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Graphic concept developed by Taylor Studios Inc. All rights reserved. (Note: all imagery and text are for placeholder purposes only and may be subject to additional copyright.)
Hierarchical cluster analysis presented as a double dendrogram.A double cluster dendrogram that demonstrates the relative abundance of Families across the 9 samples across the three land use systems. Clustering in the Y-direction is indicative of abundance, not phylogenetic similarity. RA = Relative Abundance; CLT = Cultivated; PST = Grazed Pasture; FST = Grazed Pine Plantation.
I couldn't figure out what to do for this weeks illustration friday... it really stumped me. and then everything else got in the way of me thinking about it - so i drew that.
Graphic concept developed by Taylor Studios Inc. All rights reserved. (Note: all imagery and text are for placeholder purposes only and may be subject to additional copyright.)
Graphic concept developed by Taylor Studios Inc. All rights reserved. (Note: all imagery and text are for placeholder purposes only and may be subject to additional copyright.)
Step 4: Zoom in and out of the chart by swiping up or down with your mouse scroll pad, or by using the Zoom-out feature at the top left.
zoomcharts.com/en/gallery/all:facet-chart-browser-shares
The Facet Chart Hierarchical Structure tool, part of ZoomCharts’ advanced data visualization line of software, makes presenting and analyzing large amounts of data simple and visually appealing. Work more efficiently with your data by organizing it to fit your company’s exact needs.
Hierarchical Structure is one of the many advanced data visualization features being offered by ZoomCharts and used by clients in several educational fields, including sciences and mathematics, such as anatomy, biochemistry, ecology, microbiology, nutrition, neuroscience, physiology, zoology, chemical engineering, geochemistry, molecular biology, geology, paleontology, physics, astronomy, algebra, computer science, geometry, logic, and statistics, and the arts such as, music, dance, theatre, film, animation, architecture, applied arts, photography, graphic design, interior design, and mixed media.
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Camera: Pentax 6x7, f2.8 105mm SMC Takumar lens. Perkins Street, Ottawa, ON. Tri-X 320 processed in Refinal @1:100 for 10 minutes.
"One of the few survivors of the last war, Jane Farinio is a generally happy soul. Despite her “gothic” exterior, Jane is one of the most happy and hopeful people you can meet. she is caring, and willing to go above and beyond the call of duty. Thus, she is one of the groups runners, tasked with recovering supplies from the destroyed city. Jane uses a pair of large anti synth revolvers on such missions. Her best friend is her adopted sister, Alice."
"Hierarchy is a first generation resistance synth, and is the chosen ally of jane. Hierarchy is equipped with dual pistols, Similar to Her owner, as well as a speed enhancing “N-troleum” mix, placed on the back of the arms and legs."
this was mostly a exercise in shading and patience. but mostly patience
Sunlight in a Cafeteria - 1958
Artist: Edward Hopper (American, 1882–1967)
From the time he was a young man, Edward Hopper was intrigued by people in urban restaurants, where strangers had little interaction. Sunlight in a Cafeteria captures an unsettling tension between the man and woman who are clearly aware of, but do not acknowledge, each other’s presence. This edgy stillness suggests the closed lines of communication in much of modern urban life. As in so many of Hopper’s paintings, the ambiguity in the scene opens up multiple narrative possibilities.
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" Hopper is a master of subtle allusion. We see a man and woman seated at separate tables in a sunny cafeteria. They are the only customers. What interests the artist is the suspenseful moment before a first tentative contact is made, the mental and emotional forcefield that can arise between two strangers.
In a sense, Sunlight in a Cafeteria represents a reversal of the situation in Nighthawks. Instead of a diner with counterman we see a cafeteria with no one to wait on the customers. Instead of a nocturnal scene with fluorescent light, we have bright daylight. Instead of looking into an interior from out-side, we are inside looking out. Instead of an apparently prominent big-city corner, we are on a quiet side street. But the most important difference lies in the fact that while the night owls have apparently come to the diner together, the two cafeteria guests are strangers. She sits in full sunlight, he in semi-shadow. He turns towards her, but conceals his interest by looking out of the window. She is unable to show her interest even to this extent, not even attempting to catch his eye as if by accident. She might turn inconspicuously towards him, but hesitates and looks down at her hands. This is not going to work. The harsh shadow-line between man and woman will not be overcome unless one of them takes the initiative."
www.edwardhopper.net/sunlight-in-a-cafeteria.jsp#google_v...
"My dad and I never talked a lot because he always had business until 3 o’clock in the morning, and the very few times when we did talk, he was trying to lecture me about his philosophy on life. I‘m in an age of independent thinking, so I sometimes unconsciously became a little sarcastic in our conversations. As a result, he thought I was too cynical and sensitive, while I believed he was arrogant.
Things changed this September. He came home one night when I had just finished school.
Mom was snoring. The whole city was sleeping. He knocked on my door and came in. There was only one desk lamp on. A dim light blurred half of his face, so I could only see the tiredness and cautiousness in the wrinkles near his eyes.
“Hey.. Eh..what are you doing?” His voice was a little unnatural, probably because he was wondering whether we would have an intense conversation again.
“Looking at a painting.”
“Oh, paintings. Why don’t you watch some games?“
I frowned. He mumbled a few words and came in. He stood there, strong, a barrel-like belly, typical acute eyes of a businessman, seeming like an insensitive person.
”Okay. Let’s see.” He leaned down to my computer. “What painting is that?“
“Sunlight in a Cafeteria.”
“Sorry, What?”
But he sat down on the bed reluctantly.
And so I told my father about Sunlight in a Cafeteria. It was painted by Edward Hopper in 1958, and now it is in the Yale University Art Museum permanent collection. Hopper’s works often depicted loneliness in modern life. He focused on portraying the American city and the countryside, but strangely, the buildings, the people and the scenery under his brushes are all silent and still, giving people a sense of hollowness. Hopper was good at adding ingenious metaphorical elements into his artwork, and Sunlight in a Cafeteria showcased his ability to capture subtle and ordinary beauty in real life.
In this painting, the faintly visible but tense relationship between strangers emerges on the canvas. It is afternoon. The city is lonely. The streets and the buildings are outside. No one is walking. A man and a woman sit at different tables in the sunny restaurant, and they seem like the only two customers there.
The woman puts her empty glass aside and plays with her fingers. Her head is down to one side and shyness rises in her rosy cheeks, an indication that she is not busy and is Indirectly inviting the man to talk . On the other side, the man gazes at the windows. He has a cigarette in his hands, and awkwardly leans to the left; it seems like he is going to buy the woman another drink. Perhaps he is going to ask the woman out.
At the same time, the lights also indicate their connection and alienation; although the woman is under the sun while the man is in the shadow, they can be familiar with each other by simply being near one another.
Hopper didn’t like to explain too much about the concepts of his painting; he would only say that ”all the answers are on the canvas.” This vagueness allows audiences to fill in the blanks with their imagination.
The two people in the painting are strangers, and the emptiness and quiet of the scene reinforces a sense of loneliness, but Hopper ironically used this universal loneliness to attach people and establish connection as he did in Sunlight in a Cafeteria.
With all the careful details and the sunlight pouring into the restaurant, audiences can freely imagine that time and space in this cafeteria will be frozen in that moment, but in the next second, anything could happen. Romance is the second before a conversation starts.
I finished telling my dad about the painting, and found that he was looking at me. He frowned but tears glittered like lights in his eyes. Maybe this was the first time he realized I was no longer eight years old.
“Good..I mean..” He carefully chose the words, and I saw a quick fragile flash across his face. “I don’t know. I sometimes feel I miss a lot of things…you told everything to your mom. The last time I bought pears back ‘cause I remember you liked them.” His voice was low in the night. “…and your mom said you don’t like them anymore.”
I felt I needed to say something, but it’s hard. My family is not good at saying how we feel to our loved ones, so I looked outside the window. The night felt like a dark, rippling ocean with faraway lights, like little fish, glistening in the water. The whole world seemed to only have me and my dad now.
“You are amazing.” I heard my dad say.
“Thank you.” I whispered.
“Art is cool.” He quickly realized he was a little emotional. So he coughed, and softly said, ”Good night.”
“Good night.”
Gentleness is the second after a conversation ends."
pshighlander.com/2407/arts-life/appreciating-sunlight-in-...
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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The three hierarchies & nine orders of Angels 5b - Synaxis of the Bodiless Powers (Icon) wm.
by Peter
www.flickr.com/photos/28433765@N07/42929487492/in/photost...
The lowest level of the hierarchy may mean a higher level of freedom and vice versa. Slaves have nothing to lose but their lives – and freedom is worth it sometimes.
Низшая ступень иерархии может означать высшую ступень свободы и наоборот. Рабу нечего терять, кроме своей жизни – а она иногда стоит свободы.
Higher Taxonomic Hierarchy
Kingdom: Plantae 植物界
Phylum: Pteridophyta 蕨類植物門
Class: Filicopsida 真蕨綱
Order: Hymenophyllales 膜蕨目
Family: Hymenophyllaceae
Collecter: 伊藤武夫&藤井清太郎
Collection Date: 1914-04-01
Locality: Chihshanyen 芝山岩, Taipei City
Institution Code: TAIF