View allAll Photos Tagged intuition
Охлювната черупка за SNAILICIOUS ястието от ноември - "Интуитивна стая". Изберете охлювната черупка за следващото ястие @ snailicious.net/vduhnovenie
------------------------------------------------------------------------------------------
The snail shell for the SNAILICIOUS dish from November - "Intuition room". Select the snail shell for the next dish @ snailicious.net/inspiration
Freya Ring of Intuition Rainbow moonstone set in sterling silver Raven ,Moon and Dragonfly setting .
The stone is a round 10 mm Rainbow moonstone for the full moon , This stone has an Icy Dragons Eye light refraction effect , this stone is encircled by 13 flowers for the 13 full moons the stone setting is on a 3 band ring for the spiritual trinity , On one side is the Wise and Mysterious Raven on the other The magical Fairy friend Dragonfly . and a waning moon and Guiding star for wisdom .
Ring size 9
Total weight 13.9 grams
Freya Goddess of love, beauty, fertility, war,death, wealth, divination and magic. Freya is the ruling Goddess of the female ancestral beings known as the Disir that can be called upon for guidance and to see into the future.
Moon, Farmers' Almanac definition of blue moon meaning the third full moon in a season of four full moon . This year is we have a 4th Full moon in August 21, 2012 . The moon moves 13 degrees around the earth every day. It Takes 13 days to change from Full Moon to New Moon and 13 days to change back with 1 day Full and 1 day New to equal 28 days of the Lunar Cycle.
Crows / Raven are deeply honored by the Celts as an augury oracle. Crows carry big secrets stuffed betwixt their black feathers. Celts knew this, and were wise to let them have their way "indeed, killing a crow was a felony under Druidic rule". The raven often has a bad press, for being a carrion bird it is ultimately associated with death. This intelligent bird is more than death, darkness and destruction. Raven is a trickster, a protector, a teacher. and a bringer of great magic. Ravens are extremely intelligent and in some cases have even learned to talk.
Dragonfly In the Celtic Lands of the old world, dragonflies were associated with fairies. Some fables and fairytales told that if you followed a dragonflys , they would lead you to fairies. Others said that they were the steeds of fairies and associated with magic. Dragonflies are full of spiritual energy of nature and they represent travel Between Dimensions ,Dreams and illusions . Dragonflys are Linked to the Element water and Air .The adult Dragonfly lives a short life, Reminding us to live our life to the fullest in the time it have. Historically, dragonfly was used in love spells and to bring good luck .
Moonstone is associated with the moon due its shimmering milky appearance. The Romans believed that it was formed from drops of moonlight. As such it is attributed with those properties traditionally associated with the moon: romance, femininity, intuition, dreams, the emotions. Moonstone may allow a glimpse of the future. Some use it to assists achieving lucid dreams ,Moonstone, especially the rainbow variety is popular with many pagans and people who follow Goddess based paths. Used during the waxing of the moon for love charms and during the waning of the moon to foretell the future.
Moonstone brings confidence and composure and assists in obtaining one's fullest destiny. Once called the traveler's stone it was used for protection talisman when traveling by water.
13. The 13th rune - called "Eiwaz" - means in the Northern European mythos. It represents the balance point between light and dark, the creative force and the destructive force, or the heavens and the Underworld. It too is the Alpha and Omega at the same time. It signifies death, but it also signifies eternal life.
In the traditional tarot deck, the 13th card is the Death card. It also represents not merely death, but rebirth and renewal. The glyph which represents both the start and end of the Aztec calendar is known as "13 Cane", and symbolizes the death of one cycles, followed by the birth of another - the Alpha and Omega.
It is customary that boys are taught to obey the teachers.
© ILO / Mondal Nitai
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US.
Intuition, Magique
Unconventional and iconoclastic graffitis, writings, posters, humanities, artistic alterations, paintings, portraits and sculptures in situ at @La Demeure du Chaos HQ @artprice.
Les graff, écrits, affiches, belles lettres, détournements, peintures, portraits et sculptures in situ décalés & iconoclastes de @La Demeure du Chaos HQ @artprice.
Les belles lettres graffées sur les murs et sculptures de @La Demeure du Chaos HQ @Artprice. Des idées ? écrire à belleslettres@demeureduchaos.org .
The humanities, graffitis on the walls and sculptures by @La Demeure du Chaos the HQ of @Artprice. Any ideas? Email humanities@demeureduchaos.org
...
Regard de thierry Ehrmann, auteur de la Demeure du Chaos / Abode of Chaos
Découvrez gratuitement l’intégralité de l’Opus IX de la Demeure du Chaos (504 pages)
---
Free download of the entire Abode of Chaos' Opus IX (504 pages)
Secrets revealed of the Abode of Chaos (144 pages, adult only) >>>
"999" English version with English subtitles is available >>>
HD movie - scenario thierry Ehrmann - filmed by Etienne Perrone
----------
voir les secrets de la Demeure du Chaos avec 144 pages très étranges (adult only)
999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre
Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.
courtesy of Organ Museum
©2019 www.AbodeofChaos.org
The Altra Intuition is a zero drop women's running shoe that is fully cushioned and promotes a more efficient style of running. This generous toe box tells your toes you are tired of abusing them. Find this super comfortable women's running shoe at NaturalRunningStore.com/AltraIntuitionGrey
Freya Ring of Intuition Rainbow moonstone set in sterling silver Raven ,Moon and Dragonfly setting .
The stone is a round 10 mm Rainbow moonstone for the full moon , This stone has an Icy Dragons Eye light refraction effect , this stone is encircled by 13 flowers for the 13 full moons the stone setting is on a 3 band ring for the spiritual trinity , On one side is the Wise and Mysterious Raven on the other The magical Fairy friend Dragonfly . and a waning moon and Guiding star for wisdom .
Ring size 9
Total weight 13.9 grams
Freya Goddess of love, beauty, fertility, war,death, wealth, divination and magic. Freya is the ruling Goddess of the female ancestral beings known as the Disir that can be called upon for guidance and to see into the future.
Moon, Farmers' Almanac definition of blue moon meaning the third full moon in a season of four full moon . This year is we have a 4th Full moon in August 21, 2012 . The moon moves 13 degrees around the earth every day. It Takes 13 days to change from Full Moon to New Moon and 13 days to change back with 1 day Full and 1 day New to equal 28 days of the Lunar Cycle.
Crows / Raven are deeply honored by the Celts as an augury oracle. Crows carry big secrets stuffed betwixt their black feathers. Celts knew this, and were wise to let them have their way "indeed, killing a crow was a felony under Druidic rule". The raven often has a bad press, for being a carrion bird it is ultimately associated with death. This intelligent bird is more than death, darkness and destruction. Raven is a trickster, a protector, a teacher. and a bringer of great magic. Ravens are extremely intelligent and in some cases have even learned to talk.
Dragonfly In the Celtic Lands of the old world, dragonflies were associated with fairies. Some fables and fairytales told that if you followed a dragonflys , they would lead you to fairies. Others said that they were the steeds of fairies and associated with magic. Dragonflies are full of spiritual energy of nature and they represent travel Between Dimensions ,Dreams and illusions . Dragonflys are Linked to the Element water and Air .The adult Dragonfly lives a short life, Reminding us to live our life to the fullest in the time it have. Historically, dragonfly was used in love spells and to bring good luck .
Moonstone is associated with the moon due its shimmering milky appearance. The Romans believed that it was formed from drops of moonlight. As such it is attributed with those properties traditionally associated with the moon: romance, femininity, intuition, dreams, the emotions. Moonstone may allow a glimpse of the future. Some use it to assists achieving lucid dreams ,Moonstone, especially the rainbow variety is popular with many pagans and people who follow Goddess based paths. Used during the waxing of the moon for love charms and during the waning of the moon to foretell the future.
Moonstone brings confidence and composure and assists in obtaining one's fullest destiny. Once called the traveler's stone it was used for protection talisman when traveling by water.
13. The 13th rune - called "Eiwaz" - means in the Northern European mythos. It represents the balance point between light and dark, the creative force and the destructive force, or the heavens and the Underworld. It too is the Alpha and Omega at the same time. It signifies death, but it also signifies eternal life.
In the traditional tarot deck, the 13th card is the Death card. It also represents not merely death, but rebirth and renewal. The glyph which represents both the start and end of the Aztec calendar is known as "13 Cane", and symbolizes the death of one cycles, followed by the birth of another - the Alpha and Omega.
In civilizations of a traditional nature, intellectual intuition lies at the root of everything; in other words, it is the pure metaphysical doctrine that constitutes the essential, everything else being linked to it, either in the form of consequences or applications to the various orders of contingent reality.
Not only is this true of social institutions, but also of the sciences, that is, branches of knowledge bearing on the domain of the relative, which in such civilizations are only regarded as dependencies, prolongations, or reflections of absolute or principial knowledge.
Thus a true hierarchy is always and everywhere preserved: the relative is not treated as non-existent, which would be absurd; it is duly taken into consideration, but is put in its rightful place, which cannot but be a secondary and subordinate one; and even within this relative domain there are different degrees of reality, according to whether the subject lies nearer to or further from the sphere of principles.
Thus, as regards science, there are two radically different and mutually incompatible conceptions, which may be referred to respectively as traditional and modern. We have often had occasion to allude to the 'traditional sciences' that existed in antiquity and the Middle Ages and which still exist in the East, though the very idea of them is foreign to the Westerners of today. It should be added that every civilization has had 'traditional sciences' of its own and of a particular type. Here we are no longer in the sphere of universal principles, to which pure metaphysics alone belongs, but in the realm of adaptations.
(…)
By seeking to sever the connection of the sciences with any higher principle, under the pretext of assuring their independence, the modern conception robs them of all deeper meaning and even of all real interest from the point of view of knowledge; it can only lead them down a blind alley, by enclosing them, as it does, in a hopelessly limited realm.
Moreover, the development achieved in this realm is not a deepening of knowledge, as is commonly supposed, but on the contrary remains completely superficial, consisting only of the dispersion in detail already referred to and an analysis as barren as it is laborious; this development can be pursued indefinitely without coming one step closer to true knowledge.
It must also be remarked that it is not for its own sake that, in general, Westerners pursue science; as they interpret it, their foremost aim is not knowledge, even of an inferior order, but practical applications, as can be deduced from the ease with which the majority of our contemporaries confuse science and industry, and from the number of those for whom the engineer represents the typical man of science.
(…)
Modern experimentalism involves the curious illusion that a theory can be proven by facts, whereas in reality the same facts can always be equally well explained by several different theories; some of the pioneers of the experimental method, such as Claude Bernard, have themselves recognized that they could interpret facts only with the help of preconceived ideas, without which they would remain 'brute facts' devoid of all meaning and scientific value.
Since we have been led to speak of experimentalism, the opportunity may be taken to answer a question that may be raised in this connection: why have the experimental sciences received a development in modern civilization such as they never had in any other?
The reason is that these sciences are those of the sensible world, those of matter, and also those lending themselves most directly to practical applications; their development, proceeding hand in hand with what might well be called the 'superstition of facts', is therefore in complete accord with specifically modern tendencies, whereas earlier ages could not find sufficient interest in them to pursue them to the extent of neglecting, for their sake, knowledge of a higher order. It must be clearly understood that we are not saying that any kind of knowledge can be deemed illegitimate, even though it be inferior; what is illegitimate is only the abuse that arises when things of this kind absorb the whole of human activity, as we see them doing at present.
(…)
One of the characteristics of the present age is the exploitation of everything that had hitherto been neglected as being of insufficient importance for men to devote their time and energy to, but which nevertheless had to be developed before the end of the cycle, since the things concerned had their place among the possibilities destined to be manifested within it; such in particular is the case of the experimental sciences that have come into existence in recent centuries.
There are even some modern sciences that represent, quite literally, residues of ancient sciences that are no longer understood: in a period of decadence, the lowest part of these sciences became isolated from all the rest, and this part, grossly materialized, served as the starting-point for a completely different development, in a direction conforming to modern tendencies; this resulted in the formation of sciences that have ceased to have anything in common with those that preceded them. Thus, for example, it is wrong to maintain, as is generally done, that astrology and alchemy have respectively become modern astronomy and modern chemistry, even though this may contain an element of truth from a historical point of view; it contains, in fact, the very element of truth to which we have just alluded, for, if the latter sciences do in a certain sense come from the former, it is not by 'evo-lution' or 'progress' - as is claimed - but on the contrary, by degeneration.
(…)
These are the two complementary functions proper to the traditional sciences: on the one hand, as applications of the doctrine, they make it possible to link the different orders of reality and to integrate them into the unity of a single synthesis, and on the other, they constitute, at least for some, and in accordance with their individual aptitudes, a preparation for a higher knowledge and a way of approach to it - forming by virtue of their hierarchical positioning, according to the levels of existence to which they refer, so many rungs as it were by which it is possible to climb to the level of pure intellectuality.
It is only too clear that modern sciences cannot in any way serve either of these purposes; this is why they can be no more than 'profane science', whereas the 'traditional sciences', through their connection with metaphysical principles, are effectively incorporated in 'sacred science'.
The ways leading to knowledge may be extremely different at the lowest degree, but they draw closer and closer together as higher levels are reached. This is not to say that any of these preparatory degrees are absolutely necessary, since they are mere contingent methods having nothing in common with the end to be attained; it is even possible for some persons, in whom the tendency to contemplation is predominant, to attain directly to true intellectual intuition without the aid of such means; but this is a more or less exceptional case, and in general it is accepted as being necessary to proceed upward gradually.
The whole question may also be illustrated by means of the traditional image of the 'cosmic wheel': the circumference in reality exists only in virtue of the center, but the beings that stand upon the circumference must necessarily start from there or, more precisely, from the point thereon at which they actually find themselves, and follow the radius that leads to the center. Moreover, because of the correspondence that exists between all the orders of reality, the truths of a lower order can be taken as symbols of those of higher orders, and can therefore serve as 'supports' by which one may arrive at an understanding of these; and this fact makes it possible for any science to become a sacred science, giving it a higher or 'anagogical' meaning deeper than that which it possesses in itself.
Every science, we say, can assume this character, whatever may be its subject-matter, on the sole condition of being constructed and regarded from the traditional standpoint; it is only necessary to keep in mind the degrees of importance of the various sciences according to the hierarchical rank of the diverse realities studied by them; but whatever degree they may occupy, their character and functions are essentially similar in the traditional conception.
What is true of the sciences is equally true of the arts, since every art can have a truly symbolic value that enables it to serve as a support for meditation, and because it’s rules, like the laws studied by the sciences, are reflections and 'applications of fundamental principles: there are then in every normal civilization 'traditional arts', but these are no less unknown to the modern West than are the 'traditional sciences'. The truth is that there is really no 'profane realm' that could in any way be opposed to a 'sacred realm'; there is only a 'profane point of view', which is really none other than the point of view of ignorance.
This is why 'profane science', the science of the moderns, can as we have remarked elsewhere be justly styled 'ignorant knowledge', knowledge of an inferior order confining itself entirely to the lowest level of reality, knowledge ignorant of all that lies beyond it, of any aim more lofty than itself, and of any principle that could give it a legitimate place, however humble, among the various orders of knowledge as a whole. Irremediably enclosed in the relative and narrow realm in which it has striven to proclaim itself independent, thereby voluntarily breaking all connection with transcendent truth and supreme wisdom, it is only a vain and illusory knowledge, which indeed comes from nothing and leads to nothing.
This survey will suffice to show how great is the deficiency of the modern world in the realm of science, and how that very science of which it is so proud represents no more than a deviation and, as it were, a downfall from true science, which for us is absolutely identical with what we have called 'sacred' or 'traditional' science. Modern science, arising from an arbitrary limitation of knowledge to a particular order-the lowest of all orders, that of material or sensible reality-has lost, through this limitation and the consequences it immediately entails, all intellectual value; as long, that is, as one gives to the word 'intellectuality' the fullness of its real meaning, and refuses to share the 'rationalist' error of assimilating pure intelligence to reason, or, what amount to the same thing, of completely denying intellectual intuition.
The root of this error, as of a great many other modern errors - and the cause of the entire deviation of science that we have just described - is what may be called 'individualism', an attitude indistinguishable from the anti-traditional attitude itself and whose many manifestations in all domains constitute one of the most important factors in the confusion of our time; we shall therefore now study this individualism more closely.
----
excerpts from The Crisis of the Modern World by René Guenon
Chapter 4: Sacred and profane science
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
via WordPress ift.tt/2MlEyTq
[Images courtesy of Balmond Studio]
Last summer, BUILD met with engineer-architect-artist, Cecil Balmond at his London Studio to discuss his most recent projects and the thinking behind his experimental design process. Prior to opening Balmond Studio, his career spanned 40-plus years at Ove Arup & Partners where he worked on pioneering projects with renowned architects all over the globe. Balmond discussed the notion of architecture in a dynamic environment, the designer’s intuition, and his most recent projects. For part 1 of the conversation, hop over to ARCADE Magazine, Issue 36.1, available in print and on their website.
Tell us about your previous role as Deputy Chairman at Arup, where you led thousands of engineers and architects.
There were seven of us on the board of directors at Arup and I was head of building business globally with around 6,000 people under my supervision. When I joined, Arup was a company of about 5,000 people and when I left it was 11,000 people. The job was a huge bureaucratic task in one way, but on the other hand, I was the only director who had an active design group. My design group ranged from 25 to 60 people and we handled about 30 jobs per year. I would choose two or three of these projects and I’d personally lead the design.
It was at this time that I began setting up the Arup architectural practices in Beijing, Shanghai, and Turkey, as well as the sector architectures such as ARUP Sport and Arup Health. Arup Sport was a great success and we hired expert architects to lead the projects, like Richard Rogers and Norman Foster.
How would you characterize the spirit at Arup?
Arup was a special organization because really it was led by Ove Arup at the beginning, who was a philosopher and a mathematician more so than an engineer. He was a man of the world with open ideas. That way of being really filtered down to certain people, like myself and others, who, if I’m honest, believed in design, and not necessarily engineering or architecture. Design was a much wider thing to us. Architecture had its own expert skill zone, and when it comes to the real grit of architecture, the specifications, window schedules, and the engineering, there is a horrendous, humungous amount of calculating to be done. But those are the mechanical parts of it. A great engineer is simply wonderful to watch at work because they’re intuitive, and I don’t just mean structural engineers, but environmental engineers, lighting engineers, etc. They’re dealing with intangibles almost, and yet they have an intuition that influences the building in a very holistic way. This method of working significantly contributed to my thinking that there are no limits in design.
Was there a particular moment or project that encouraged you to formalize your practice as an engineer-architect-artist?
No, it’s like a lot of things in life, you drift. It’s a question of being an opportunist. Occasions occur where your instinct is primed to take advantage of key opportunities. If you are a creative person, you are pushing, not knowing what you are pushing at and then something comes up and you just jump, you take it, and I think my career has been a series of those jumps.
There was a cathartic moment at about age 35 when I was smoking outside my office and decided when I went back in I could never do the same thing again. It was that decisive, I just knew. But I didn’t know what was next. So, I went back in and threw out all my learning and started learning again. I went through a personal mentorship for the next five years. I studied at night, going back to the original treaties of mathematics, going back to the three forbidding books and six postulates of the Greek mathematician Euclid. I went back to the very first precepts set by the Greeks, like the philosophy of the point above a line, above a plane, the line being drawn through thepoint, above the plane, being parallel, and so on. The books written about those postulates engaged my mind totally. It provided me with a mobile sense of geometry. Those postulates soon led to the idea of proportion.
The next step took five to ten years and it involved believing in a mobile sense of geometry, where forms are constantly in motion and architecture is only a snapshot in time. This led to a proportional sense of space and ultimately an episodic treatment of design. This sequence was dependent on releasing my hand and thinking more freely. It required that I start thinking differently about design, that buildings don’t stop at the four corners, and that they don’t necessarily have to have a floor, a roof, and sides. It was a personal odyssey of unlearning and it is key to the work I’m doing today.
Is there a common way that you approach each design project?
The way I work is generally scale-less as an idea. I tend to start with a metaphor or a feeling, something really vague. Then comes a sketch of something in space, some notion of space, or more accurately the notion of the intersection of space between it, it’s interiority, and the relation of the context of where it is. Just purely conceptually and it’s nothing to see yet. It might just be a few lines or a blotch. Then comes the idea of what is it. Is it art, engineering, or an architecture piece? Then comes the functionality, then comes the choice of scale. Once you choose scale, the material locks in. If it’s very small its thread or wire. If its humongous, its steel or trusses. Then comes configuration of scale. Last of all would be structure — actual structure as it means to an architect today. The actual skeleton, the actual thing is the last thing. If you start with that at all, you’ve lost the building. You’ve lost the spirit, you’ve lost what the building can do. At the end of my book Informal, there is a very interesting table of the hierarchy of decision making that goes through my mind.
You note that challenging assumptions is critical to your work. What is a recent example where challenging an assumption made a significant difference to the outcome of the project?
Toyo Ito and I designed the 2002 Serpentine Gallery Pavilion together and we decided to start with a box. Upon looking at a map of London’s Hyde Park, where the Pavilion is located each year, we realized that the park is a collection of crisscrossing lines. Then came the idea that this pavilion is the gathering of lines. We started playing around with algorithms and the type of geometries similar to the movement of a ball around a billiard table until we hit upon a geometry that came back on itself and completed the box. This exercise allowed us to break the boundaries of the envelope and challenge the notion of the box. Even though it was a 50-foot by 50-foot structure, the viewers inside had no idea that they were in a box. Spatially, it was much bigger than the bounding box of its geometry.
Tell us about your discovery of aperiodic tile invented by the mathematician Robert Ammann.
20 years ago, I felt that architects and the graphic arts had no idea what mathematics does, so I started researching numbers. I quickly realized that the prime numbers have powerful sequences that are unpredictable. They look like a kind of music when I interpret them, and they’ve held my interest for years. The geometry of these tiles is based on the prime numbers and this is what makes them aperiodic in that their assembly results in a new pattern each time — they never repeat. Daniel Libeskind and I applied the tile to the V&A Spiral which is the proposal for an extension to the Victoria and Albert Museum in London.
Your QXQ project addresses the need for prefabricated, modular housing. In your experience, what are the hurdles of implementing prefabricated, modular housing on a mass scale?
It’s the biggest challenge in the industry and no one’s cracked it — not even Arup. Years ago, they went in with a huge contractor here in the U.K. who does housing and they spent a lot of money researching prefab design. The result ended up looking like every other prefab. And that’s the problem, because in the end, for mass production, you need corners and right angles, and once you have corners and right angles, to save money you close the surface and then you’ve got a box. You can go and cut corners and triangles out and make it look interesting, but it’s still a box. You haven’t cracked the sense of living.
In order to be successful, prefabrication shouldn’t start with conventional ideas. It would be great to think that prefab housing could inject a new idea of living in such prescribed spaces. No one has been successful at this yet and I tried a bit with the QXQ project. So many boxes have already been done and I don’t want to do another box. What can I add to it apart from cuteness and your sensibility of design? I was interested in refuge housing and wanted to investigate low technology, using my ideas to make things less expensive. I wanted to try to use architecture in adaptable ways using cheap materials but highly sophisticated design techniques to make an interesting statement while being functional. My design started with a dodecahedron and sliced off parts. This allows stacking in any direction and, interestingly, it created the idea of a colony of tightly fit modules rather than a collection of prefabricated homes. All the sudden, you’re into biomorphic design and while the architecture and structure are straight-forward, the services become challenging. Where do the ventilation, water, and sewer systems fit? We haven’t quite cracked it yet. We’re building two units as a test, but we really need to build 12 of them to check our assumptions, and we need to be building hundreds of units to be commercially viable. There are a number of interested clients from all over the world and a particular army was interested in 40,000 units. That’s the kind of scale we need to make the concept great, but we need to get the first one right.
Rem Koolhaas cites that, “through your work, engineering can now enter a more experimental and emotional territory.” Are academic engineering programs following your lead?
I know certain architecture and engineering programs have taken my books as curriculum. The Scandinavians were the first to take up Informal, then some universities in the States and in England started using the book. I think it’s impacted young architects more than the engineering community as I suspect that the engineers may be enticed by the work but are afraid to pick up the book because the thinking is so radically different.
How has a non-linear approach to design affected the other areas of your life?
I started organizing parts of my practice at Arup in a non-linear basis and it was very successful. Rather than applying top-down thinking, I began using an informal, emergent thinking. As an example, I deliberately don’t file my books, so I go searching my library and randomly pick a book, and then open up to the middle of the book and I read. That immediately kicks me into something I never even thought of. In the early ‘90s I became convinced that the world was non-linear. We simply fight it to be linear in order to understand it. But actually, it was not understandable in the first place.
You’ve had a synergistic relationship with artist Anish Kapoor, including your collaborations on the 2003 Marsyas exhibit at the Tate Modern, the Temenos sculpture in north England, and the Arcelormittal Orbit built for the 2012 summer Olympics. Tell me a bit about the balance you two have found working together.
Anish and I came together originally for the Marsyas exhibit at the Tate Modern. It’s not so much the mechanics of the form making with Anish, it’s more about the discussions we have of what does it mean. I think that’s the driving spur between us. The mechanics of how you make the form is part of whoever’s skill set it falls under. So, if the items involve big spans, I’m doing it. If it’s an issue of color and surface, he’s doing it. Creative tensions about what is good or not arise, but it’s precisely these discussions that lead to the power of the form. It’s about a visceral reading of the form and how it moves you physically.
In any of these designs, you’ve got non-linear architectures and engineering forms, but it seems like you’re typically able to use a standard kit-of-parts like steel channels and I-beams. Do you feel that the materials and parts ever limit the form factor?
No, because I always take the materials as a given out of pragmatism rather than thinking that I’m going to invent a new material or form. This isn’t to say that you compromise what you’re doing, but you need to rationalize how you’ll build a design and in that comes certain decisions to make about the material.
Do you have any structural inventions that you’re particularly proud of?
The roof of the Arnhem Centraal project in the Netherlands includes a giant column that’s approximately 100-feet wide. It twists in space to support the roof and ground floor planes and it’s one of my best inventions. I thought the design would be prohibitively expensive, but it wasn’t.
Sensibilities and Intuitions of the Master Designer; an Interview with Cecil Balmond, part 2 syndicated from thegardenresidences.wordpress.com
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Intuition Summer Festival 2009. Het was weer een topfeest. Hemelse trance onder een strak blauwe hemel. Jammer dat het geluid in de buitenarea niet echt top was. Binnen was het net een dampende sauna 's avonds. Dat bleek wel want alle lenzen besloegen, waardoor het focussen binnen lastig was. Al met al toch nog een aardig setje, dat de sfeer van de dag goed weergeeft. Beleef die topdag en jullie party-momenten nu nog één keer opniew, door de slideshow te draaien. Thx. again Paul voor de leuke foto's! En Menno en Alda, respect! Jullie zijn er weer ingeslaagd om een topfeest neer te zetten. Pachtige line-up met de beste trance van het moment! Klasse! En last but not least, thx. to all nice partypeople and dj's for the nice photo-opportunities. Het was weer fun om jullie allemaal ontmoet te hebben :) Vooral de mini-after in de camper van Anja was erg gezellig :) Leuk om nog even door te gaan tot 03.00 uur op de parkeerplaats. Thx. Frans & Ginny voor de music en ride home! Moeten we vaker doen :)
Laat je op- en aanmerkingen achter op de foto! Ik hoor het graag van jullie! Hiervoor moet je wel eerst een Flickr-account aanmaken. Kun je gelijk je eigen partypics van Intuition Summer Festival daar online zetten :) Doodeenvoudig en erg makkelijk! Een free account is gratis. Hiermee kun je tot 100 MB of 200 foto's per maand plaatsen op Flickr. Een pro-account kost je nog geen 15 Euro per jaar. En je kunt dan onbeperkt foto's uploaden in elk formaat.
Foto(s) van Intuition Summer Festival 2009 nabestellen voor maar 1 Euro? Geef het/de fotonummer(s) door. Stuur een mail naar: dutchpartypics@yahoo.com. Daarna volgen details en stuur ik je via e-mail de high res. foto zonder logo toe!
© Dutchpartypics | Korsjan Punt 2009. Powered by Nikon D50/D80 DSLR, Nikon AF-S 18 - 105 mm VR, f: 3.5 - 5.6, Nikon AF-S 55 - 200 mm VR, f 3.5 - 5.6, Nikon AF-S 70 - 300 mm, f 4 - 5.6, Tamron XR DI 17 - 35 mm, f 2.8 - 4.0, Tamron XR DI 28 - 75 mm, f: 2.8 - 4.0 en Sigma EX DC-HSM 10 - 20 mm, f 4.0 - 5.6. Flash: Nikon Speedlight SB600 / Sunpak PF30X, incl. omnibounce. Compact: Panasonic Lumix FX500 and Sony Cybershot DSC-H10.
NIKON: At the heart of the image! & DUTCHPARTYPICS: Pounding, vivid pictures! Make your photos come alive!
It's been a long working month in Vancouver. Just wanted to share the nice view of my everyday walking home landscape.
Artists and curators talk about the Intuition and Ingenuity exhibition
Fri 23 March 2012, 1pm
at the Showroom Cinema, Sheffield
This special event brings together artists and curators from the "Intuition and Ingenuity" touring exhibition to discuss the impact of Alan Turing's life and ideas on contemporary art.
2012 is the 100th anniversary of the birth of Alan Turing, one of the greatest minds Britain has ever produced. Between inventing the digital computer and helping to decode the German Enigma machine, to founding the science of Artificial Intelligence, the world today would have been a very different place without him and his ideas. His work on morphogenesis (the biological processes that cause organisms to grow in a particular shapes) and the now famous Turing Test for machine intelligence have captured the imagination of artists for decades whilst his technological developments have given them the tools to create new kinds of artworks. This exhibition, which takes its name from Turing's own writing on the subject of mathematical reasoning, brings together a number of important artists from digital art pioneers to emerging contemporaries.
Speakers
Sue Gollifer (Co-curator), Anna Dumitriu (Artist and co-curator), Alex May (Artist), Gordana Novakovic (Artist) and Ernest Edmonds (Artist)
Speakers Profiles:
Sue Gollifer
Sue Gollifer is an artist an academic and a researcher at the University of Brighton, UK, and an early pioneer of new media art, her work is in national and international public and private collections. She is the Director of the ISEA International Headquarters, and is on a number of National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (CAA) College Arts Association, USA, Executive Board and the Vice President for Annual Conference, and CoLab, AUT University, New Zealand and SIGRAPH Art Gallery, Emerging Technologies and Computer Animation Festival review committees and a member of the Board of the ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC). She has been a curator of a number of International Digital Art Exhibitions including, ArCade, the UK Open International Biennale Exhibition, of Digital Fine Art Prints 1995 - 2007 and the SIGGRAPH Art Gallery Exhibition'04: Synaesthesia. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her 'Exceptional Services to the International New Media Community'. Gollifer is the assistant editor of the journal Digital Creativity, published by Taylor Routledge. arts.brighton.ac.uk/staff/sue-gollifer
Anna Dumitriu
Anna Dumitriu is an artist whose work blurs the boundaries between art and science. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. She is currently working on a Wellcome Trust funded art project entitled "Communicating Bacteria", collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project "Modernising Medical Microbiology". She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee. See unnecessaryresearch.org, www.normalflora.co.uk and www.artscienceethics.com
Alex May
Alex May works with light emitting technologies, computer programming, math, power tools, and physical objects as a canvas to create hybrid collisions of images and unexpected context. Developing his own software to combine 17th Century scientific theories of perspective and projective geometry with the real-time possibilities of readily available technologies such as high power graphics cards, Arduino, and Microsoft's Kinect, Alex's work uncovers and explores new artistic mediums that offer joyful extensions of the human experiences at best, and darkly invasive and upsetting self-reflection as its shadow.
Gordana Novakovic
Originally a painter, with 12 solo exhibitions to her credit, Gordana has more than twenty years' experience of developing and exhibiting large-scale time-based media projects. Her artistic practise and theoretical work that intersects art, science and advanced digital technologies has formed five Cycles: Parallel Worlds, The Shirt of a Happy Man, Infonoise and the ongoing Fugue. A constant mark of her work throughout her experiments with new technologies has been her distinctive method of creating an effective cross-disciplinary framework for the emergence of synergy through collaboration. Gordana exhibited and lectured at leading interdisciplinary festivals and symposia, and artistic and scientific conferences. Her works from the ongoing Fugue Cycle (www.fugueart.com) has been widely presented and exhibited. Alongside her artistic practice, in the last six years Gordana has been artist-in-residence and also a Teaching Fellow at Computer Science Department, University College London, where she has founded and curates the Tesla Art and Science Group www-typo3.cs.ucl.ac.uk/research/tesla/. She has received a number of international and British academic awards. gordananovakovic.net/ www.fugueart.com/
Ernest Edmonds
Ernest Edmonds was born in London in 1942. He has a PhD in logic and has been inspired by Alan Turing throughout his career. He is a research professor at UTS, Sydney, and DMU, Leicester. His art is in the constructivist tradition and he concentrates on systems and computation. He first used computers in his art practice in 1968. He first showed a generative time-based work in 1985. The Victoria and Albert Museum, London, is collecting his archives. His work is represented in the Digital Art Museum (DAM Projects GmbH, Berlin): www.dam.org/artists/phase-one/ernest-edmonds
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Steve Meyer/ HolisticDNA -- Higgs Boson IS Infinite Intelligence!
View Full Size
Contact me
My Web Page
On Blogger since April 2011
Profile views - 1027
My blogs
The Secret
"Communication" with Infinite Intelligence / The "God Particle" / Higgs Boson / HolisticDNA
"Miracle" in MD! The "God Particle" Energy Healing TRUE STORY
Higgs Boson - 2012, is actually 'Infinite Intelligence' - mid 19th Century / New Thought Movement
Steve Meyer LEVITATION - video recorded and authenticated The "God Particle" / Higgs Boson
"The Stairway to Heaven Manuscript" - Blueprint to reach Infinite Intelligence! The "God Particle"
"The Sixth Sense Activation Sequence"
The Pineal Gland / The Subconscious Mind's physical gateway to Infinite Intelligence
CERN / Higgs Boson - shake hands with The New Thought Movement - 150 years later!
Stop Depression and Anxiety Now!! The "God Particle" / Higgs Boson / Infinite Intelligence
The Sixth Sense Activation Sequence - GROUNDBREAKING New Book in 2012! Higgs Boson
Just What is HolisticDNA Energy Healing? The "God Particle" / Higgs Boson / Infinite Intelligence
The New Thought Movement /The "God Particle" / Higgs Boson / Infinite Intelligence / HolisticDNA
About me Gender Male
Industry Consulting
Occupation HolisticDNA Distance Energy Healer / Author of "The Sixth Sense Activation Sequence"
Location Maryland, United States
Links Wishlist
Introduction “The Stairway to Heaven Manuscript” – Blueprint to communicate with Infinite Intelligence…………… “I took 3 nights and 3 days off of work, to step by step find out why I ended up where I did, and what I was like in the past — there were a series of beliefs about changes, and problem solving, and crisis management, etc etc that were tied to negative beliefs, not positive — since you can’t change the past, the only way this could be done would be to change certain beliefs about types of events, and place them in a certain sequence working from the present to the past, systematically having all past experiences not have effected me at all. — I got to the sequence of changes needed, and found them to be “in theory” correct. Then I had to believe that if I could adopt these beliefs, in the order I had written, that they would work / instantly HEAL my Depression problem. I had to also believe that my mind would accept these new beliefs without question, and that I had come up with a way to fix all issues at once, and most importantly, the plan would work.
Interests #sixthsense, . #Infiniteintelligence #physics, #particlephysics, #quantum, #quantumphysics, #jennifermeyer, #healer, #healing, #miracle, #miracles, . #positivethinking, , #belief, #beliefs, #higgsboson. #thegodparticle. #energyhealing. #energyhealer, @holisticdna, #stevemeyer, #holisticdna, #lawofattraction, #napoleonhill, #thinkandgrowrich, #subconsciousmind, #subconscious, #intuition, #thesixthsense, #thesixthsenseactivationsequence, #thestairwaytoheavenmanuscript, #levitation, #faith, #science, #god, #creation, #intelligentdesign, #cern, #lhc, #vibrationofthought, #sextransmutation, #emotions, #desire, #supernatural, #spiritual, #bigbang, #DNA, #newthought, #newthoughtmovement, #beliefs, #beliefsystem, #positivethinking, #divine, #blueprint, #sixthsenseactivation, #meditation, #discoveryinstitute, #stephenhawking, #pinealgland, #sixthsense, . #Infiniteintelligence #physics, #particlephysics, #quantum, #quantumphysics, #jennifermeyer, #healer, #healing, #miracle, #miracles, . #positivethinking, , #belief, #beliefs, #higgsboson. #thegodparticle. #energyhealing. #energyhealer, @holisticdna, #stevemeyer, #holisticdna, #lawofattraction, #napoleonhill, #thinkandgrowrich, #subconsciousmind, #subconscious, #intuition, #thesixthsense, #thesixthsenseactivationsequence, #thestairwaytoheavenmanuscript, #levitation, #faith, #science, #god, #creation, #intelligentdesign, #cern, #lhc, #vibrationofthought, #sextransmutation, #emotions, #desire, #supernatural, #spiritual, #bigbang, #DNA, #newthought, #newthoughtmovement, #beliefs, #beliefsystem, #positivethinking, #divine, #blueprint, #sixthsenseactivation, #meditation, #discoveryinstitute, #stephenhawking, #holistic, #holistichealth, #wellness, #thesixthsense, #practitioner, #enlightenment, #holisticdnaenergyhealing, #infiniteintelligence, @infiniteintelligence, #energyhealing, #energyhealer, #distanceenergyhealing
Favorite Books The Sixth Sense Activation Sequence, The Stairway to Heaven Manuscript
This is a self published, non traditional oracle card deck by Renee Keith. Some cards are horizontal. Images are all created by Renee Keith with mixed mediums including digital photography, image transfers, paintings, ink, and digital editing. The symbolism can mean different things to different people, so there is no wrong or right way to read the cards. just use your intuition!
Intuition Summer Festival 2009. Het was weer een topfeest. Hemelse trance onder een strak blauwe hemel. Jammer dat het geluid in de buitenarea niet echt top was. Binnen was het net een dampende sauna 's avonds. Dat bleek wel want alle lenzen besloegen, waardoor het focussen binnen lastig was. Al met al toch nog een aardig setje, dat de sfeer van de dag goed weergeeft. Beleef die topdag en jullie party-momenten nu nog één keer opniew, door de slideshow te draaien. Thx. again Paul voor de leuke foto's! En Menno en Alda, respect! Jullie zijn er weer ingeslaagd om een topfeest neer te zetten. Pachtige line-up met de beste trance van het moment! Klasse! En last but not least, thx. to all nice partypeople and dj's for the nice photo-opportunities. Het was weer fun om jullie allemaal ontmoet te hebben :) Vooral de mini-after in de camper van Anja was erg gezellig :) Leuk om nog even door te gaan tot 03.00 uur op de parkeerplaats. Thx. Frans & Ginny voor de music en ride home! Moeten we vaker doen :)
Laat je op- en aanmerkingen achter op de foto! Ik hoor het graag van jullie! Hiervoor moet je wel eerst een Flickr-account aanmaken. Kun je gelijk je eigen partypics van Intuition Summer Festival daar online zetten :) Doodeenvoudig en erg makkelijk! Een free account is gratis. Hiermee kun je tot 100 MB of 200 foto's per maand plaatsen op Flickr. Een pro-account kost je nog geen 15 Euro per jaar. En je kunt dan onbeperkt foto's uploaden in elk formaat.
Foto(s) van Intuition Summer Festival 2009 nabestellen voor maar 1 Euro? Geef het/de fotonummer(s) door. Stuur een mail naar: dutchpartypics@yahoo.com. Daarna volgen details en stuur ik je via e-mail de high res. foto zonder logo toe!
© Dutchpartypics | Korsjan Punt 2009. Powered by Nikon D50/D80 DSLR, Nikon AF-S 18 - 105 mm VR, f: 3.5 - 5.6, Nikon AF-S 55 - 200 mm VR, f 3.5 - 5.6, Nikon AF-S 70 - 300 mm, f 4 - 5.6, Tamron XR DI 17 - 35 mm, f 2.8 - 4.0, Tamron XR DI 28 - 75 mm, f: 2.8 - 4.0 en Sigma EX DC-HSM 10 - 20 mm, f 4.0 - 5.6. Flash: Nikon Speedlight SB600 / Sunpak PF30X, incl. omnibounce. Compact: Panasonic Lumix FX500 and Sony Cybershot DSC-H10.
NIKON: At the heart of the image! & DUTCHPARTYPICS: Pounding, vivid pictures! Make your photos come alive!
Intuition Summer Festival 2009. Het was weer een topfeest. Hemelse trance onder een strak blauwe hemel. Jammer dat het geluid in de buitenarea niet echt top was. Binnen was het net een dampende sauna 's avonds. Dat bleek wel want alle lenzen besloegen, waardoor het focussen binnen lastig was. Al met al toch nog een aardig setje, dat de sfeer van de dag goed weergeeft. Beleef die topdag en jullie party-momenten nu nog één keer opniew, door de slideshow te draaien. Thx. again Paul voor de leuke foto's! En Menno en Alda, respect! Jullie zijn er weer ingeslaagd om een topfeest neer te zetten. Pachtige line-up met de beste trance van het moment! Klasse! En last but not least, thx. to all nice partypeople and dj's for the nice photo-opportunities. Het was weer fun om jullie allemaal ontmoet te hebben :) Vooral de mini-after in de camper van Anja was erg gezellig :) Leuk om nog even door te gaan tot 03.00 uur op de parkeerplaats. Thx. Frans & Ginny voor de music en ride home! Moeten we vaker doen :)
Laat je op- en aanmerkingen achter op de foto! Ik hoor het graag van jullie! Hiervoor moet je wel eerst een Flickr-account aanmaken. Kun je gelijk je eigen partypics van Intuition Summer Festival daar online zetten :) Doodeenvoudig en erg makkelijk! Een free account is gratis. Hiermee kun je tot 100 MB of 200 foto's per maand plaatsen op Flickr. Een pro-account kost je nog geen 15 Euro per jaar. En je kunt dan onbeperkt foto's uploaden in elk formaat.
Foto(s) van Intuition Summer Festival 2009 nabestellen voor maar 1 Euro? Geef het/de fotonummer(s) door. Stuur een mail naar: dutchpartypics@yahoo.com. Daarna volgen details en stuur ik je via e-mail de high res. foto zonder logo toe!
© Dutchpartypics | Korsjan Punt 2009. Powered by Nikon D50/D80 DSLR, Nikon AF-S 18 - 105 mm VR, f: 3.5 - 5.6, Nikon AF-S 55 - 200 mm VR, f 3.5 - 5.6, Nikon AF-S 70 - 300 mm, f 4 - 5.6, Tamron XR DI 17 - 35 mm, f 2.8 - 4.0, Tamron XR DI 28 - 75 mm, f: 2.8 - 4.0 en Sigma EX DC-HSM 10 - 20 mm, f 4.0 - 5.6. Flash: Nikon Speedlight SB600 / Sunpak PF30X, incl. omnibounce. Compact: Panasonic Lumix FX500 and Sony Cybershot DSC-H10.
NIKON: At the heart of the image! & DUTCHPARTYPICS: Pounding, vivid pictures! Make your photos come alive!
The Altra Intuition is a zero drop women's running shoe that is fully cushioned and promotes a more efficient style of running. This generous toe box tells your toes you are tired of abusing them. Find this super comfortable women's running shoe at NaturalRunningStore.com/AltraIntuitionGrey
Ship Type: Bulk carrier
Year Built: 2011
Length x Breadth: 229 m X 32 m
Gross Tonnage: 43754, DeadWeight: 80686 t
Speed recorded (Max / Average): 14.1 / 12.4 knots
Flag: Greece [GR]
Call Sign: SVBH7
IMO: 9471276, MMSI: 241118000
ORGONITE personalizado:
E-mail:······info@orgonita.net
Web:·········http://www.orgonita.net
············································································································
ORGONITE
Estos orgonites han sido diseñados con cariño combinando diferentes metales nobles, cuarzos y piedras preciosas con elegancia. Piezas únicas que añaden energía extra y además potencian las cualidades psico-espirituales de su portador o la energía de los ambientes en los que se colocan.
Los orgonites son generadores de orgón que transforman la energía negativa o caótica del ambiente causada por las radiaciones electromagnéticas producidas por las antenas de telefonía móvil, microondas, instalaciones de alta tensión, etc. Asímismo revierten los efectos negativos de pensamientos tales como la reacción a dolores, resentimientos, enfermedades y miedos que influyen sobre nuestros campos etéreos o electromagnéticos transformándolos en energía vital positiva, ordenada y en perfecta sintonía con la Naturaleza y el Universo.
··························································································································
Minerales tratados con Reiki y frecuencias de Solfeggio para ampliar su campo de efectividad.
··························································································································
Last weekend I was desperate to get out and take photos so I set an early alarm and headed over to Cronulla for sunrise. Stumbled across these interesting rocks down the other end of the beach from where I 'normally' shoot.
Camera: Canon EOS Kiss X4
Lens: Canon EF-S 10-22mm f/3.5-4.5 USM
Exposure: 0.25 seconds
Aperture: f/11
Focal Length: 10mm
Filters: Cokin P121M
"The Act of Painting, Intuition (Works on paper)" traveling exhibition
Takarazuka Arts Center, Cube Hall
2021.09.10-12
"The Act of Painting, 直感 (紙作品)" 巡回展
宝塚市立文化芸術センター キューブホール
2021.09.10-12
takarazuka-arts-center.jp/wordpress/2021/08/05/20210910_1...
展覧会：加藤義夫芸術計画室 × TAOP
INTUITION！ Works On Paper
直感 紙の作品
会期：2021年9月10日（金）～12日（日）10:00～18:00 ※最終日は15:00まで。
会場：宝塚市立文化芸術センター 1階キューブホール
入場料：無料
主催：加藤義夫芸術計画室 × TAOP
展覧会に関するお問い合わせ：
【The Act Of Painting】https://www.theactofpainting.com/
【日本お問い合わせ】mail@mayakonakamura.jp（中村）
関連事業 （センター共催）：
★ワークショップ★
からだを使って色と遊ぼう！
◆日時：9月11日（土）A13:00～14:00 B15:00～16:00
◆参加料：無料
◆定員：各5名
A-1 絵具を流して描いてみよう 13:00～14:00
A-2 まるをいっぱい描いてみよう 13:00～14:00
B-1 手足を筆にして描いてみよう 15:00～16:00
B-2 絵具を飛ばして描いてみよう 15:00～16:00
◆対象年齢：小学校1～6年生
※汚れてもよい服装でお越しください。
※手や足を洗った後に拭くタオルをご持参ください。
◆会場：1階キューブホール
◆講師：柴田知佳子・中村眞弥子
ワークショップ申込方法★以下の2つの方法で受付★
※受付開始は 8月31日（火）10:00～
【宝塚市立文化芸術センター】
●電話：0797-62-6800
※電話受付は10:00-18:00、水曜日（休館日）を除く
●メール：event@takarazuka-arts-center.jp
※以下の件名・情報をご記載の上、送信ください
【件名】TAOPイベント申し込み
【本文】①氏名、②ワークショップ番号（A-1、A-2、B-1、B-2）、③ご連絡先、④宝塚市立文化芸術センターの個人情報の取り扱いに同意する
※同じ時間（A-1とA-2など）の同時参加は不可です。
※AとBの連続参加は可能です。
★アーティストトーク★
加藤義夫×柴田知佳子×中村眞弥子◆日時：9月12日（日）13:00～14:00
◆定員：先着30名（申込不要）
◆参加料：無料
◆会場：1階キューブホール
※ライブ配信を行うため、会場の撮影を行います。あらかじめご了承ください。
主催：加藤義夫芸術計画室 × TAOP
共催：宝塚市立文化芸術センター
関連事業に関するお問い合わせ：宝塚市立文化芸術センター [指定管理者：宝塚みらい創造ファクトリー]
TEL：0797-62-6800
MAIL：info@takarazuka-arts-center.jp