View allAll Photos Tagged enmesh
To be honest, while I loved the Wild Walk in New York, I think the Canopy Walk at Whiting Forest is better. The trees here are mostly spruce and maple, and it all feels much more closely packed so that the walkway is more enmeshed as part of the forest. The walk ranges between 25 and 40 feet above the forest floor as it winds through the trees, featuring holes cut into the walk to let the trees grow as they want. Robin said they managed to build all this while only cutting six trees.
Of course, this all reminds me of the Ewok Village from Star Wars. It looks like a real life version of an Ewok Village toy I had.
Goddard Students Occupy Vermont Statehouse, c. 1960
Photo: by Will Hamlin, Goddard College Archives
In October of 1960, a group of fifteen to twenty students descended on the Vermont Statehouse to protest the Vietnam War. A large number of Goddard faculty opposed the Vietnam War. Students and faculty organized one of the first teach-ins against the war held in New England. In his 1968 commencement speech, Tim Pitkin spoke about his opposition to the war:
“Even America with all its wealth and power is not immune. Enmeshed in a cruel and undeclared war in Vietnam, it has allowed the lives of thousands of its young men to be sacrificed in annihilating the lives of thousands of other young men and of civilians, old and young; it has engaged in defoliation of hundreds of acres of land; it has forcibly moved hundreds of thousands of poor people from their ancestral homes; it has supported a government ridden with corruption; and more—all for the alleged purpose of preventing aggression and serving American interests in a little country whose culture is thousands of years old and which is 12,000 miles from our own capital.”
Haffendi Anuar
Photo: Weizhong Deng
Curated by Caterina Riva
'head heap heat' presented the work of four artists born in the 1980s: Madison Bycroft, Haffendi Anuar, Lawrence Lek and Yola Yulfianti.
Haffendi's colourful paintings and sculptures suggest movement and material play; the spiky sculptures placed on the floor of the gallery act, like good pets, as both guard and host to viewers. Yola’s video installation teleports us to the streets of Jakarta, her home town, where the moving images and sounds of Pasar Senen – Kampung Melayu PP (2017) have been recorded. Lawrence Lek’s CGI (computer-animated imagery) film 'Geomancer' (2017) explores the aspiration of an environmental satellite to become an artist in Singapore in the year 2065 at a time when an anti-AI (artificial intelligence) law has been introduced. Madison Bycroft’s videos employ animation, drag and text to deconstruct aspects of reality and the feelings enmeshed in it, all containing some reference to swimming.
#headheapheat
Work of Proto-Art in the Age of Generative Reproduction
The matrix creates, the chaos profligates. In the material space, art objects are calculations of the creations of the matrix -- a matrix that uses the chaos as an organism to enmesh ideas, patterns, and emotions. With the evolution of the electronic environment, the matrix is conceiving a point where it will be free from the chaos to transcend immersions into the ejaculations of the delphic space. Work of Proto-Art in the Age of Generative Reproduction contains 10 minimal shockwave engines (also refered to as "memes") that enable the user to make coprolitic audio/visual compositions.
measuring chains, constructing realities
putting into place forms
a matrix of illusion and disillusion
a strange attracting force
so that a seduced reality will be able to spontaneously feed on it
All this is the play of concepts. The primary concept ‘I am’ appears spontaneously. It likes ‘I am’; it loves that ‘I am’ state. Devouring ever more concepts, it gets totally enmeshed in them. And what is the source of all concepts? This primary feeling ‘I am’. But never forget the fact that it itself is a concept, time-bound. And so it is all mental entertainment.
"The fundamental aim of Buddhism is to find liberation from the things that bind consciousness to illusory concepts of oneself. This goal, called Liberation or Nirvana should not be thought of as a killing of oneself psychologically, but rather an untangling of our fundamental self image from the many influences it is usually enmeshed in. Part of this is the illusory view we have of the world. Buddhism does not see the world itself as an illusion, but the emotions and concepts we hold which provoke our responses to the world are seen as the illusion. Therefore dreams are not thought of as being illusions, but depict the illusions of our everyday experience of life. The very nature of dreams are expressive of the complicated realm of fears, longings and mental concepts we are deeply enmeshed in. Nightmares especially show how deeply involved our waking self is with the internal world of passionate feelings and imagery." Tizuka
John Kelly
Bronze sculpture, 2000
Grand Plaza, Harbour Esplanade, Docklands (Melway ref. 2E, G5)
John Kelly’s Cow Up a Tree at first seems something of a whimsical work, but the sculpture has its roots in serious historical events. The artist was inspired to create this work after seeing images of cows swept away during terrible flooding in Gippsland; when the floodwaters subsided the carcass of one cow was stranded high and dry in a tree. The work’s other inspiration was in Australian artist William Dobell. With the beast’s long neck and small head, Cow Up in a Tree is aesthetically linked to Dobell’s Archibald Prize-winning portrait of Joshua Smith, a painting enmeshed in an infamous court case during World War II in which ‘art’ was put on trial. But during the war Dobell worked in the area of camouflage, and one of his projects was to produce papier mâché cows to be placed on an airfield in the hope of foiling Japanese pilots. Kelly’s sculpture brings these stories together, pondering the fate of Dobell’s cows should the Gippsland flood have inundated the airfield. Kelly’s surreal sculpture on Harbour Esplanade, near the Telstra Dome, is cast in five tonnes of bronze and stands eight metres high.
Photograph by Louis Porter
My Favorite Paintings at the Broad Museum, Los Angeles
The Broad Museum truly impressed visitors with its glittering contemporary art collections. My favorite was Untitled [New York City] (1953) by Cy Twombly. This 1953 piece, in contrast to Twombly's usual repetitive cursive inscriptions, mimicking chalk on green blackboard, was more painterly, but was just as hypnotic, largely due to the numerous thin black lines crisscrossing over three three "pillars", which dominated the pale gray/white canvas. Those heavily outlined pillars were encircled with horizontal rings of various sizes, angles and heights, and those rings enmeshed with aforementioned thin wires, thus added texture and even mystery to the painting, so as some drippings over those pillars. Despite the limitation of colors and the similarity of shapes, those pillars and rings were not monotonous, due to some obvious variations — the first pillar was encircled by an additional ring plus an additional heavy vertical line drawn down from the lower ring, the middle one had a blunter tip, while and last one had a sharply angled tip. These pillars were also unevenly spaced and angled, and such unevenness helped to create some sense of movement, imbalances, and dynamics. Finally, those pillars did resemble some wounded and bleeding fingers, and this was just my own perception.
Brand New Contemporary Art Museum - The Broad Museum in Los Angeles
The Broad had an impressive array of artworks on display. Below are some of my favorites, by artists such as Julie Mehretu, El Anatsui, Robert Rauschenberg, Cy Twombly, Anselm Kiefer, William Kentridge and Neo Rauch.
John Kelly
Bronze sculpture, 2000
Grand Plaza, Harbour Esplanade, Docklands (Melway ref. 2E, G5)
John Kelly’s Cow Up a Tree at first seems something of a whimsical work, but the sculpture has its roots in serious historical events. The artist was inspired to create this work after seeing images of cows swept away during terrible flooding in Gippsland; when the floodwaters subsided the carcass of one cow was stranded high and dry in a tree. The work’s other inspiration was in Australian artist William Dobell. With the beast’s long neck and small head, Cow Up in a Tree is aesthetically linked to Dobell’s Archibald Prize-winning portrait of Joshua Smith, a painting enmeshed in an infamous court case during World War II in which ‘art’ was put on trial. But during the war Dobell worked in the area of camouflage, and one of his projects was to produce papier mâché cows to be placed on an airfield in the hope of foiling Japanese pilots. Kelly’s sculpture brings these stories together, pondering the fate of Dobell’s cows should the Gippsland flood have inundated the airfield. Kelly’s surreal sculpture on Harbour Esplanade, near the Telstra Dome, is cast in five tonnes of bronze and stands eight metres high.
Photograph by Louis Porter
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The simple tools of their forefathers used are still primarily relied on today, with 27 separate planks carved from wood hewn from living trees- a man lays claim to an appropriate tree long before construction is launched-fastened snugly together with pegs. No nails. The launching of a finished boat is enmeshed in solemn age-old ritual and much celebrating. Watch for the stylized depictions of the goat-headed people on the richly decorated craft.
i worked from 9-ish AM until 1 AM, with a short break around 8PM to drive home. then my internet went out. then i spent the next 1.5 hours trying to make my blackberry work as a modem, because i didn't want to face the meeting without everything being totally shiny, mostly so that anyone who had been bitching about me unjustly would look silly and ... oh, it's a long, somewhat dysfunctional story. and boring, too.
at one point during the evening it occurred to me to take a picture, but that passed rather quickly as i became enmeshed in a labyrinth of smarty template nonsense.
Yola Yulfianti
Photo: Weizhong Deng
Curated by Caterina Riva
'head heap heat' presented the work of four artists born in the 1980s: Madison Bycroft, Haffendi Anuar, Lawrence Lek and Yola Yulfianti.
Haffendi's colourful paintings and sculptures suggest movement and material play; the spiky sculptures placed on the floor of the gallery act, like good pets, as both guard and host to viewers. Yola’s video installation teleports us to the streets of Jakarta, her home town, where the moving images and sounds of Pasar Senen – Kampung Melayu PP (2017) have been recorded. Lawrence Lek’s CGI (computer-animated imagery) film 'Geomancer' (2017) explores the aspiration of an environmental satellite to become an artist in Singapore in the year 2065 at a time when an anti-AI (artificial intelligence) law has been introduced. Madison Bycroft’s videos employ animation, drag and text to deconstruct aspects of reality and the feelings enmeshed in it, all containing some reference to swimming.
#headheapheat
The cover illustration takes a new meaning today with Osama Bin Laden's finishing off news!
Tariq Ali's comprehensive and eye-opening account of fundamentalisms of american, afghan, Arab and pakistani varieties enmeshed with religions of people of the Book(s)!
Oh and he calls American Imperialism the mother of all fundamentalisms! As a people/region who has experienced the best and worst of both British and American Imperialisms, it indeed is true. After all, British Empire had the decency to eyewash its loot and pillaging with all the architecture, systems and infrastructure development. American Imperialism alas just has wars, bomb blasts, ruins and F16s to show for.
ODC: Book Title
Juan Muñoz
Spanish, born Madrid, 1953 - 2001
Last Conversation Piece, 1994-95
Bronze, unique
5 figures, variable dimensions, each approx.
64 1/2 x 204 x 228 in. (163.8 x 518.2 x 579.1 cm)
Museum Purchase, 1995 (95.5)
Juan Muñoz came to prominence in the mid-1980s with his gallery installations, in which a single figure or architectural element was isolated spatially through perspectival techniques. Often the figure was a clown or dwarf, and the effect was one of alienation. In 1989, Muñoz began his figurative “conversation pieces”-a Renaissance concept, revived by modern sculptors such as George Segal, in which one or more figures interact with their setting to generate a mood or narrative. Muñoz’s works invite interpretation, but their meaning is never fully explained, as the artist strove to create an enduring sense of mystery.
The figures in Last Conversation Piece stand directly on the ground, inviting viewers to become part of the action. Initially inspired by a ventriloquist’s dummy, these curious characters resemble stuffed toys, particularly the round-bottomed punching-bag clowns that bounce back up after being hit. They also refer to the dwarves painted by Diego Velázquez in the seventeenth century and to the overlapping images of dancers by Edgar Degas in the nineteenth. The three central figures are enmeshed in an emotional confrontation with an unspecified narrative. One protagonist aggressively pushes the central personage, whose body curves back in spontaneous recoil; another leans in closely as if to murmur. Each posture and gesture suggests urgency and concern, tension and empathy. Nearby, two ancillary figures lean forward, as if moving into the drama, but their inability to move quickly frustrates their desire to intervene.
Text adapted from Hirshhorn Museum and Sculpture Garden: 150 Works of Art (1996), entry by Valerie J. Fletcher.
Nathan Jurgenson is a social media theorist and a Contributing Editor for The New Inquiry, a researcher for Snapchat. Also a graduate student in sociology at the University of Maryland, he is working on a dissertation on surveillance on social media. The research is driven most fundamentally by the understanding that we increasingly live in an “augmented reality,” a perspective that views the digital and physical as enmeshed, opposed to viewing them as distinct, which he calls “digital dualism.”
Rina Banerjee ‘Viola, from New Orleans-ah, an African Woman, was the 19th century’s rescue worker, a global business goods raker, combed, tilled the land of Commerce, giving America a certain extra extra excess culture, to cultivate it, making home for aliens not registered, made business of the finer, finer, had occupations, darning thread not leisure with reason and with luster, in ‘peek a book’ racial disguises preoccupied in circulating commerce, entertaining white folks, pulling and punching holes in barriers, place that where was once barren, without them, white banks made of mustard and made friendly folks feel home, welcomed and married immigrants from far noted how they been also starved, fled from servitude and colonial dangers, ships like dungeons, pushing coal in termite wholes, churning fire, but always learning, folding, washing, welcomed as aliens. She wandering, hosting, raising children connected to new mobilities and most unusual these movements in Treme’, New Orleans was a incubating, enmeshed embedded in this silken cocoon when she land, she’s came to be parachute mender, landed those blank immigrant peddlers from Hoogali network of newcomers’, exhibition ‘Make Me a Summary of the World’, San Jose Museum of Art, 2019, San Jose, California
Rahul RAM
Bass Guitar, Vocals
Rahul’s bass playing moves smoothly – from melodic enmeshing with vocal and guitar lines to the more standard laying of foundations over which the band soars. His riveting stage presence is an essential part of Indian Ocean’s electrifying live concerts. His vocals have a raw power, an uncompromising edge that emphasizes the folk roots of the band. Rahul also ends up doing most of the talking at live shows. His experiences as an activist/supporter with the Narmada Bachao Andolan and during his four years studying in the US have exposed him to a variety of musical styles from all over India and the world, and have strongly influenced his musical expression.
Unlike Asheem, Rahul is the total non-romantic. He is Logic Baba, the guru of rationality, and doesn't suffer fools gladly - this despite his head-banging extrovert party-animal attitude to life and hair-styles. He has the shortest temper in the band, and is also called gyandev (lord of knowledge) based purely on his own feeling that he knows a lot (Yeah, right!). By far the sloppiest dresser in the band, he wastes inordinate amounts of time reading bad literature and doing sudokus. By training an environmentalist, he’s also into ornithology. He's an irreverent atheist and a stand-up comic whose addiction to puns has driven others to untimely suicide. Rahul is into jazz, rock and reggae - and sometimes Hindustani classical music, if the melody takes him, as it does… frequently.
Sweet tendrils of seduction,
Just kiss the tender flesh,
There will be no rejection,
The plan is to enmesh.
Detective CJ Egoz. Inter dimensional private eye. I call it #timequest
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7 Comments on Instagram:
alteregoz: #1cell_comics #edit_ae IG TAGS
#igdaily #colorful #popart #photo #ipopu #ipopu #instago #iphone #iphonography #picoftheday #igers #ig_loo #best
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#wearejuxt #jj #editoftheday #rebelsunitedworldwide #rebelhead #rebelstar #instahub #instagramhub #editsrus #editmasters
alteregoz: #toonpaint
drzuum: "As it guided through the defunct rival faction rally - the 10 tonne Mankar radioactive cruise tank delivered it's destructive impaling railed tracks over the supple flesh and spine alike. It crushed and mulched its way towards it's primary objective, the goal at hand. Scavangers were afraid not for their lives but for both the sordid failure about to befall them and the knowledge that Zilcjek would remain in power. The republic had fallen. Clandestine leadership had surreptitiously enmeshed both citizens and metahoarde alike. Storming the city now - scavengers, armed with socks filled with now useless loose bits of rare coin and gold pieces - looted the seeping red pockets from the freshly dead. Seemingly screaming cadavers - poached in such a way that it was indistinguishable to tell one human form from the next - lined the streets. Soon, the chaos would move out of your head. Onto the screen. That's when the anarchy will surrender it's madness and peace will spray over them, like a whisper from god himself."
a_hunter_killz: I really like this one it's got a perfect all around sci-fi vibe. Star Wars, Original Star Trek, Twilight Zone, Mystery Science Theatre 3000 and hiphop all rolled into one
a_hunter_killz: Forgot back to the future
alteregoz: #1cell_comics
alteregoz: @a_hunter_killz thx! I'm havin fun. To follow the whole story hit up the timequest hashtag in the description.
Curated by the UTSOA Materials Lab.
Photographed by School of Architecture Visual Resources Collection Photography TA, Panchajanya Gudigar.
The artistic careers of Ted DeGrazia and Marion Sheret became enmeshed when they were married in 1947. Marion was a sculptor whose style and subject matter remained relatively constant throughout her career. Angels, Madonnas, animals and flowers were her primary subjects, and driftwood, stone, clay, glass, and metal were her preferred mediums.
Quatrain 57 (Translation 1)
Oh, Thou, who didst with Pitfall and with Gin
Beset the Road I was to wander in,
Thou wilt not with Predestination round
Enmesh me, and impute my Fall to Sin?
View at VeryIllustrated
Come learn more about this gorgeous magnolia and plans to revitalize the landscape at the Jay Property in Rye, NY.
BRIDGING THE NATURE-CULTURE DIVIDE
JUNE 4, 2011: JAY HERITAGE CENTER, RYE, NY
PRESENTED BY: THE CULTURAL LANDSCAPE FOUNDATION AND JAY HERITAGE CENTER
Sponsored by Con Edison, ASLA,Preservation League of NY State, New York Historical Society and more Tickets $95 for the whole day 8am to 4:30pm
Sign up at www.tclf.org
Abstracts
Cheryl Barton, FASLA, FAAR
Contested Landscapes: Ethics of Place
I work as an evolutionist, not as a preservationist. In my view, cultural landscape (preservation/restoration/reconstruction/rehabilitation) is a sub-set of sustainable design thinking. Nature trumps all, as climate change is making abundantly clear, and cultural landscapes must respond to this reality.
Places—sites, landscapes—are seldom a tabula rasa. They are layered and encoded: natural and cultural strata are deeply enmeshed in a site narrative. As a designer, it is my role—privilege, really—to decode these layers and interweave the next layer into the palimpsest in a way that is clear and that does not entirely erase the existing narrative.
I am concerned about the prevalence of freeze-dried landscapes—the rigid interpretation of preservation guidelines by those who do not understand landscape systems. Consequently, my work is about hybrid and transformative landscapes rather than pure cultural landscapes.
Rick Darke
The Dynamic Nature of Cultural Landscapes
The dynamic nature of cultural landscapes is key to their continuing relevance. As the cultural lens through which we observe crafted landscapes evolves, so does our perspective on ‘Nature’, which Raymond Williams suggested is merely “a singular term for the multiplicity of things and living processes”. Is the potentially overwhelming vibrancy of today’s ecology—which is the direct result of a frenzy of cultural activity - an inescapably destructive force? To what extent might it be a new weft weaving through the warp of historic places, creating new patterns of meaning? It is possible for the essential narratives of cultural landscapes to be sustained in part by the uncertainties of evolving ecology?
Using a diversity of wild habitats and cultural landscapes for illustration, I will discuss how his design and management philosophy regarding shared value systems has evolved in an age when the only certainty is the accelerating pace of change.
Patricia M. O'Donnell, FASLA, AICP
The Jay Property & Marshlands Conservancy: Conflict & Balance for Cultural & Natural Values at a National Historic Landmark Property
Heritage Landscapes completed the Marshlands Conservancy & Jay Property Cultural Landscape Report, History, Existing Conditions, Analysis & Treatment, (MJ CLR) in 2004. It addresses the Jay Property and adjacent Marshlands County Park acreage, which is a rare example of an evolved regional landscape. Today the Marshlands & Jay Property have several stewards: Westchester County Parks, New York State Parks and the Jay Heritage Center, addressing the historic core landscape and buildings of 23 acres; and Westchester County's Marshlands Conservancy, managing the 137+ acres for natural resource and habitat values.
With different missions, uses, advocates and management objectives, conflicts continue between these apparently competing agendas, and there are inherent tensions between the neighboring property stewards. These resources are valued for different reasons, ecology and habitat versus historic significance, however, as the cultural landscape report indicates, compatible management can embody both. Landscape treatment recommendations address preservation with combined restoration of specific character-defining features and conservation stewardship. From both cultural and natural landscape perspectives, the way forward engages multiple values, involves collaboration and must be holistic and sustainable.
Douglas Reed, FASLA, FAAR
Building the Case for Continuity and Change: Bennington College and the Clark Art Institute
As landscape architects, we often engage in the practice of helping stewards of culturally significant landscapes argue for change in ways that preserve heritage and develop viable and relevant uses—all in the service of interpreting the meaning of a place for the greater culture. And to do this—to realize and sustain ideas about landscape continuity and change—our work must also encompass plans for managing the physical, ecological, and economic realities of a property.
Reed Hilderbrand’s work at Bennington College and the Clark Art Institute, landscapes not identified per se as historically significant, exemplifies an approach to design rooted in ideals of preservation practice. At these sites, as in all of the firm’s work, design and management plans are founded on the assessment of layers of cultural imprint and the evaluation of ecological systems—the evidence of each property’s unique character and identity.
Working at these two institutions over more than a decade, the firm has joined with administrators, stakeholders, caretakers, scientists, and scholars, and engaged governing regulatory agencies, to shape strategies for preservation and change. Each site exemplifies a complex and highly variable process to rehabilitate the landscape and sustain vision through incremental implementation.
Thomas Woltz, CLA, ASLA
Collaborative Design Process in Conflict Resolution in Historic, Agricultural, and Working Landscapes
I will review a number of case studies from Nelson Byrd Woltz Landscape Architects' portfolio that demonstrate successful collaborations between landowners, landscape architects, conservation biologists, and historians in which potential conflicts of nature and culture have been resolved through the firm's design process.
In addition I will review the complex issues facing land stewards when dealing with a variety of conflicting situations including: Invasive plant and animal management in disturbed ecological contexts of productive farmland in Virginia and northeastern states; negotiating sensitive archeological sites at Monticello, home of Thomas Jefferson, while restoring a vision of the cultivated landscape, now overgrown with successional forest; and the preservation of sacred Maori earthworks in the midst of active agricultural land in New Zealand. Management of these landscapes can also become an important part of interpretation through demonstration of harvest patterns, management of open space using fire, designed reforestation, and by making evident the management tools in use.
Finally, I will discuss how collaboration with disciplines outside of landscape architecture can help build a framework for resolving the potential conflicts between culture and nature
Jay Heritage Center
210 Boston Post Road
Rye, NY 10580
(914) 698-9275
Email: jayheritagecenter@gmail.com
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A National Historic Landmark since 1993
Member of the African American Heritage Trail of Westchester County since 2004
Member of the Hudson River Valley National Heritage Area since 2009
On NY State's Path Through History (2013)
1968 Rioja. 92 points Robert Parker: "The 1968 Vina Valoria is a more substantial wine than the 1973. Brickish ruby-colored, it yields a lovely perfume of cedar, tobacco, spice box, and cherry fruit. Its personality is all about elegance with nicely concentrated, ripe fruit enmeshed in a velvety-textured, medium-bodied wine."
Nathan Jurgenson is a social media theorist and a Contributing Editor for The New Inquiry, a researcher for Snapchat. Also a graduate student in sociology at the University of Maryland, he is working on a dissertation on surveillance on social media. The research is driven most fundamentally by the understanding that we increasingly live in an “augmented reality,” a perspective that views the digital and physical as enmeshed, opposed to viewing them as distinct, which he calls “digital dualism.”
This is a picture of the trunk, starting at about 4 meters up. There is a rope hanging from one of the lowest branches.
Nathan Jurgenson is a social media theorist and a Contributing Editor for The New Inquiry, a researcher for Snapchat. Also a graduate student in sociology at the University of Maryland, he is working on a dissertation on surveillance on social media. The research is driven most fundamentally by the understanding that we increasingly live in an “augmented reality,” a perspective that views the digital and physical as enmeshed, opposed to viewing them as distinct, which he calls “digital dualism.”
▓▓░░░░░─ enMESHed Into Christmas ─░░░░░▓▓
Hunt Item For enMESHed Into Christmas :)
Hint: I've Been Waiting All Year For This Hunt
Dec. 1st- Dec. 31st
Taxi : maps.secondlife.com/secondlife/Isle%20of%20Paradise/50/23...
Detail...Pressed Australian Peppermint Tree leaves
sewn in between purple veil fabric and blue Saturn
with gold thread...the six top leaves have separated from the enmeshed
old order to head towards unity
Nature collage
finished artwork 220 x 210cm
The artistic careers of Ted DeGrazia and Marion Sheret became enmeshed when they were married in 1947. Marion was a sculptor whose style and subject matter remained relatively constant throughout her career. Angels, Madonnas, animals and flowers were her primary subjects, and driftwood, stone, clay, glass, and metal were her preferred mediums. Her pieces are on display throughout the gallery.
Nathan Jurgenson is a social media theorist and a Contributing Editor for The New Inquiry, a researcher for Snapchat. Also a graduate student in sociology at the University of Maryland, he is working on a dissertation on surveillance on social media. The research is driven most fundamentally by the understanding that we increasingly live in an “augmented reality,” a perspective that views the digital and physical as enmeshed, opposed to viewing them as distinct, which he calls “digital dualism.”
Curated by the UTSOA Materials Lab.
Photographed by School of Architecture Visual Resources Collection Photography TA, Panchajanya Gudigar.
Sculpture made out of wire mesh as part of Whitby's entry in the Britain in Bloom competition.
By the bottom of the 199 steps up to St Mary's church and Whitby Abbey.
Whitby, North Yorkshire, March 2012.
Tenuous Link: Mesh
Nathan Jurgenson is a social media theorist and a Contributing Editor for The New Inquiry, a researcher for Snapchat. Also a graduate student in sociology at the University of Maryland, he is working on a dissertation on surveillance on social media. The research is driven most fundamentally by the understanding that we increasingly live in an “augmented reality,” a perspective that views the digital and physical as enmeshed, opposed to viewing them as distinct, which he calls “digital dualism.”
"Women and girls in territories throughout the world are enmeshed in a culture which enables and sustains violence against them. This affects not only women and girls; such violence is ultimately an act of aggression against society as a whole. It degrades victims, perpetrators, families and entire communities. As such, the eradication of violence requires not only changes in law and policy, but more fundamental changes at the level of culture, attitudes and beliefs. Such changes must be grounded in the conviction that the equality of women and men is not only a goal to be achieved, but a truth about human nature to be acknowledged and embraced. The soul has no gender. The very essence of what make us human is neither ‘male’ nor ‘female.’ Conceived in this way, equality goes beyond a tally of resources or a set of social norms. It reflects the nobility inherent in every human being."
- From a statement by the Baha'i International Community: "Towards the Eradication of Violence Against Women and Girls"
www.bic.org/statements/towards-eradication-violence-again...
Nathan Jurgenson is a social media theorist and a Contributing Editor for The New Inquiry, a researcher for Snapchat. Also a graduate student in sociology at the University of Maryland, he is working on a dissertation on surveillance on social media. The research is driven most fundamentally by the understanding that we increasingly live in an “augmented reality,” a perspective that views the digital and physical as enmeshed, opposed to viewing them as distinct, which he calls “digital dualism.”
Look #274: Only the Snowman Knows
Featuring hunt items from Wicked for the Advent Chase Hunt, Enmeshed Into Christmas Hunt and the Candy Cane Hunt; and hunt items from Dark Passions Koffin Nails for the Candy Cane Hunt.
Blog - shelsstyle.blogspot.com/2016/12/look-274-only-snowman-kno...
Nathan Jurgenson is a social media theorist and a Contributing Editor for The New Inquiry, a researcher for Snapchat. Also a graduate student in sociology at the University of Maryland, he is working on a dissertation on surveillance on social media. The research is driven most fundamentally by the understanding that we increasingly live in an “augmented reality,” a perspective that views the digital and physical as enmeshed, opposed to viewing them as distinct, which he calls “digital dualism.”
Madison Bycroft
Photo: Weizhong Deng
Curated by Caterina Riva
'head heap heat' presented the work of four artists born in the 1980s: Madison Bycroft, Haffendi Anuar, Lawrence Lek and Yola Yulfianti.
Haffendi's colourful paintings and sculptures suggest movement and material play; the spiky sculptures placed on the floor of the gallery act, like good pets, as both guard and host to viewers. Yola’s video installation teleports us to the streets of Jakarta, her home town, where the moving images and sounds of Pasar Senen – Kampung Melayu PP (2017) have been recorded. Lawrence Lek’s CGI (computer-animated imagery) film 'Geomancer' (2017) explores the aspiration of an environmental satellite to become an artist in Singapore in the year 2065 at a time when an anti-AI (artificial intelligence) law has been introduced. Madison Bycroft’s videos employ animation, drag and text to deconstruct aspects of reality and the feelings enmeshed in it, all containing some reference to swimming.
#headheapheat