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Interaction
Oil on Canvas
30" x 48"
Completed in 2002
Inventory # 2348.101.2002.12.010
© Matthew Felix Sun
Oil Painting “Interaction” – A Group Portraits
Painting portraits can be very challenging and rewarding – how to capture the spirits of the sitters, how to render the physiognomies and the postures faithfully yet with artists’s personal touches, how to connect the sitters to the viewers, and most importantly, to ensure the relevancy of painted portraits in the era of digital cameras and smartphones.
One of my best portraits was a group of young men, me in the middle and two college friends at the two sides of the canvas. We sat on stone benches, looking serious and somewhat despondent, and aimed our eyes away from another, into different directions. It was a moment of uncertainty, a private consultation in a group setting, a dialogue with oneself, and a congregation without exchanges. I titled it “Interaction”. My relatively broad brushstrokes rendered the bushes in the background a hallucinatory backdrop, and the deliberately bland facial features were economically outlined – a kind of abstraction.
I am quite proud of this work, as it captured the spirit of then Chinese collage students, who were facing very uncertain futures, in the age of political corruption and crackdown around the time of 1989 Tian’anmen (Tiananmen) Massacre and a very harsh economic future. I just posted a blog on my trip to Beijing during the time the martial law was about to be declared in Beijing and the ordeals my fellow students and I endured during the sit-in on Tian’anmen Square, which will explain more of the background story to this painting, a souvenir of my youth: 25 Years Later, Smell of Exhausted Tian’anmen “Warriors” Lingered.
For video presentations, please visit My Self-Portraits
Note: Selected for 23rd Annual National Juried Exhibition, Berkeley Art Center, July 23 - August 26, 2006
...of AUTO on my D50, not understanding what the mystical word aperture meant. Bokeh? Never heard of such a thing...
Today I scrolled through some of my 'old' stuff, or let's say stuff from my former self, from the days I hardly knew anything about photographing. There were some keapers, and I even had bokeh in many of them, how peculiar. I learned to look for bokeh in September this year... Quite the newbie here, oh yeah.
This summery one is taken in the last days of May this year. I remember that day, it was my first visit to our summer house for this year. And that is always special.
It is so much fun to go through older photos, done with the knowledge you then had. Before this autumn, the only thing I was aware of was angles and composition, those I knew how to do, those were the things I went for. Everything else was a big question mark.
So why this rendevouz today, why now? Because I'm supposed to be cleaning my appartment, getting all the christmas stuff on their places. I really don't wan't to do that right now, so I just sit here, surfing the net and postponing the hidious thing called cleaning up.
Excellent choice Hannah.
(Edit: whazup with my spelling today.... here becomes hear and knew becomes new... oh dear, someone get me a new brain for today....)
Winner of this weeks competition (20.02.12) in my photo club Oslo Kamera Klubb
Theme : Interaction (Samhandling)
The chimps have sounded the alarm: they've spotted the keepers coming with the food throwover, and they are all taking up their positions. There are two separate food throwover spots, so the chimps are split up into 2 groups.
Some of the chimps, like shiba, are very consistent in sitting in the same spot each time. Others, like Kuma, vary their position, presumably depending on where they think they'll get a better throwover. Interestingly, when fumo was younger, kuma was much more consistent in coming over to this section near shiba. Now, kuma can be anywhere. And as for fumo ... i rarely see him. I think he's running round independently of kuma, maybe even at opposite food throwover spot to kuma, presumably scoring some food for himself. I really should go check it out ... but i tend to be as consistent as shiba in coming up this end when the food throwover chimp alarm is sounded :)
The chimps get pretty excited when food is coming, and that can lead to some interesting interactions ... as in this little snippet of video ...
The first interaction i see is Shiba (with sudi on her back) turned around to greet Lisa (who's got Liwali on her belly). Lisa is high status: it's always good to keep on good terms with her! And next comes Kamili to give Lisa a very elaborate greeting.
Over to the right, koko appears to give shiba a bit of a greeting as shiba passes by. Up the back, Lubutu (Lisa's son, the alpha male) and behind him Sembe (shiba's daughter) are approaching. (Or maybe that's sule, not sembe, behind lubutu ... and sembe approaches from the next level down) And Sasha has taken up a position in the back right hand corner. (Sasha will go and greet Lubutu as he gets closer to her).
Shiba sits down in "her" spot and looks up to see if the keeper has arrived up on the wall above yet. And Koko approaches Shiba, and shiba greets her. And Koko turns around and politely presents her bottom for examination. (I've heard a rumour that in an unofficial vote, Koko has won the award for having the worst looking bottom of all the girl chimps). And while shiba is checking out koko's swelling, koko reaches her hand back to pet sudi. Well! That had me intrigued. It's been truly surprising to see how Koko and Fumo have developed a special relationship. And now to see Koko start to display an interest in sudi as well ... absolutely fascinating!
Next, Lisa/Liwali arrive, and Lisa plonks herself down practically in shiba's lap. I wouldnt want someone crowding the spot i've chosen for the food throwover, but maybe in chimp terms Lisa is being nice to shiba. Shiba's daughter sembe is hovering over to the left, not coming any closer. On previous occasions, since sembe has lost her white tuft of bottom hair, i've seen Lisa make a point of chasing sembe off (i can imagine her saying to sembe "you, girlie, you get to the back of the line ... leave the prime spots to your betters!").
And finally Kamili turns up to give Liwali, Lisa's baby, a stroke or two. Kamili hasnt shown all that much interest in the baby chimps, and i suspect this interaction with Liwali is more of an attempt to curry favour with high status Lisa (oooh Lisa, what a cute baby you have!) than an actual interest in Liwali. But then i'm just guessing. It's all guesses! But more educated guesses these days :)
what the thing does (image returned by word search) | a drawing of a thing | visually similar (image returned by image search)
Saffer says public restrooms are a prima candidate for novel ways of interaction. This foot pumping action has been part of the Rotterdamse Schouwburg for some years now.
Uploaded with AirMe
#concept #génératif #comportement
Un trio d'objets lumineux qui évoluent au sein d'un système.
L'action de l'un provoque la réaction de l'autre, la lumière générée évolue ainsi de manière autonome.
Chaque module possède une personnalité qui s'exprime au travers de son matériau et de son comportement.
#concept #génératif #comportement
Un trio d'objets lumineux qui évoluent au sein d'un système.
L'action de l'un provoque la réaction de l'autre, la lumière générée évolue ainsi de manière autonome.
Chaque module possède une personnalité qui s'exprime au travers de son matériau et de son comportement.
#concept #génératif #comportement
Un trio d'objets lumineux qui évoluent au sein d'un système.
L'action de l'un provoque la réaction de l'autre, la lumière générée évolue ainsi de manière autonome.
Chaque module possède une personnalité qui s'exprime au travers de son matériau et de son comportement.
2 Pacific white-sided dolphin(Seven and Cross) and my sister
We had a really good time with them;)
Enoshima Aquarium
Formal interactions that the instructor has with the content, both in terms of design and development as well as in teaching or facilitating the course
Pūjā is a prayer ritual performed by Hindus to host, honour and worship one or more deities, or to spiritually celebrate an event. Sometimes spelled phonetically as Pooja or Poojah, it may honour or celebrate the presence of special guest(s), or their memories after they pass away. The word Pūjā (Devanagari: पूजा) comes from Sanskrit, and means reverence, honour, homage, adoration, and worship. Puja rituals are also held by Buddhists, Jains and Sikhs.
In Hinduism, puja is done on a variety of occasions, frequency and settings. It may include daily puja done in the home, to occasional temple ceremonies and annual festivals, to few lifetime events such as birth of a baby or a wedding, or to begin a new venture. The two main areas where puja is performed are in the home and at temples to mark certain stages of life, events or some festivals such as Durga Puja and Lakshmi Puja. Puja is not mandatory; it may be a routine daily affair for some Hindus, periodic ritual for some, and infrequent for other Hindus. In some temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.
Puja varies according to the school of Hinduism. Within a given school, puja may vary by region, occasion, deity honored, and steps followed. In formal Nigama ceremonies, a fire may be lit in honour of deity Agni, without an idol or image present. In contrast, in Agama ceremonies, an idol or image of deity is present. In both ceremonies, a diya or incense stick may be lit while a prayer is chanted or hymn is sung. Puja is typically performed by a Hindu worshipper alone, though sometimes in presence of a priest who is well versed in procedure and hymns. In temples and priest-assisted event puja, food, fruits and sweets may be included as offerings to the deity, which, after the prayers, becomes prasad - blessed food shared by all present at the puja.
Both Nigama and Agama puja are practiced in Hinduism in India. In Hinduism of Bali Indonesia, Agama puja is most prevalent both inside homes and in temples. Puja is sometimes called Sembahyang in Indonesia.
ETYMOLOGY
Puja (Sanskrit: पूजा) is an ancient word, with unclear origins. Joshi claims the word puja was first used in vedic times when Sūtra were composed, to describe prayers and worship before yajna or homa - fire deity, Agni. Charpentier suggests the origin of the word Puja may lie in the Dravidian languages. Two possible Tamil roots have been suggested: Poosai "to smear with something" and Poochei "to do with flowers".
ORIGNS
According to scholars, one of the earliest mentions of Pūjā is in the Grihya Sutras, which provide rules for domestic rites. These Sutras, dated to be about 500 BC, use the term puja to describe the hospitality to honor priests who were invited to one’s home to lead rituals for departed ancestors. As Hindu philosophy expanded and diversified, with developments such as the bhakti movement, the vedic puja ritual were modified and applied to the deities. As with vedic times, the general concept of puja remained the same, but expanded to welcoming the deity along with the deity's spiritual essence as one's honored guest. The Puranic corpus of literature, dating from about 6th century CE, contain extensive outline on how to perform deity puja (deva pūjā). Deity puja thus melds Vedic rites with devotion to deity in its ritual form. As with many others aspects of Hinduism, both Vedic puja and devotional deity puja continued, the choice left to the Hindu.
As a historical practice, Pūjā in Hinduism, has been modeled around the idea of hosting a deity, or important person, as an honored and dearest guest in the best way one can, given one's resources, and receiving their happiness and blessing in return. Paul Thieme suggests from passages in the Rāmāyaṇa that the word pūjā referred to the hospitable reception of guests and that the things offered to guests could be offered to the gods and their dwellings. The rituals in question were the "five great sacrifices" or pañcamahāyajña recorded in the Gṛhyasūtra texts (for this literature, see Kalpa). The development of pūjā thus emerged from Vedic domestic traditions and was carried into the temple environment by analogy: just as important guests had long been welcomed in well-to-do homes and offered things that pleased them, so too were the gods welcomed in temple-homes and offered things that pleased them. Copper-plate charters recording grants of lands to temples show that this religious practice was actively encouraged from the mid-4th century.
SIGNIFICANCE OF PUJA
In the earliest texts describing Vedic puja, the significance of puja was to host the priest so that he could make direct requests to the gods. An example petition prayer made during a Vedic puja, according to Wade Wheelock, is:
Indra-Agni, slayers of Vrtra with the beautiful thunderbolt, prosper us with new gifts;
O Indra, bring treaures with your right hand;
O Agni grant the enjoyments of a good household;
Give (us) vigor, wealth in cattle, and possession of good horses.
- ÄsvSü
In contrast to Vedic pujas, the significance of deity pujas shifted from petitions and external goals to the experience of oneness with the deities and their spiritual essence. It became a form of yoga whose final result aimed to be the consciousness of god through homage to god. Nevertheless, even with this evolved theoretical spiritual significance, for many people, puja continued to be a vehicle to petition desires and appeals, such as for good health of one's child, speedy recovery from illness, success in venture envisioned or such. In the structure and practice of puja, the mantras and rituals focus on spirituality, and any petitions and appeals are tacked only to the end of the puja.
Zimmer relates puja to yantras, with the rituals helping the devotee focus on the spiritual concepts. Puja in Hinduism, claims Zimmer, is a path and process of transformation of consciousness, where the devotee and the spiritual significance of the deity are brought together. This ritual puja process, in different parts of India, is considered to be liberating, releasing, purifying and a form of yoga of spirit and emotions.
Puja in Hinduism sometimes involves themes beyond idols or images. Even persons, places, rivers, concrete objects or anything is seen as manifestations of divine reality by some Hindus. The access to the divine is not limited to renunciatory meditation as in yoga school of Hinduism or idols in bhakti school. For some the divine is everywhere, without limit to its form, and a puja to these manifestations signifies the same spiritual meaning to those who choose to offer a prayer to persons, places, rivers, concrete objects or anything else.
TEMPLE PUJA
Temple (Mandir) pūjā is more elaborate than the domestic versions and typically done several times a day. They are also performed by a temple priest, or pujari. In addition, the temple deity (patron god or goddess) is considered a resident rather than a guest, so the puja is modified to reflect that; for example the deity is "awakened" rather than "invoked" in the morning. Temple pujas vary widely from region to region and for different sects, with devotional hymns sung at Vaishnava temples for example. At a temple puja, there is often less active participation, with the priest acting on behalf of others.
ELABORATE PUJA
A full home or temple puja can include several traditional upacaras or "attendances". The following is an example puja; these steps may vary according to region, tradition, setting, or time particularly in ways the deity is hosted. In this example, the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, hymns and food are offered to the deity, after an expression of love and respect the host takes leave and with affection expresses good bye to the deity. Indologist Jan Gonda has identified 16 steps (shodasha upachara) that are common in all varieties of puja:
1. Avahana (“invocation”). The deity is invited to the ceremony from the heart.
2. Asana. The deity is offered a seat.
3. Padya. The deity’s feet are symbolically washed.
4. Water is offered for washing the head and body
5. Arghya. Water is offered so the deity may wash its mouth.
6. Snana or abhisekha. Water is offered for symbolic bathing.
7. Vastra (“clothing”). Here a cloth may be wrapped around the image and ornaments affixed to it.
8. Upaveeda or Mangalsutra. Putting on the sacred thread.
9. Anulepana or gandha. Perfumes and ointments are applied to the image. Sandalwood paste or kumkum is applied.
10. Pushpa. Flowers are offered before the image, or garlands draped around its neck.
11. Dhupa. Incense is burned before the image.
12. Dipa or Aarti. A burning lamp is waved in front of the image.
13. Naivedya. Foods such as cooked rice, fruit, clarified butter, sugar, and betel leaf are offered.
14. Namaskara or pranama. The worshipper and family bow or prostrate themselves before the image to offer homage.
15. Parikrama or Pradakshina. Circumambulation around the deity.
16. Taking leave.
Sometimes additional steps are included:
1. Dhyana (“Meditation”). The deity is invoked in the heart of the devotee.
2. Acamanıya. Water is offered for sipping.
3. Aabaran. The deity is decorated with ornaments.
4. Chatram. Offering of umbrella.
5. Chamaram Offering of fan or fly-whisk (Chamara).
6. Visarjana or Udvasana. The deity is moved from the place.
There are variations in this puja method such as:
1. Pancha upachara pooja (puja with 5 steps).
2. Chatushasti upachara puja (puja with 64 steps).
The structure of elaborate puja also varies significantly between temples, regions and occasions.
QUICK PUJA
A quick puja has the same structure as acts ordinary people would perform for a quick reception, hospitality and affectionate interaction with a beloved guest. First the deity is greeted, acknowledged by name and welcomed, sometimes with a diya or lighted incense stick. The devotee proceeds to connect with the spiritual manifestation by meditating (a form of darshan), or chanting hymns and mantras, then personal prayers follow. After prayer is finished, the spiritual visitor as guest is affectionately thanked and greeted good bye. A quick meditative puja is sometimes offered by some Hindus without an idol or image. According to Fuller, Hindu texts allow flexibility and abbreviated puja according to occasion, needs and personal preferences.
PUJA IN BALINESE HINDUISM
In Hinduism of Bali Indonesia, puja is sometimes called Sembahyang. The word originates from two words in old Javanese: sembah and hyang. Sembah means to respect and bow down; Hyang means divine, God/Shang Hyang Widhi, holy man, and ancestors. So to pray means to respect, bow down, surrender to the divine and ancestors.
Sembahyang (Puja) is an obligation for Balinese Hindus, the prayers and hymns are derived from the Vedas. A family typically offers prayers everyday, with Kewangen and other offerings. Kewangen means aromatic, and it is made from leaves and flowers in form of auspicious Vedic symbols. Balinese use kewangen to worship the divine, both in form of Purusha (soul) and Pradana (body). As with India, Balinese make offerings, including symbolic inclusion of fire, incense and mantras.
GURU PUJA
In the case of great spiritual masters, there is also a custom to perform puja for a living person. Gurus are sometimes chosen as objects of puja and honored as living gods or seen the embodiment of specific deities. Gurus are sometimes adorned with symbolic clothes, garlands and other ornaments, and celebrated with incense, washing and anointing their feet, giving them fruits, food and drinks and meditating at their feet, asking for their blessing.
PUJA AS A SOCIAL, HUMAN RIGHTS EVENT
As with Church services in Christianity, Pūjā in Hinduism has served as a means for Hindu communities outside India to gather, socialize, discover new friends and sometimes discuss ways to address social discrimination of Hindus. For example, Marion O'Callaghan reports that the Hindu diaspora brought as indentured laborers to Trinidad by the British colonial government, suffered discriminatory laws that did not recognize traditional Hindu marriages or inheritance rights of children from a traditional Hindu marriage, nor did the non-Hindu majority government allow pyre cremation or construction of crematorium. These Hindu rituals were considered pagan and uncivilized. Pujas offered a way for Hindus to meet, socially organize and petition their human rights. Over time, pujas became as much as social and community recreational event, as a religious event.
CRITIQUE OF PUJA IN THE PURVA MIMAMSAKA SCHOOL
Although pūjā is accepted as a valid religious activity by Hindus at large, it has long been criticised by Mīmāṃsā thinkers. The foundational work of this school is the Karmamīmāṃsāsūtra or "Aphorisms for Enquiry into the Act," composed by Jaimini. The earliest surviving commentary is by Śabara who lived around the end of the fourth century. Śabara's commentary, known as Śabarabhāṣya holds pride of place in Mīmāṃsā in that Sabara's understanding is taken as definitive by all later writers. In his chapter entitled Devatādikaraṇa (9 : 1: 5: 6-9), Śabara examines the popular understanding of the gods and attempts to refute the belief that they have material bodies, are able to eat the offerings made to them, and are capable of being pleased and so able to reward worshippers. Basing himself on the Vedas (he refused to accept the Mahābhārata, Purāṇa texts or even the Smṛti literatures as valid sources of authority), Śabara concludes that the gods are neither corporeal nor sentient and thus unable to enjoy offerings or own property. For this he appeals to empirical observation, noting that offerings do not decrease in size when given to the gods; any decrease is simply due to exposure to the air. Likewise he argues that substances are offered to gods not according to the wishes of the gods, but that "what is vouched for by direct perception is that the things are used according to the wishes of the temple servants (pratyakṣāt pramāṇāt devatāparicārakāṇām abhiprāyaḥ). In the course of his discussion, Śabara's asserts that "there is no relation between the case of guests and the sacrificial act." This incidental remark provides sound historical proof that pūjā was built on analogy with atithi, the ancient Vedic tradition of welcoming guests. What Śabara is maintaining is that this analogy is not valid. While the Mīmāṃsakas continued to maintain this interpretation for centuries, their defeat in debate at the hands of Śaṅkarācārya led to theirs being a minority view. It is a remarkable testament to the plurality and tolerance of Indian civilization that Mīmāṃsakas flourished even into the 17th century, as evidenced by the commentaries of Nīlakaṇṭha.
REGIONAL NAMES
Puja, sometimes spelled pooja, is called பூஜை in Tamil, and bucha (บูชา) in Thai.
WIKIPEDIA
© 2009 Steve Kelley
Times Square at 7th avenue and Broadway just in front of the Armed Forces Recruitment Center in New York City (NYC).
HDR 3 exposures - (some tonemapping in Photomatix 3.1, most of the work in CS3, and last bits in Lightroom). Shot with Nikon D300.
I wanted this to be as realistic as possible; i did consider some foreground darkening to add drama but decided to just leave the light levels as they were.
#concept #génératif #comportement
Un trio d'objets lumineux qui évoluent au sein d'un système.
L'action de l'un provoque la réaction de l'autre, la lumière générée évolue ainsi de manière autonome.
Chaque module possède une personnalité qui s'exprime au travers de son matériau et de son comportement.
With the emergence of technology, social interactions seems to be limited to that rectangular screen.
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Copyright © 2015 Wei Kiat.
All rights reserved.
Drop me a email (kiatography@gmail.com) if you wish to purchase my images.
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#concept #génératif #comportement
Un trio d'objets lumineux qui évoluent au sein d'un système.
L'action de l'un provoque la réaction de l'autre, la lumière générée évolue ainsi de manière autonome.
Chaque module possède une personnalité qui s'exprime au travers de son matériau et de son comportement.
#concept #génératif #comportement
Un trio d'objets lumineux qui évoluent au sein d'un système.
L'action de l'un provoque la réaction de l'autre, la lumière générée évolue ainsi de manière autonome.
Chaque module possède une personnalité qui s'exprime au travers de son matériau et de son comportement.
International Development Secretary Priti Patel visits Lokore dispensary to see UK support on health and nutrition, and interact with health workers and beneficiaries.
The Development Secretary has the opportunity to interact with beneficiaries at the dispensary, and see the outpatient therapeutic programme for severe acute malnutrition. She also had a discussion with a mother on her experiences and benefits from the nutrition programme.
Picture: Rob Oxley/DFID