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Objectivity, truth, are tricky. There's the linguistic complexity and the abstracts.
I used to work for an organisation who called themselves 'neoplatonist', simplistically considering that Plato's Ideals existed in the real world, somewhere, and applied themselves to material objects in various ways. Maybe I misrepresent them - but I didn't buy much of their philosophy. One Idea was that there was an Ideal Science. I read the booklet (generated may years before by the Leader of the time, a prolific man, but a man of libraries, archives and words) but made neither head not tail of it in scientific terms. There was no understanding of the Method, or Process, Ideal Science was just a static thing, so - no spiralling round the 'Truth' to get closer to it.
This Order also placed high value on the Will as an aspect of Mind/Intellect. They did indeed show remarkable willpower and staying power since 1947. But each individual Willed towards slightly different objectives, according to character. This could, at times, generate considerable conflict, especially with employees! I thought they paid insufficient attention to the physical body and the 'heart's' emotions. These three (or two if you consider the mind a strange emergence of the body) in fluctuating balance is what is required in my life, sometimes more, sometimes less.
The objective lens of a microscope is the one closer to the Object, the other is the eyepiece, maybe there's something in that. The Eye is further from the real thing which is too small to see unaided. The eye gives perspective, two eyes give distance, the mind extrapolates with imagination.
I like the upper case and the lower case, they can be so subtly expressive.
There is value in examining the past, enjoying or at any rate dealing with the present and speculating about the future.
This is an image of an icy puddle, now employed as background on my laptop. It froze, melted and sank into the mud ages ago, cycling and re-cycling itself. I'm looking at it in a different way, now, and I'm feeling that I could work.
During our residency at Pilchuck Glass School, we expanded on work started at the Museum of Glass and we developed a series of new works involving sound making objects, printmaking and drawing. We gave two performances during our residency, and some of our printmaking was exhibited during November 2014 at the Pilchuck Glass School Exhibition Space. Additional documentation of our performances and print process are linked below.
Our sound work with glass involves the creation of shapes that can be bowed or struck to produce fundamental pitches and harmonics so that one instrument can sound more than one pitch. Working carefully with our expert gaffers, Manny Krakowski and Netty Blair, we were able to make several variations of vessel shapes that each produced a complex spectrum of tones. We were also able to develop methods of linking two or more objects on a rocking base so that two objects could be played simultaneously by one player and variations on timbre and attack through bowing, striking, rocking were possible.
For our performances we grouped objects in terms of their tunings and timbres making tuning changes (by reshaping, or filling vessels with water) where necessary to create a specific temperament. Once we created a temperament we improvised extensively with it and developed compositions for it. Our compositions are a mix of rehearsed sections/gestures connected by improvisation. While we usually decide how to start and end, the pieces are largely determined during the performance.
In both our sound and print work we used electro-magnet/neodymium magnet setups where the magnets moved in response to changes in the polarities of our electro-magnets that were triggered by fluctuations in the EMF of the space where they were.
As sound, the clinking/tapping of the magnets against glass added a percussive, chaotic element to our compositions; something that fueled our improvisations as the magnets never behaved the same way in each performance.
For the prints, we used the same set of circuitry, vessels and magnets, but as mark making elements. We set the magnets up on inked plates and let them roll until they were covered in ink and had left marks on the plates. We then made several prints with the plates, and then placed the electro-magnet setup on the prints’ surface in the same configuration and let the neodymium magnets deposit the ink they had previously gathered. Freshly inked magnets were also added in the process. As with the sound pieces, the electro-magnet’s polarity oscillates in response to changes in EMF around them.
Our drawings incorporate variations on the shapes of the goblet and the vessel, primary glassblowing forms that suggested to us the physiology of the inner ear. The drawings functioned as non-dimensional starting points for the development of our sculptural and sound making objects.
Our time at Pilchuck was special and we are grateful to the long list of wonderful people who made our experience so memorable including Tina Aufiero, Rebecca Arday, Jim Baker, Ben Wright, our gaffers Manny Krakowski and Netty Blair, our assistants Keunae Song and Anna Masowsky, Alex Gibson in the printshop, Rebekah Birkan, who constructed the amazing frame for the goblets from found metal in the Pilchuck metal shop and Zach Lorenzetti who made music with us and assisted behind the wheel!
Video of our electro-magnetic print process: www.mayarouvelle.com/?p=775
Soundcloud of recent performances on our glass instruments: www.mayarouvelle.com/?p=752
Artist website: www.mayarouvelle.com
I placed the car on white paper however it seemed to have the correct white balance on the screen of my camera, looking at it here the white balance seems off and it looks more grayish than white... :<
I have always enjoyed table top RPGs (think Dungeons and Dragons). I wanted to capture the anticipation and uncertainty in rolling a die that would have an impact on the story and game you are playing in. For this object photo I also wanted to experiment with some photo editing software. I used GIMP, a free Photoshop like program, to manipulate "color balance" and "hue saturation" in order bring out the purples, greens, and blues in what was originally a clear, somewhat bland, die. I took the photo on a piece of felt with all the lights turned off in my house, using only the flash.
An 11 is not a great roll when you can get a 20, but the imperfect roll of the die, with the tantalizing prospect of seeing a perfect 20, makes this a meaningful image to me.
Aperature: f/7.1
Shutter Speed: 1/125
ISO: 800
Auto Flash
Auto Focus
Focal Length: 55.0 mm
Raw to JPEG edited with GIMP
Original Photo: flic.kr/p/yJ6k8f
Felt, thread and sterling silver. April 2011.
I have been laser cutting felt as part of my experimentation with textiles and textile techniques. I stitched together this form as part of a series of jewellery based on the theme: Organic Modular Structures. This felt object can be manipulated into different forms by pushing a side in to form concave surfaces anywhere on the form.
A very long chain of events meant that it was sensible to get a new phone - so I went expensive.
The manual's 207 pages + appendicies and index. Might take a while to work out how it all works.
But it does make phone calls.
The graveyard by Katarina Kyrka. Photographed this exact spot months earlier with Black and white film but wanted to use color film tis time due to the blue flowers.
There's a place in South Yarra called Misty's Diner that sells what I gather is considered authentic American food. Naturally, it's a total hit amongst my friends, what with us tending toward the "robust", but my friend Brendan and I had never been. Until yesterday. I think I'm now addicted to Chil ... Via my Posterous blog, view the entry here
I knew this chain, roping off a monument, would make a neat picture. Love the bokeh!!
Action: My In A Hurry
Right now at the exhibition in Lisbon "Solúvel ao Vento" with Rafael Raposo Pires, 06/11-16/11 at Studio Atilho
Central Station
Object ID: 6832, Walther-von-der-Vogelweide square 1, 5
Cadastral Community: Klagenfurt
Klagenfurt Main Railway Station is a transit station in the city of Klagenfurt in the Austrian province of Carinthia and with up to 190 trains per day it's one of the most important traffic junctions in the south of Austria.
History
In 1863 Klagenfurt was connected to the Southern Railway and a central train station Klagenfurt-St. Ruprecht built. Klagenfurt was then to become the center of the railways in Carinthia, but the city fathers rejected this, so today the Villach main station takes over this role.
The Klagenfurt station was not until 1938 in the municipality Klagenfurt, only by the incorporation of St. Ruprecht the station in Klagenfurt Hauptbahnhof was renamed. During the Second World War, the old station was so badly damaged that it was demolished and a new building was built.
In the years 2001 to 2005 it was rebuilt and brought to the state of the art.
Reception building
The station building is structured in two levels. On the ground floor is the main station hall and platforms 1 and 21. A staircase and two escalators lead to the upper floor and to platforms 2 to 5. There is also a connection to the district St. Ruprecht.
At present (2011) trains can stop at Klagenfurt Central Station at 6 platforms, with a dead end track at platform 21. The platform 1 is located at the reception building and forms on the east side with the platform 21 a common middle platform. The platforms 2 and 3, and 4 and 5 are each together on a central platform. Due to the station offensive, the platforms are up-to-date in terms of accessibility and are equipped with lifts or escalators.
Hoke artwork
The main hall of the main station was designed by Giselbert Hoke. In 1950, he won his first competition: the design of now monument-protected wall frescoes in the hall, each 22 meters wide and 5 meters high. The east wall of the plaintiffs and the west wall of the defendants are modeled after Pablo Picasso.
The population of Klagenfurt, however, was not really attracted by modern art: after its completion in 1956, protests broke out. The artwork was preserved.
Hauptbahnhof
Objekt ID: 6832, Walther-von-der-Vogelweide-Platz 1, 5
Katastralgemeinde: Klagenfurt
Klagenfurt Hauptbahnhof ist ein Durchgangsbahnhof in der Stadt Klagenfurt im österreichischen Bundesland Kärnten und zählt mit bis zu 190 Zügen pro Tag zu den wichtigsten Verkehrsknoten im Süden Österreichs.
Geschichte
Im Jahr 1863 wurde Klagenfurt an die Südbahn angeschlossen und ein zentraler Bahnhof Klagenfurt-St. Ruprecht errichtet. Klagenfurt sollte damals Zentrum der Eisenbahnen in Kärnten werden, jedoch lehnten die Stadtväter dies ab, so dass heute der Villacher Hauptbahnhof diese Rolle übernimmt.
Der Klagenfurter Bahnhof lag bis 1938 nicht in der Gemeinde Klagenfurt, erst durch die Eingemeindung von St. Ruprecht wurde der Bahnhof in Klagenfurt Hauptbahnhof umbenannt. Im Zweiten Weltkrieg wurde der alte Bahnhof so stark beschädigt, dass er abgerissen und ein neues Gebäude errichtet wurde.
In den Jahren 2001 bis 2005 wurde er umgebaut und auf den neuesten Stand der Technik gebracht.
Empfangsgebäude
Das Bahnhofsgebäude ist in zwei Ebenen strukturiert. Im Erdgeschoss befindet sich die Bahnhofshaupthalle sowie die Bahnsteige 1 und 21. Eine Stiege und zwei Rolltreppen führen zum Obergeschoss und zu den Bahnsteigen 2 bis 5. Außerdem gibt es eine Verbindung zum Stadtteil St. Ruprecht.
Zurzeit (2011) können am Klagenfurter Hauptbahnhof Züge an 6 Bahnsteigen halten, wobei an Bahnsteig 21 ein Stumpfgleis liegt. Der Bahnsteig 1 befindet sich beim Aufnahmegebäude und bildet auf der Ostseite mit dem Bahnsteig 21 einen gemeinsamen Mittelbahnsteig. Die Bahnsteige 2 und 3 sowie 4 und 5 liegen jeweils zusammen an einem Mittelbahnsteig. Die Bahnsteige entsprechen auf Grund der Bahnhofsoffensive dem aktuellen Stand in Bezug auf Barrierefreiheit und sind mit Liften bzw. Rolltreppen ausgestattet.
Hoke Kunstwerk
Die Haupthalle des Hauptbahnhofes wurde von Giselbert Hoke gestaltet. Im Jahr 1950 gewann er seinen ersten Wettbewerb: die Gestaltung von inzwischen denkmalgeschützten Wandfresken in der Halle, jeweils 22 Meter breit und 5 Meter hoch. Die ostseitige „Wand der Kläger“ und die westseitige „Wand der Angeklagten“ zeigen sich in einer Formensprache nach Pablo Picasso.
Die Klagenfurter Bevölkerung zeigte sich von der modernen Kunst jedoch wenig angetan: Nach der Fertigstellung im Jahr 1956 kam es zu Protesten. Das Kunstwerk blieb aber erhalten.