View allAll Photos Tagged memory
Another view of the Memory Void. Although allowed to do so, we couldn't bring ourselves to step on the faces. Just too emotional.
"The Jewish Museum Berlin, which opened to the public in 2001, exhibits the social, political and cultural history of the Jews in Germany from the fourth century to the present, explicitly presenting and integrating, for the first time in postwar Germany, the repercussions of the Holocaust. " - libeskind.com/work/jewish-museum-berlin/
A short write up of our trip in the Lobster Journals - redlobsterjournal.blogspot.ca/2017/01/2009-central-europe...
My flickr album of Germany - www.flickr.com/photos/maclobster/albums/72157621432513313
Here is my YouTube slide show of Berlin.
"The installation Shalekhet (Fallen Leaves) by Menashe Kadishman can be found in the Memory Void, one of the symbolic spaces on the ground level of the Libeskind building. The floor of the void is covered by more than ten thousand faces with open mouths, cut from heavy round iron plates.
The installation is a gift from Dieter and Si Rosenkranz. Menashe Kadishman’s sculptures stir painful memories of the victims of war." - www.jmberlin.de/en/shalekhet-fallen-leaves
As always, thoughtful feedback, constructive criticisms, and suggestions are always appreciated. As always, I have used tools at my disposal to interpret the original raw file. Use of this photo without permission is not permitted.
Live at OXJAM Safehouse / Spirit of Gravity / Beatabet all dayer, The Rose Hill, Brighton, 15.10.2016
Engram : Data Sculpture
3+1 AP
6M x 5M Media Wall, 3MM LED, Custom Software
Sound Design : Kerim Karaoglu
Custom Software : Kyle McLean
Deaigned and developed at Refik Anadol Studio
From February 7 through March 17, 2018, Pilevneli Gallery presented Refik Anadol’s latest project on the materiality of remembering. Melting Memories offered new insights into the representational possibilities emerging from the intersection of advanced technology and contemporary art. By showcasing several interdisciplinary projects that translate the elusive process of memory retrieval into data collections, the exhibition immersed visitors in Anadol’s creative vision of “recollection.”
“Science states meanings; art expresses them,” writes American philosopher John Dewey and draws a curious distinction between what he sees as the principal modes of communication in both disciplines. In Melting Memories, Refik Anadol’s expressive statements provide the viewer with revealing and contemplative artworks that will generate responses to Dewey’s thesis.
Comprising data paintings, augmented data sculptures and light projections, the project as a whole debuts new advances in technology that enable visitors to experience aesthetic interpretations of motor movements inside a human brain. Each work grows out of the artist’s impressive experiments with the advanced technology tools provided by the Neuroscape Laboratory at the University of California, San Francisco. Neuroscape is a neuroscience center focusing on technology creation and scientific research on brain function of both healthy and impaired individuals. Anadol gathers data on the neural mechanisms of cognitive control from an EEG (electroencephalogram) that measures changes in brain wave activity and provides evidence of how the brain functions over time. These data sets constitute the building blocks for the unique algorithms that the artist needs for the multi-dimensional visual structures on display.
Anadol’s installations do not only address a productive espousal of cutting-edge technology and art but also a strong preoccupation with the study of human memory from Ancient Egyptians to Blade Runner 2049. The exhibition’s title, Melting Memories, refers to the artist’s experience with unexpected interconnections among seminal philosophical works, academic inquiries and artworks that take memory as their principal themes. The title further draws attention to the melting of neuroscience and technology into these centuries-long philosophical debates, questioning the emergence of a new space where artificial intelligence is not in conflict with individuality and intimacy.
For more information: refikanadol.com/works/melting-memories/
The holidays often bring up memories of family and friends who are no longer with us. Sadly, another has been added to the list. My Uncle Bob died yesterday after a long illness. My thoughts are with my cousins who lost their father and my Dad and Uncle Roger who lost their big brother.
Memories. 52 in 2013
Wine fits the theme and can hit all categories. Taken for the Macro Mondays group theme of “obsession, passion, and addiction.”
Strobist info:
SB-800 @ 1/32 from below through the opaque white craft sheet the corks are on to soften the shadow and illuminate the underside.
SB-R200 @1/32 direct right in a homemade softbox.
SB-R200 @1/8 from high left, gridded.
A very nice memory - namely a MV-22 in a damp sky rotating in full hover while its green aircraft beacon was on. Note not just the jet wash and the beacon but also the tail art.
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Please enjoy my V-22 pictures. Big fan of the V-22 tiltrotor that can take off like a helicopter, fly like an airplane and either hover or land like a helicopter as appropriate.
To see more of my Seafair 2014 photos, please see my Seafair collection. I deeply enjoyed the flying, the community and the rest of the festivities.
To see more MAGTF Demo photos from Seafair 2014 - go here: www.flickr.com/photos/avgeekjoe/sets/72157646261694354/
Nikon N4004. This was part of a shrine to Steve Jobs outside of the Apple Store on Walnut Street (Philadelphia, PA).
The Hall of Memory
The Hall of Memory in Centenary Square, Birmingham, England, designed by S. N. Cooke and W. N. Twist, is a war memorial erected 1922–25, by John Barnsley and Son, to commemorate the 12,320 Birmingham citizens who died in World War I.
Built directly over a filled-in canal basin of Gibson's Arm, it was the first structure in an area (now occupied by Centenary Square and the International Convention Centre and Symphony Hall) purchased by the council for the creation of a grand civic scheme to include new council offices, the mayor's residence, a public library, and a concert hall. The scheme was abandoned after the arrival of World War II with only half of the planned Baskerville House having been built.
Made from Portland stone, from the Isle of Portland in Dorset, the foundation stone was laid by HRH The Prince of Wales on 12 June 1923 and it was opened by Prince Arthur of Connaught on 4 July 1925 to a crowd of 30,000. Construction had cost £60,000 and was funded through public donations. The four statues around the exterior are by local artist Albert Toft. They represent the Army, the Navy, the Air Force, and Women's Services.
The interior features three carved bas-relief plaques (155 cm x 223 cm) by William Bloye representing three tableaux: Call (departure to war), Front Line (fighting), Return (arrival home of the wounded). These bear inscriptions:
OF 150,000 WHO ANSWERED THE CALL TO ARMS 12,320 FELL: 35,000 CAME HOME DISABLED
AT THE GOING DOWN OF THE SUN IN THE MORNING WE WILL REMEMBER THEM
SEE TO IT THAT THEY SHALL NOT HAVE SUFFERED AND DIED IN VAIN +*+
There is also a roll of honour illustrated by Sidney Meteyard.
The hall was upgraded on 27 October 2014 to a Grade I listed building from its previous Grade II.
The colonnade, now in St. Thomas' Peace Garden
During the Birmingham Blitz, on the night of 11 December 1940, all but the fine tower and classical west portico of St. Thomas' Church, Bath Row, was destroyed by German bombs. The church was never rebuilt. The First World War Memorial colonnade, which had been built alongside the Hall of Memory in 1925, was relocated there when Centenary Square was laid out 1989. The gardens were re-designed as the St. Thomas' Peace Garden in 1995 in commermoration of the fiftieth anniversary of the end of World War II, as a monument to peace, and as a memorial to all those killed in armed conflict.
Photographs are the memories you can’t forget. Especially the ones of your holidays spent in Maldives, the paradise on earth!
If you have any questions, want to book me, buy photos or even just say "hello", feel free to send me an email [mashafeeg@gmail.com], and I'll get back to you soon as possible, Thank you!
When I lived in St. Louis, a woman who made crafts, made these four clay dog figurines for me …one four each of my oh-so-loved, now gone, Babies. She didn’t want a photo, but, instead wanted to make them from my description and her imagination.
I always hated the Silky Terrier one (the tall one) because it looks nothing like Cody, let alone a Silky. And, the three Cairns really don’t capture my Babies hair color. Plus they all have same expression.
But, nonetheless, because her heart was in the right place and she was so thrilled with what she created, I have kept them. Even though they are not a likeness, her gesture was really so sweet.
Also, each one has one of my Babies’ name attached to it, so how can I let them go?
Now, they add a bit of whimsy and cuteness, , plus a nice memory of the lovely lady who made them, to a section on my bookcase.
For my Flickr groups…