton Estate, and Albert Huie’s Benjamin Dorrell. This display reflects not only the individual creators of these objects but also the societies that shaped them.
Opened in 1977 through the generosity of Yale graduate and philanthropist Paul Mellon, the Yale Center for British Art holds the largest and most significant collection of British art outside the United Kingdom. The collection spans five centuries and is the foundation for a museum uniquely focused on the histories, legacies, and shifting contexts of British art. Housed in a celebrated modernist building designed by Louis I. Kahn, the museum is situated on the Yale University campus in the city of New Haven. It is free and open to all.
"On the campus of Yale University, two art museums housed in landmark modernist buildings — each designed by Louis I. Kahn — sit directly across the street from one another. One, the Yale University Art Gallery, with an encyclopedic collection of about 300,000 objects, draws close to a quarter million people annually. The other, the Yale Center for British Art, with its specialized collection of more than 100,000 works from the 15th century to the present, brings in less than half that traffic.
The British center is now aiming to even up those visitor numbers.
It reopened in March after a two-year closure for conservation of the skylights and lighting throughout the building — the acclaimed architect’s last realized project, which opened in 1977 and is widely considered an artwork in itself — and with a fresh exhibition philosophy.
A piece by Tracey Emin, who came to fame as one of the so-called Young British Artists in the 1990s alongside peers like Damien Hirst and Sarah Lucas, inaugurates a new program of contemporary works in the lobby. Her glowing sculptural installation, with yellow neon lighting proclaiming in script “I loved you until the morning” on a mirrored wall in the museum’s entrance court, is visible from the street. It serves as an “invitation” at the front door, said Martina Droth, the center’s director, who was appointed in January after working with its collections for 16 years, most recently as chief curator."
www.nytimes.com/2025/04/25/arts/design/yale-british-art-t...
The museum’s collections include more than 2,000 paintings, 250 sculptures, 20,000 drawings and watercolors, 40,000 prints, and 35,000 rare books and manuscripts dating from the fifteenth century to the present. More than 40,000 volumes supporting research in British art and related fields are available in the Reference Library. The collection is rich with historic works by John Constable, Thomas Gainsborough, Joshua Reynolds, George Stubbs, and J. M. W. Turner, as well as works by major artists of the twentieth- and twenty-first centuries, including Hurvin Anderson, Francis Bacon, Vanessa Bell, Sonia Boyce, Cecily Brown, Barbara Hepworth, Anish Kapoor, Henry Moore, Ben Nicholson, Yinka Shonibare, and Barbara Walker.
britishart.yale.edu/collections-overview
One of the museum's greatest treasures is the building itself. Opened to the public in 1977, the Yale Center for British Art is the last building designed by the internationally acclaimed American architect Louis I. Kahn. The structure integrates the dual functions of study center and gallery, while providing an environment for works of art that is appropriately elegant and dignified. The building stands across the street from Kahn’s first major commission, the Yale University Art Gallery (1953). Located in downtown New Haven, the YCBA is near many of the city’s best restaurants, theaters, and shops.
The YCBA’s exterior of matte steel and reflective glass confers a monumental presence in downtown New Haven. The geometrical four-floor interior is designed around two interior courtyards and is comprised of a restrained palette of natural materials including travertine marble, white oak, concrete, and Belgian linen. Kahn succeeded in creating intimate galleries where one can view objects in diffused natural light. He wanted to allow in as much daylight as possible, with artificial illumination used only on dark days or in the evening. The building’s design, materials, and skylit rooms combine to provide an environment for the works of art that is simple and dignified.
britishart.yale.edu/architecture
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with big groups there will always be the springy dingy slinky effect. this is good for conversation and unintentional phoaching. Bigger is better...
See the uncropped version here.
Ah the perils of wide-angle photography. Not enough room at the sides to straighten the horizon without ending up with a tighter crop than I would have liked. Still, at least you don't have to twist your head to one side when looking at it...
How can we understand the fact that Gnan Vidhi ceremony has some effect on us? What significant changes can be seen within us after attending a Gnan Vidhi ceremony?
To know more please click on:
English: www.dadabhagwan.org/self-realization/
Gujarati: www.dadabhagwan.in/self-realization/