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object YYYYMMDD(UT) mag code
SN2018ast 20180419.46839 16.31CR San.VSOLJ
Observer's code:
San: Yasuo Sano (Nayoro, Hokkaido,Japan)
Instruments: SCT-0.36m FL3950mm F11 + FLI ML1001 40s exp.x21
Comparison stars: Magnitudes based on UCAC4 star Rmag=+14.882,
by Yasuo Sano Nayoro Hokkaido japan
After I posted this shot, I noticed that the rough edges at the top of the objects (I still don't know what they are—jars of some kind?) make it look as though I've done a bad cut-and-paste job in Photoshop. In fact, there was no cutting or pasting involved: the rough edges are part of the jars themselves. They're ceramic and are very irregular on top for some reason—something to do with their construction.
The black background is a result of the lighting. The room was very dark, but the jars were lit quite strongly.
Addendum: My brother suggests that the objects are candle holders. Seems reasonable to me.
IMG_9666_2_s_r (4, 32)
Viewing the forms of objects as they change over time.
the animated version can be seen here www.vimeo.com/434401
Oil on canvas
20" x 20"
June 2015
None of This Was Real is a series of oil paintings that portrays fictional scenes of objects randomly generated by a computer program. These objects are a product of code written by the artist and rendered using a global illumination ray tracing engine. They are effectively subjects for still life. But there was never any life – any reality – in the subjects. Everything was virtual and simulated.
The software for creating the reference images was written in Processing (processing.org), with the additional help of toxiclibs (toxiclibs.org) for geometry creation and Sunflow (sunflow.sourceforge.net) for the global illumination rendering engine.
Left : a pot in the shape of a cow, perhaps simply illustrating the common joy in seeing loved livestock appear in everyday objects. It would be pleasant to think that the verracos were likewise simply decorative elements to follow pastoral life in croft, castro and village, but this would neither explain the back pits or the patterns of damage. Also, granite is not clay, and the great amount of time spent carving even the smallest verraco might seem excessive for just such an 'ornamentation' to have lasted for between 4 and 500 years without phasing into a symbol of power. Finding a function for verracos that enhances the lives of the people who take the time to first make or 'buy' them, and then damage some, but not all of them them - again and again and again, seems to be a desired solution.
The central image is from a find I posted in August 2020 of cups integrated into the pedestal of a clapper bridge aside the hamlet of Fariza in the Sayago region (see below for a more detailed post). The bridge is down river from a second site seen aside the village of Argañín. This site (also posted below) is thought to be from the first ages of metal, so from prior to the ages of the verraco. If the function of the cups can be understood, then it might be possible to conject that it was logical and appropriate to add the old ways of cup usage to the new ways of verracos.
The right-hand image was taken outside of the walls of the castro of Yaca de Yeltes. We see a field of planted stones. The area stops and starts and does not seem to be a residue of a general fortification. A verraco was found in soil between the stones. Understanding how these rough standing stones might have related to verracos is of interest.
When you look for the original find locations of currently known examples, blur often creeps in, as verracos were regularly taken to local villages squares, used as building materials and associated with burial. Selected persons who die after spending a life working and living around verracos would surely be respected with the gift idea of being buried next to an example, and the juxtaposition of grave and verraco may not reveal how the form originally energised peoples and cultures in their everyday. Egypt saw household objects as grave goods and a dedicated funeral statue of a loved pastoral animal next to a grave with multiple bashes to the hoof and nose area seems like a topsy-turvy idea.
AJM 18.11.21
Ok thats the story! I went to my surrounding area, because the weather was good to take some pictures. I found this nice place all over Graz which provided a great view with these nice sunbeams spotting down.
So I was searching for an object to put it in front, because I learned "you always need to have an object". :)
Now, there wasn't anything interesting even close.. so I abused my car. Actually it wasn't well prepared, no cleaning since months and even still this ugly box on the roof from my latest holidays.
Anyway I am quite pleased with the result, It gives the impression of being in holidays, even because the ugly box is on top. ;)
Well, I got back from my little trip and here is one of my finds. Not sure why it is that I like these little mysteries, but I do. It shouldn't be too hard to figure out.
Oil on canvas
36" x 18"
June 2015
None of This Was Real is a series of oil paintings that portrays fictional scenes of objects randomly generated by a computer program. These objects are a product of code written by the artist and rendered using a global illumination ray tracing engine. They are effectively subjects for still life. But there was never any life – any reality – in the subjects. Everything was virtual and simulated.
The software for creating the reference images was written in Processing (processing.org), with the additional help of toxiclibs (toxiclibs.org) for geometry creation and Sunflow (sunflow.sourceforge.net) for the global illumination rendering engine.