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Something’s stirring underneath the industrial fumes of Rotterdam. Amidst the rancid rats, malodorant traffic and greasy trays of manufactured meat, vast masses of unobtained, raw energy flows about freely. From the emptiness which arose from the omnipresence of materialism and technology, something new can manifest in it’s wake. Turning their backs to the metropole’s mass-identity and urban-individual, the unavoidable birth of Dool has taken place.
Dool wanders through dim streets, out of the city - into the wild. Carried by infinite, sometimes hypnotizing guitar parts, singer Ryanne van Dorst takes the listener from dark caves, inhabited by ancient ghosts (“Oweynagat”), to the deep abysses of a broken heart (“Death of Love”). At times sensual and teasing, like a child molester holding a bag of candy on a playground (“Words on Paper”), at other times imposing and ominous, in the sinister, 10 minute-long epic “Vantablack”.
The band, consisting of Micha Haring (The Devil’s Blood, The Hands) on drums, Job van de Zande (The Devil’s Blood, Malkovich) on bass, Reinier Vermeulen (The New Media, Liar of Golgotha) on guitar and Nick Polak (Gold) on guitar, are aggressive as well as dynamic, alternating shreds of dark rock, gothic pop, as well as bits of psychedelic metal in an ever surprising manner. Audibly influenced by bands such as Sisters of Mercy and Sonic Youth, Dool bends their musical nurture to their own creation, searching for a true identity.
Common Split Gill - Schizophyllum commune - is perhaps the most widespread fungus in the world.
The cap is 1-4.5 centimeters wide and usually a shell or fan shape with a gray to whitish surface. Dry and covered by thin fine hairs, the flesh is thin and leathery. Underneath the cap are gill-like folds that are split lengthwise and many times serrated or torn. The gill produce basidospores, and the reason they appear to be split is because they often dry out and rehydrate many times throughout the growing season. This causes opening and closing of the split gills. The fruiting bodies that are produced each year because it is able to dry and rehydrate. Sporulating fruiting bodies can even be found in the middle of winter. Stalk is usually absent or very short. Fruiting can be solitary or in clusters on decaying hardwoods throughout the world. This fungus uses enzymes to decay the lignin in the wood causing “white rot”. This is because the cellulose left behind on the decaying wood is white. Non-edible for most, but often eaten in Malaysia and Burma.
Schizophyllum commune is easily recognized. Its tiny fruiting bodies lack stems, and they attach themselves like tiny bracket fungi on the dead wood of deciduous trees. Unlike a bracket fungus, however, Schizophyllum commune has what appear to be gills on its underside, rather than pores or a simple, flat surface. On close inspection the "gills" turn out to be merely folds in the undersurface--and they are very distinctively "split" or "doubled."
It is known that there is a single widespread species of Schizophyllum commune because worldwide samples of the fungus were able to produce fertile offspring with each other as long as they were different mating types. This was shown by John Raper at Harvard University in the 1950s.
The species name "commune" actually does refer to shared ownership, in an odd way; Schizophyllum commune is one of the most widely distributed and common mushrooms on the planet. Not only is it found from sea to shining sea on our continent, it is found on all six of the others. As a result of its omnipresence, it is also one of the most studied mushrooms on earth.
There have been rare cases of this fungus causing a human mycosis in immunodeficient children. Fruiting bodies were actually formed through the soft palate of a child’s mouth in one case.
"The American Cemetery at Colleville-sur- Mer is situated on the top of the cliff overlooking the famous Omaha Beach. The cemetery, 172 acres in extent, is one of fourteen American World War II Cemeteries constructed on foreign soil. Beyond the reception building, you will see a magnificent semi-circular memorial. Centered in the open arc of the memorial is a bronze statue which represents “The Spirit of American Youth rising from the waves”. In the extension of the ornamental lake there is a central path leading to the 10 grave plots where 9 387 soldiers are buried among which are 4 women and 307 unknown soldiers.
The crosses are oriented Westwards, towards their native land. The precisely aligned headstones against the immaculately maintained emerald green lawn and the omnipresence of the sea convey an unforgettable feeling of peace and serenity. At the crossing of the main paths laid in the form of a Latin Cross, the Chapel shelters a black marble altar on which is the inscription : “I give them eternal life and they shall never perish”. In the garden of the missing located behind the memorial is a semi-circular wall containing the names of 1 557 missing in the region.
The little haven of verdure invites you to meditation and memory. The Normandy American Cemetery is maintained by the American Battle Monuments Commission (ABMC), an independent agency created in 1923 by the Congress of the United States of America and attached to the executive branch of the US Gouvernment. The Commission is responsible for commemorating the services and achievements of the United States Armed Forces through the execution of suitable memory shrines, for designing, constructing, operating and maintaining permanent US military cemeteries and memorials in foreign countries. No one enters the Colleville Cemetery by chance, it must be a voluntary process. The visitor prepares himself to penetrate with attention and contemplation a piece of United States in France."
www.musee-memorial-omaha.com/en/partenaire/american-cemet...
www.abmc.gov/cemeteries-memorials/europe/normandy-america...
"Located between Arromanches and Grandcamp Maisy, on the Normandy coast, the Normandy American Cemetery and Memorial is a haven of peace which encourages contemplation. Here, in a beautifully green space perched upon a cliff overlooking Omaha Beach, about 10,000 perfectly aligned white crosses point towards America. In fact, within 173 acres, the cemetery of Omaha gives a home to the fallen American soldiers who sacrificed their lives in the name of freedom during World War II, namely the first episode of the battle of Normandy, “Operation Overlord” which commenced on 6th June 1944.
As well as this cemetery, the Omaha Beach site – a codename for one of the 5 ally landing sectors – is home to a semi-circle memorial, where at the centre is a bronze statue titled The Spirit of American Youth Rising from the Waves. A chapel and orientation table stand just a stone’s throw away, pointing towards the beaches where the allied forces landed in 1944. Discover the museum here which puts into perspective the daily life of these soldiers in France, who fought for liberty. Film, reconstitutions, uniform collections, weapons and vehicles will throw you into the heart of the history of the Normandy landings.
Outside of Omaha Beach, the landing beaches of Sword Beach, Juno Beach, Gold Beach and Utah Beach were the centre stage for the largest airborne military operation in history. Amongst these places of remembrance, Omaha Beach is the place where The Allies lost the majority of their troops. It is also a small corner of America on French turf: given to the US, these Normand territories are managed by the American Battle Monuments Commission."
us.france.fr/en/discover/normandy-visit-omaha-beach-ameri...
Park Güell is a garden complex with architectural elements situated on the hill of el Carmel in the Gràcia district of Barcelona, Catalonia, Spain. It was designed by the Catalan architect Antoni Gaudí and built in the years 1900 to 1914. It is part of the UNESCO World Heritage Site "Works of Antoni Gaudí" since 1984.
Eusebi Güell, a member of a rich and noble family from Barcelona, gave Antoni Gaudí in 1900 the contract for the construction of a "Garden City" on a derelict piece of land in the northeast of the city of Barcelona.
Gaudí took this task with both hands, because this allowed his ideas on a nature-inspired architecture shape. This also led to the growing rock pergolas, harmoniously integrated in the landscape and paths and stairs everywhere undulating, multicolored, mosaic decorations, which Gaudí the omnipresence of God wanted to express. Key parts of Park Güell, the entrance with porter's lodge and gatehouse, the fence, the porch, double staircase with Salamander (also known as Dragon) and the massive, undulating, seat. Both seat as Salamander consist of, literally, countless amounts of mosaic pieces.
The former porter's lodge, on the left side of the entrance, is now a souvenir shop. The former gatehouse on the right side of the entrance, houses the office of the park guides and is only occasionally accessible.
In the park stands the Casa Museu Gaudí, Gaudí a small museum. The park is build in a period of 14 years.
4me4you visits Omni Gallery which featured the artist KATSU - "MECHA".
Channelling the mischievous, anarchic spirit of Dadaists from the turn of the 20th Century, Japanese American artist KATSU (b.1982) began as a graffiti writer in the streets of New York in the early 2000s and has been developing his artistic output ever since.
Through the use of drone technology, video, sculpture, and public intervention, KATSU explores the omnipresence of digital culture, privacy and the pervasive anxiety around technology and its potential for use and misuse.
Mecha presents a suite of paintings made using drone technology which the artist has developed and honed for the past decade.
Channelling this technology, through custom-built painting drones and specialised software, the artist programs drones to create portraits, landscapes, and abstract dot paintings.
Presented as distinctive series’, each of the works have been created by deploying autonomous and semi-autonomous painting drones to render directly on the canvas. The final outcome is not exclusively made by the artist, but instead occurs in collaboration between human and machine - mechas.
These brightly coloured, playful paintings belie a more serious undercurrent. The human experience of mark making has been outsourced via technology to the machine, bringing the idea of authorship and validation into question. Rather than improving quality of life, it can be argued, technology has stripped away humanistic values like freedom, community, and progress by negating the very idea of the individual.
In 2015 KATSU mischievously exploited his newly developed drone technology in one of the first ever acts of large-scale public drone vandalism. Taking less than a minute to complete, the drone spray painted red lines across the face of model Kendall Jenner as she stood six stories tall on one of New York City’s most renowned billboard locations. This small, playful gesture marks a dawning for graffiti artists and vandals, shifting the potential for street writing into a whole new, and for the authorities, terrifying wave of unstoppable possibilities. KATSU’s drone paintings, both on small and monumental scales, interrogate progress at all costs and the onslaught of exploitative uses for these flying vehicles.
Mecha, presents KATSU’s pioneering technology via playful, expertly rendered paintings which serve to explore the conundrum of progress versus imprudent ambition. The exhibition questions where and how technology is allowed to terminally invade our lives.
Provocative live cam visit is a renowned way for adults to partner and participate in comfortable conversations with one another. It gives a phase to individuals to research their sexual longings and dreams in a safeguarded and consensual environment. With the ability to collaborate through webcam, clients can partake in hesitant and enticing conversations, share sexy stories, and even participate in sexual showings through virtual play. The omnipresence of provocative live cam talk has take off lately, with various stages offering an enormous number of components like classified shows, cam-to-cam joint efforts, and, shockingly, convenient transparency. Whether you're looking for a one-on-one experience or a get-together gathering, provocative live cam talk has something for everyone.
~ Nature conservation: How much is natural heritage worth in modernized Singapore? (Done By: Peh Chu Ming)
What does this picture show?
Numerous rows of trees planted along roads
The image that Singapore projects on the international scale is often characterized by the omnipresence of high-rise buildings, skyscrapers, modern highways and many other representative elements of modernity. While urban conservation has taken on a more visible profile in the government’s plans for the city’s development (e.g. this can be particularly seen in the many efforts to conserve shophouses in the CBD area for retail purposes), there are other issues which have gradually surfaced as well as Singapore transforms into a developed country.
In this picture, one can see how trees have been incorporated into Singapore’s highly urbanized CBD as a form of ‘decoration’ - blending both the urban and natural setting. Such forms of nature conservation are indeed very popular in modern cities such as New York and Singapore. Taking this to a broader level, Singapore has become increasingly concerned with nature conservation so that the possible irreversible damage that urban redevelopment planners can unwittingly impose on existing nature areas can be prevented. In 2005, the government announced its decision to set up a 2nd botanic garden in Marina Bay, taking another step in promoting the importance of nature conservation. On a separate note, there are also efforts taken to set aside Sungei Buloh as a mangrove and bird sanctuary in the hope to preserve the biodiversity and nature reserves in Singapore. Such are special conservation efforts that seek to reserve and preserve part of Singapore’s land for the natural environment.
So now one may ask: Why the needs to conserve nature when lands can be used to build more residential areas or even expand Singapore’s industries? Perhaps it is difficult to justify the conservation of natural areas given the pressing needs of development, but natural heritage areas bring in the tourist dollar too. And nature areas have intrinsic value, which can be given more weight by quantifying in dollar terms the benefits they afford. After all, it is not impossible to attach a dollar value to our natural heritage given the economic tools that are available to price such areas. There are various well established methodologies which have been applied to valuing environmental amenities, and have been used in Singapore in the past as well.
As nature conservation becomes increasingly emphasized upon – as it will be in the near future -, perhaps more and more of Singapore’s land will be reserved for such purposes. These may include the establishments of natural parks or botanic gardens – like the one that is undergoing construction in Marina Bay currently and the preservation and conservation of existing nature reserves. On a separate note, lands in Singapore that have already been modernized and industrialized – like our very own CBD – will ‘appear greener’ as well as a means to promote nature conservation, which has already shown its gradually darkening traces in most parts of Singapore. In fact, the initiation of such a trend has already been indicated in the picture shown above! I presume that as time goes by; our CBD will not solely be characterized by skyscrapers and modern features but instead with elements of nature in it as well. The image it projects on the international scale will most presumably contain an element of ‘glorious greenery’ in it and perhaps in the years to come, we will have Singapore’s very own “Garden” CBD! – perhaps
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Something’s stirring underneath the industrial fumes of Rotterdam. Amidst the rancid rats, malodorant traffic and greasy trays of manufactured meat, vast masses of unobtained, raw energy flows about freely. From the emptiness which arose from the omnipresence of materialism and technology, something new can manifest in it’s wake. Turning their backs to the metropole’s mass-identity and urban-individual, the unavoidable birth of Dool has taken place.
Dool wanders through dim streets, out of the city - into the wild. Carried by infinite, sometimes hypnotizing guitar parts, singer Ryanne van Dorst takes the listener from dark caves, inhabited by ancient ghosts (“Oweynagat”), to the deep abysses of a broken heart (“Death of Love”). At times sensual and teasing, like a child molester holding a bag of candy on a playground (“Words on Paper”), at other times imposing and ominous, in the sinister, 10 minute-long epic “Vantablack”.
The band, consisting of Micha Haring (The Devil’s Blood, The Hands) on drums, Job van de Zande (The Devil’s Blood, Malkovich) on bass, Reinier Vermeulen (The New Media, Liar of Golgotha) on guitar and Nick Polak (Gold) on guitar, are aggressive as well as dynamic, alternating shreds of dark rock, gothic pop, as well as bits of psychedelic metal in an ever surprising manner. Audibly influenced by bands such as Sisters of Mercy and Sonic Youth, Dool bends their musical nurture to their own creation, searching for a true identity.
"The American Cemetery at Colleville-sur- Mer is situated on the top of the cliff overlooking the famous Omaha Beach. The cemetery, 172 acres in extent, is one of fourteen American World War II Cemeteries constructed on foreign soil. Beyond the reception building, you will see a magnificent semi-circular memorial. Centered in the open arc of the memorial is a bronze statue which represents “The Spirit of American Youth rising from the waves”. In the extension of the ornamental lake there is a central path leading to the 10 grave plots where 9 387 soldiers are buried among which are 4 women and 307 unknown soldiers.
The crosses are oriented Westwards, towards their native land. The precisely aligned headstones against the immaculately maintained emerald green lawn and the omnipresence of the sea convey an unforgettable feeling of peace and serenity. At the crossing of the main paths laid in the form of a Latin Cross, the Chapel shelters a black marble altar on which is the inscription : “I give them eternal life and they shall never perish”. In the garden of the missing located behind the memorial is a semi-circular wall containing the names of 1 557 missing in the region.
The little haven of verdure invites you to meditation and memory. The Normandy American Cemetery is maintained by the American Battle Monuments Commission (ABMC), an independent agency created in 1923 by the Congress of the United States of America and attached to the executive branch of the US Gouvernment. The Commission is responsible for commemorating the services and achievements of the United States Armed Forces through the execution of suitable memory shrines, for designing, constructing, operating and maintaining permanent US military cemeteries and memorials in foreign countries. No one enters the Colleville Cemetery by chance, it must be a voluntary process. The visitor prepares himself to penetrate with attention and contemplation a piece of United States in France."
www.musee-memorial-omaha.com/en/partenaire/american-cemet...
www.abmc.gov/cemeteries-memorials/europe/normandy-america...
"Located between Arromanches and Grandcamp Maisy, on the Normandy coast, the Normandy American Cemetery and Memorial is a haven of peace which encourages contemplation. Here, in a beautifully green space perched upon a cliff overlooking Omaha Beach, about 10,000 perfectly aligned white crosses point towards America. In fact, within 173 acres, the cemetery of Omaha gives a home to the fallen American soldiers who sacrificed their lives in the name of freedom during World War II, namely the first episode of the battle of Normandy, “Operation Overlord” which commenced on 6th June 1944.
As well as this cemetery, the Omaha Beach site – a codename for one of the 5 ally landing sectors – is home to a semi-circle memorial, where at the centre is a bronze statue titled The Spirit of American Youth Rising from the Waves. A chapel and orientation table stand just a stone’s throw away, pointing towards the beaches where the allied forces landed in 1944. Discover the museum here which puts into perspective the daily life of these soldiers in France, who fought for liberty. Film, reconstitutions, uniform collections, weapons and vehicles will throw you into the heart of the history of the Normandy landings.
Outside of Omaha Beach, the landing beaches of Sword Beach, Juno Beach, Gold Beach and Utah Beach were the centre stage for the largest airborne military operation in history. Amongst these places of remembrance, Omaha Beach is the place where The Allies lost the majority of their troops. It is also a small corner of America on French turf: given to the US, these Normand territories are managed by the American Battle Monuments Commission."
us.france.fr/en/discover/normandy-visit-omaha-beach-ameri...
A wooden decorative Royal Arch Masons Triple Tau.
The Triple Tau
The compound character known as the triple tau is one of the Royal Arch’s emblems. A triple tau is literally “three Tau’s,” the tau being the nineteenth letter in the Greek Alphabet. The triple tau of Royal Arch Masonry consists of 3 Ts linked in the centre joined at their base.
This mystical character can be signified in a few different ways.
First, the names Hiram of Tyre and Hiram Abif appear in the Phoenican language with the same letters “H” and “T” as they do in English. Therefore, the Triple Tau takes on the interpretation of the initial letters in Hiram Abif’s name.
Second, it signifies also T. H., Templum Hierosolym, the Temple of Jerusalem, and when used as the Royal Arch symbol, some jurisdictions teach that the wearer acknowledges himself a servant of God.
Third, Christians in Greek or Roman influence anciently used a tau cross. The basis of a triple tau in early church history would mean the trinity of father, son, and holy spirit. A belief in the triune nature of godhead is common to many faiths and religions.
A triangle is a simple shape in geometry that has taken on great spiritual significance and symbolism. The equilateral triangle was revered by ancient nations as containing the greatest and most abstruse mysteries, and as a symbol of God, denoting a triad of intelligence, a triad of deity, a triune God. The equilateral triangle shows equality with its three angles of the same degrees. In one way, it best represents deity by its equality or perfection in design and proportion.
The triangle is a symbol of divine union, and an emblem of the mysterious triune, equally representing the attributes of deity, and his triune essence: omnipotence (all powerful), omnipresence (eternal) and omniscience (all knowing).
4me4you visits Omni Gallery which featured the artist KATSU - "MECHA".
Channelling the mischievous, anarchic spirit of Dadaists from the turn of the 20th Century, Japanese American artist KATSU (b.1982) began as a graffiti writer in the streets of New York in the early 2000s and has been developing his artistic output ever since.
Through the use of drone technology, video, sculpture, and public intervention, KATSU explores the omnipresence of digital culture, privacy and the pervasive anxiety around technology and its potential for use and misuse.
Mecha presents a suite of paintings made using drone technology which the artist has developed and honed for the past decade.
Channelling this technology, through custom-built painting drones and specialised software, the artist programs drones to create portraits, landscapes, and abstract dot paintings.
Presented as distinctive series’, each of the works have been created by deploying autonomous and semi-autonomous painting drones to render directly on the canvas. The final outcome is not exclusively made by the artist, but instead occurs in collaboration between human and machine - mechas.
These brightly coloured, playful paintings belie a more serious undercurrent. The human experience of mark making has been outsourced via technology to the machine, bringing the idea of authorship and validation into question. Rather than improving quality of life, it can be argued, technology has stripped away humanistic values like freedom, community, and progress by negating the very idea of the individual.
In 2015 KATSU mischievously exploited his newly developed drone technology in one of the first ever acts of large-scale public drone vandalism. Taking less than a minute to complete, the drone spray painted red lines across the face of model Kendall Jenner as she stood six stories tall on one of New York City’s most renowned billboard locations. This small, playful gesture marks a dawning for graffiti artists and vandals, shifting the potential for street writing into a whole new, and for the authorities, terrifying wave of unstoppable possibilities. KATSU’s drone paintings, both on small and monumental scales, interrogate progress at all costs and the onslaught of exploitative uses for these flying vehicles.
Mecha, presents KATSU’s pioneering technology via playful, expertly rendered paintings which serve to explore the conundrum of progress versus imprudent ambition. The exhibition questions where and how technology is allowed to terminally invade our lives.
The blowing drapes reminded me of the Richard Wilbur poem -
'Outside the open window
The morning air is all awash with angels.
Some are in bed-sheets, some are in blouses,
Some are in smocks: but truly there they are.
Now they are rising together in calm swells
Of halcyon feeling, filling whatever they wear
With the deep joy of their impersonal breathing;
Now they are flying in place, conveying
The terrible speed of their omnipresence, moving
And staying like white water; and now of a sudden
They swoon down into so rapt a quiet
That nobody seems to be there.
The soul shrinks'
These are blue linen curtains, not laundry - but it's in the same spirit.
Carnaiba, Bahia. July 29, 2009. One of the most disconcerting things about being in an emerald mine 170 meters below the earth’s surface is the omnipresence of high explosives. The air reeks of ammonia and is filled with potentially deadly quartz dust. The technology is rudimentary and the safety precautions consist of an ample faith in God. This worker attaches blasting caps to the sacks of ammonium nitrate that will be used to detonate the living rock and hopefully reveal the emeralds that will one day adorn the necks, fingers and earlobes of women from Jaipur to Manhattan. Photo courtesy Brian Brazeal (CSU Chico)
"The American Cemetery at Colleville-sur- Mer is situated on the top of the cliff overlooking the famous Omaha Beach. The cemetery, 172 acres in extent, is one of fourteen American World War II Cemeteries constructed on foreign soil. Beyond the reception building, you will see a magnificent semi-circular memorial. Centered in the open arc of the memorial is a bronze statue which represents “The Spirit of American Youth rising from the waves”. In the extension of the ornamental lake there is a central path leading to the 10 grave plots where 9 387 soldiers are buried among which are 4 women and 307 unknown soldiers.
The crosses are oriented Westwards, towards their native land. The precisely aligned headstones against the immaculately maintained emerald green lawn and the omnipresence of the sea convey an unforgettable feeling of peace and serenity. At the crossing of the main paths laid in the form of a Latin Cross, the Chapel shelters a black marble altar on which is the inscription : “I give them eternal life and they shall never perish”. In the garden of the missing located behind the memorial is a semi-circular wall containing the names of 1 557 missing in the region.
The little haven of verdure invites you to meditation and memory. The Normandy American Cemetery is maintained by the American Battle Monuments Commission (ABMC), an independent agency created in 1923 by the Congress of the United States of America and attached to the executive branch of the US Gouvernment. The Commission is responsible for commemorating the services and achievements of the United States Armed Forces through the execution of suitable memory shrines, for designing, constructing, operating and maintaining permanent US military cemeteries and memorials in foreign countries. No one enters the Colleville Cemetery by chance, it must be a voluntary process. The visitor prepares himself to penetrate with attention and contemplation a piece of United States in France."
www.musee-memorial-omaha.com/en/partenaire/american-cemet...
www.abmc.gov/cemeteries-memorials/europe/normandy-america...
"Located between Arromanches and Grandcamp Maisy, on the Normandy coast, the Normandy American Cemetery and Memorial is a haven of peace which encourages contemplation. Here, in a beautifully green space perched upon a cliff overlooking Omaha Beach, about 10,000 perfectly aligned white crosses point towards America. In fact, within 173 acres, the cemetery of Omaha gives a home to the fallen American soldiers who sacrificed their lives in the name of freedom during World War II, namely the first episode of the battle of Normandy, “Operation Overlord” which commenced on 6th June 1944.
As well as this cemetery, the Omaha Beach site – a codename for one of the 5 ally landing sectors – is home to a semi-circle memorial, where at the centre is a bronze statue titled The Spirit of American Youth Rising from the Waves. A chapel and orientation table stand just a stone’s throw away, pointing towards the beaches where the allied forces landed in 1944. Discover the museum here which puts into perspective the daily life of these soldiers in France, who fought for liberty. Film, reconstitutions, uniform collections, weapons and vehicles will throw you into the heart of the history of the Normandy landings.
Outside of Omaha Beach, the landing beaches of Sword Beach, Juno Beach, Gold Beach and Utah Beach were the centre stage for the largest airborne military operation in history. Amongst these places of remembrance, Omaha Beach is the place where The Allies lost the majority of their troops. It is also a small corner of America on French turf: given to the US, these Normand territories are managed by the American Battle Monuments Commission."
us.france.fr/en/discover/normandy-visit-omaha-beach-ameri...
UAXACTUN
Uaxactun is a little-known Mayan archaeological site, located in Petén in Guatemala, about twenty kilometers north of Tikal. An “end of the world” atmosphere.
Much of the history of Uaxactún is inseparable from that of Tikal. The reason lies in their extreme proximity. It seems that it was Uaxactún who first saw the light of day, almost four millennia ago. Then, men settled on the current site of Tikal and developed a city there. During the preclassical era (800 BC to 200 AD), the two cities coexisted peacefully. The reason for this peace was their mutual subordination to a third city-state, El Mirador, located about sixty kilometers away. This domination of El Mirador over the region held back the expansionist desires of the two neighboring cities for a long time. But, towards the end of the 1st century AD, the mighty El Mirador was brought down. The two cities of Tikal and Uaxactún were then able to give free rein to their appetite for conquest. At the same time, they embarked on important architectural work. Temples, acropolises and altars were created. Too close, the two cities ended up being bothered by the presence of a rival power in their neighborhood. In 378, the conflict ended with the definitive defeat of Uaxactún, now a vassal of Tikal.
Uaxactún is nothing like Tikal except for the omnipresence of the lush forest. Indeed, there are no astonishing pyramids here. Uaxactún is a modest site made up of six groups of structures scattered on either side of the old airstrip built at the time when the city was the subject of a major excavation program. Uaxactun has platforms decorated with large stucco masks. The best known of these platforms is a structure each side of which has a staircase flanked by sixteen masks representing lords or monsters Witz (the god of the mountain in the Mayan religion). This pyramid was an astronomical observatory: its east side faces three small temples aligned so as to be able to observe the sunrise at the solstices and equinoxes.
**Itmann Company Store and Office** - National Register of Historic Places Ref # 90001775, date listed 11/28/1990
WV 10/16
Itmann, WV (Wyoming County)
The Itmann Company Store and Office is a rough-faced native sandstone building constructed between 1923 and 1925. Situated on approximately 1.75 acres of land, this detached, commercial building reflects elements of the Classical Revival style.
West Virginia, in particular its southernmost part, contains vast quantities of high quality coal whose attraction to entrepreneurs profoundly changed the history of the state after serious exploitation of the mineral began in the late nineteenth century. At that time, a few small towns dotted the landscape, but most of the sparse popxalation lived an agricultural and relatively isolated existence in the steep hills and narrow hollows characteristic of West Virginia. As a result, the creation of towns was necessary to support the mining families. Houses, schools, churches, and other buildings were erected by the coal companies who had acquired title or lease to the land in and around the new towns. At the center was the company store, which housed many of the important functions of the town and represented the omnipresence of the company in the mining town.
Itmann developed somewhat later than many company towns, but repeated this pattern. Although located only a few miles from Mullens and the Wyoming county seat at Pineville, the Itmann area was, until 1916, wilderness and vacant farmland, penetrated only by a narrow, rough, dirt road. That year, the Pocahontas Fuel Company acquired a lease to over 1,000 acres of land along the Guyandotte River, and the mining town of Itmann, named in honor of the company's president I. T. Mann, was built. Pre-cut frame houses were quickly erected. Soon, there were other frame buildings: two company stores, a theater, and two schools, one for whites and one for blacks. In the early 1920s, a brick school replaced the white school, and in 1925, the nominated property replaced the original stores. (1)
References (1) NRHP Nomination Form s3.amazonaws.com/NARAprodstorage/lz/electronic-records/rg...
4me4you visits Omni Gallery which featured the artist KATSU - "MECHA".
Channelling the mischievous, anarchic spirit of Dadaists from the turn of the 20th Century, Japanese American artist KATSU (b.1982) began as a graffiti writer in the streets of New York in the early 2000s and has been developing his artistic output ever since.
Through the use of drone technology, video, sculpture, and public intervention, KATSU explores the omnipresence of digital culture, privacy and the pervasive anxiety around technology and its potential for use and misuse.
Mecha presents a suite of paintings made using drone technology which the artist has developed and honed for the past decade.
Channelling this technology, through custom-built painting drones and specialised software, the artist programs drones to create portraits, landscapes, and abstract dot paintings.
Presented as distinctive series’, each of the works have been created by deploying autonomous and semi-autonomous painting drones to render directly on the canvas. The final outcome is not exclusively made by the artist, but instead occurs in collaboration between human and machine - mechas.
These brightly coloured, playful paintings belie a more serious undercurrent. The human experience of mark making has been outsourced via technology to the machine, bringing the idea of authorship and validation into question. Rather than improving quality of life, it can be argued, technology has stripped away humanistic values like freedom, community, and progress by negating the very idea of the individual.
In 2015 KATSU mischievously exploited his newly developed drone technology in one of the first ever acts of large-scale public drone vandalism. Taking less than a minute to complete, the drone spray painted red lines across the face of model Kendall Jenner as she stood six stories tall on one of New York City’s most renowned billboard locations. This small, playful gesture marks a dawning for graffiti artists and vandals, shifting the potential for street writing into a whole new, and for the authorities, terrifying wave of unstoppable possibilities. KATSU’s drone paintings, both on small and monumental scales, interrogate progress at all costs and the onslaught of exploitative uses for these flying vehicles.
Mecha, presents KATSU’s pioneering technology via playful, expertly rendered paintings which serve to explore the conundrum of progress versus imprudent ambition. The exhibition questions where and how technology is allowed to terminally invade our lives.
Colleville sur mer
Le cimetière
Le cimetière américain de Colleville sur Mer est situé au sommet de la falaise dominant la célèbre plage d’Omaha Beach. Nul n’entre dans le cimetière de Colleville par hasard, il faut en faire la démarche volontaire. Le visiteur se prépare pour aborder attentif et recueilli un morceau des États-Unis en France. Au-delà du Bâtiment de Réception, se trouve un magnifique Mémorial en demi-cercle au centre duquel une statue de bronze représente “l’Esprit de la jeunesse américaine s’élevant des flots”. Dans le prolongement du bassin où se reflète le Mémorial s’étire l’allée centrale desservant les 10 carrés de tombes où reposent 9 387 soldats dont 4 femmes et 307 inconnus.
Les croix sont toutes orientées à l’Ouest, vers le pays natal. L’alignement parfait des tombes sur la pelouse vert émeraude merveilleusement entretenue et l’omniprésence de la mer inspirent un sentiment inoubliable de paix et de sérénité. À la croisée des allées principales disposées en forme de croix latine, la Chapelle abrite un autel de marbre noir portant l’inscription : “Je leur donne la vie éternelle et ils ne périront jamais”. Dans le Jardin du souvenir, derrière le Mémorial, les noms de 1 557 disparus dans la région sont gravés sur un mur en arc de cercle.
Ce petit havre de verdure invite au recueillement et au souvenir. Le Normandy American Cemetery est entretenu par l’American Battle Monuments Commission (ABMC), agence indépendante créée par le Congrès des États-Unis en 1923 et rattachée au pouvoir exécutif américain. L’ABMC a pour mission de conserver la mémoire des sacrifices et des exploits des Forces Militaires Américaines là où elles servirent en construisant et entretenant à l’étranger les cimetières militaires et les mémoriaux américains.
American Cemetery
The American Cemetery at Colleville-sur- Mer is situated on the top of the cliff overlooking the famous Omaha Beach. The cemetery, 172 acres in extent, is one of fourteen American World War II Cemeteries constructed on foreign soil. Beyond the reception building, you will see a magnificent semi-circular memorial. Centered in the open arc of the memorial is a bronze statue which represents “The Spirit of American Youth rising from the waves”. In the extension of the ornamental lake there is a central path leading to the 10 grave plots where 9 387 soldiers are buried among which are 4 women and 307 unknown soldiers.
cimetiere_americain_1 cimetiere_americain_2
The crosses are oriented Westwards, towards their native land. The precisely aligned headstones against the immaculately maintained emerald green lawn and the omnipresence of the sea convey an unforgettable feeling of peace and serenity. At the crossing of the main paths laid in the form of a Latin Cross, the Chapel shelters a black marble altar on which is the inscription : “I give them eternal life and they shall never perish”. In the garden of the missing located behind the memorial is a semi-circular wall containing the names of 1 557 missing in the region.
The little haven of verdure invites you to meditation and memory. The Normandy American Cemetery is maintained by the American Battle Monuments Commission (ABMC), an independent agency created in 1923 by the Congress of the United States of America and attached to the executive branch of the US Gouvernment. The Commission is responsible for commemorating the services and achievements of the United States Armed Forces through the execution of suitable memory shrines, for designing, constructing, operating and maintaining permanent US military cemeteries and memorials in foreign countries. No one enters the Colleville Cemetery by chance, it must be a voluntary process. The visitor prepares himself to penetrate with attention and contemplation a piece of United States in France.
NORMANDY AMERICAN CEMETERY “Omaha Beach”
14710 Colleville sur Mer – France
Tél. : 02 31 51 62 00 – Fax : 02 31 51 62 09
Website : http : //www.abmc.gov
4me4you visits Omni Gallery which featured the artist KATSU - "MECHA".
Channelling the mischievous, anarchic spirit of Dadaists from the turn of the 20th Century, Japanese American artist KATSU (b.1982) began as a graffiti writer in the streets of New York in the early 2000s and has been developing his artistic output ever since.
Through the use of drone technology, video, sculpture, and public intervention, KATSU explores the omnipresence of digital culture, privacy and the pervasive anxiety around technology and its potential for use and misuse.
Mecha presents a suite of paintings made using drone technology which the artist has developed and honed for the past decade.
Channelling this technology, through custom-built painting drones and specialised software, the artist programs drones to create portraits, landscapes, and abstract dot paintings.
Presented as distinctive series’, each of the works have been created by deploying autonomous and semi-autonomous painting drones to render directly on the canvas. The final outcome is not exclusively made by the artist, but instead occurs in collaboration between human and machine - mechas.
These brightly coloured, playful paintings belie a more serious undercurrent. The human experience of mark making has been outsourced via technology to the machine, bringing the idea of authorship and validation into question. Rather than improving quality of life, it can be argued, technology has stripped away humanistic values like freedom, community, and progress by negating the very idea of the individual.
In 2015 KATSU mischievously exploited his newly developed drone technology in one of the first ever acts of large-scale public drone vandalism. Taking less than a minute to complete, the drone spray painted red lines across the face of model Kendall Jenner as she stood six stories tall on one of New York City’s most renowned billboard locations. This small, playful gesture marks a dawning for graffiti artists and vandals, shifting the potential for street writing into a whole new, and for the authorities, terrifying wave of unstoppable possibilities. KATSU’s drone paintings, both on small and monumental scales, interrogate progress at all costs and the onslaught of exploitative uses for these flying vehicles.
Mecha, presents KATSU’s pioneering technology via playful, expertly rendered paintings which serve to explore the conundrum of progress versus imprudent ambition. The exhibition questions where and how technology is allowed to terminally invade our lives.
4me4you visits Omni Gallery which featured the artist KATSU - "MECHA".
Channelling the mischievous, anarchic spirit of Dadaists from the turn of the 20th Century, Japanese American artist KATSU (b.1982) began as a graffiti writer in the streets of New York in the early 2000s and has been developing his artistic output ever since.
Through the use of drone technology, video, sculpture, and public intervention, KATSU explores the omnipresence of digital culture, privacy and the pervasive anxiety around technology and its potential for use and misuse.
Mecha presents a suite of paintings made using drone technology which the artist has developed and honed for the past decade.
Channelling this technology, through custom-built painting drones and specialised software, the artist programs drones to create portraits, landscapes, and abstract dot paintings.
Presented as distinctive series’, each of the works have been created by deploying autonomous and semi-autonomous painting drones to render directly on the canvas. The final outcome is not exclusively made by the artist, but instead occurs in collaboration between human and machine - mechas.
These brightly coloured, playful paintings belie a more serious undercurrent. The human experience of mark making has been outsourced via technology to the machine, bringing the idea of authorship and validation into question. Rather than improving quality of life, it can be argued, technology has stripped away humanistic values like freedom, community, and progress by negating the very idea of the individual.
In 2015 KATSU mischievously exploited his newly developed drone technology in one of the first ever acts of large-scale public drone vandalism. Taking less than a minute to complete, the drone spray painted red lines across the face of model Kendall Jenner as she stood six stories tall on one of New York City’s most renowned billboard locations. This small, playful gesture marks a dawning for graffiti artists and vandals, shifting the potential for street writing into a whole new, and for the authorities, terrifying wave of unstoppable possibilities. KATSU’s drone paintings, both on small and monumental scales, interrogate progress at all costs and the onslaught of exploitative uses for these flying vehicles.
Mecha, presents KATSU’s pioneering technology via playful, expertly rendered paintings which serve to explore the conundrum of progress versus imprudent ambition. The exhibition questions where and how technology is allowed to terminally invade our lives.
"The American Cemetery at Colleville-sur- Mer is situated on the top of the cliff overlooking the famous Omaha Beach. The cemetery, 172 acres in extent, is one of fourteen American World War II Cemeteries constructed on foreign soil. Beyond the reception building, you will see a magnificent semi-circular memorial. Centered in the open arc of the memorial is a bronze statue which represents “The Spirit of American Youth rising from the waves”. In the extension of the ornamental lake there is a central path leading to the 10 grave plots where 9 387 soldiers are buried among which are 4 women and 307 unknown soldiers.
The crosses are oriented Westwards, towards their native land. The precisely aligned headstones against the immaculately maintained emerald green lawn and the omnipresence of the sea convey an unforgettable feeling of peace and serenity. At the crossing of the main paths laid in the form of a Latin Cross, the Chapel shelters a black marble altar on which is the inscription : “I give them eternal life and they shall never perish”. In the garden of the missing located behind the memorial is a semi-circular wall containing the names of 1 557 missing in the region.
The little haven of verdure invites you to meditation and memory. The Normandy American Cemetery is maintained by the American Battle Monuments Commission (ABMC), an independent agency created in 1923 by the Congress of the United States of America and attached to the executive branch of the US Gouvernment. The Commission is responsible for commemorating the services and achievements of the United States Armed Forces through the execution of suitable memory shrines, for designing, constructing, operating and maintaining permanent US military cemeteries and memorials in foreign countries. No one enters the Colleville Cemetery by chance, it must be a voluntary process. The visitor prepares himself to penetrate with attention and contemplation a piece of United States in France."
www.musee-memorial-omaha.com/en/partenaire/american-cemet...
www.abmc.gov/cemeteries-memorials/europe/normandy-america...
"Located between Arromanches and Grandcamp Maisy, on the Normandy coast, the Normandy American Cemetery and Memorial is a haven of peace which encourages contemplation. Here, in a beautifully green space perched upon a cliff overlooking Omaha Beach, about 10,000 perfectly aligned white crosses point towards America. In fact, within 173 acres, the cemetery of Omaha gives a home to the fallen American soldiers who sacrificed their lives in the name of freedom during World War II, namely the first episode of the battle of Normandy, “Operation Overlord” which commenced on 6th June 1944.
As well as this cemetery, the Omaha Beach site – a codename for one of the 5 ally landing sectors – is home to a semi-circle memorial, where at the centre is a bronze statue titled The Spirit of American Youth Rising from the Waves. A chapel and orientation table stand just a stone’s throw away, pointing towards the beaches where the allied forces landed in 1944. Discover the museum here which puts into perspective the daily life of these soldiers in France, who fought for liberty. Film, reconstitutions, uniform collections, weapons and vehicles will throw you into the heart of the history of the Normandy landings.
Outside of Omaha Beach, the landing beaches of Sword Beach, Juno Beach, Gold Beach and Utah Beach were the centre stage for the largest airborne military operation in history. Amongst these places of remembrance, Omaha Beach is the place where The Allies lost the majority of their troops. It is also a small corner of America on French turf: given to the US, these Normand territories are managed by the American Battle Monuments Commission."
us.france.fr/en/discover/normandy-visit-omaha-beach-ameri...
I was waiting outside a patient’s room today, when I spotted this scene outside the window. I got out on a balcony nearby, so I didn’t have to shoot through glass.
This is the tower on the mental hospital across the road. While the main hospital building was finished in 2000, the mental hospital is old and quite gothic.
The tower is a sort of omnipresence on the hospital area and can be seen from all sides. A never-ending fascination for us hospital photographers.
Darshan of Vibhudi Yoga :
This picture brought tears to my eyes. It exudes Swami's love and compassion like no other. Look at the way our dear Lord is assisting the lady and gently and lovingly placing the vibhuthi in her hands!! Imagine yourself in the recipient's place. Is not it exactly the way Swami is holding each of our hands and leading us towards Absolute Bliss!
Wondrous Miracles :
In order to help convince mankind of its own potential for Divinity and the Truth of the Omnipresence, Omniscience, and Omnipotence of God – the supreme Reality, Baba performs acts that appear impossible on the human levels of existence. As Baba points out : “the formula that nothing can be created out of nothing is appropriate to the limited field and dimensions of science. It does not apply to the transcendental field and dimensions of spirituality. In the latter field, anything can be created by the Supreme Will. All that exists can be made to disappear and what does not exist can be made to appear.” Baba demonstrates the validity of this truth constantly by materializing all manner of objects from thin air. He has done this since he was a small child. On an average day, Baba materializes no less than 20 to 40 different objects.
His materialization of Vibhuti, sacred ash is by far the most common. While at Shirdi, Sai Baba took His ash from an actual fire. Now Sathya Sai Baba materializes ash from thin air. Its Sanskrit roots are : “Vi” = God. “bhuti” = Protection. Vibhuti is used in the same manner as that of Shirdi Baba as a cure for any and all types of ailments, physical, emotional and spiritual. It has cured ailments in countless instances. Vibhuti symbolizes what is left when the ego is burned away by the fire of illumination. It is a symbol of detachment to worldly things. It is the symbol of Spiritual Purification and Transformation which is a necessary to Spiritual Liberation. As Baba explains : “Ash is the ultimate condition of things – It cannot undergo any further change. When there is no desire to warp the mind, Love can be True and Full."
"The American Cemetery at Colleville-sur- Mer is situated on the top of the cliff overlooking the famous Omaha Beach. The cemetery, 172 acres in extent, is one of fourteen American World War II Cemeteries constructed on foreign soil. Beyond the reception building, you will see a magnificent semi-circular memorial. Centered in the open arc of the memorial is a bronze statue which represents “The Spirit of American Youth rising from the waves”. In the extension of the ornamental lake there is a central path leading to the 10 grave plots where 9 387 soldiers are buried among which are 4 women and 307 unknown soldiers.
The crosses are oriented Westwards, towards their native land. The precisely aligned headstones against the immaculately maintained emerald green lawn and the omnipresence of the sea convey an unforgettable feeling of peace and serenity. At the crossing of the main paths laid in the form of a Latin Cross, the Chapel shelters a black marble altar on which is the inscription : “I give them eternal life and they shall never perish”. In the garden of the missing located behind the memorial is a semi-circular wall containing the names of 1 557 missing in the region.
The little haven of verdure invites you to meditation and memory. The Normandy American Cemetery is maintained by the American Battle Monuments Commission (ABMC), an independent agency created in 1923 by the Congress of the United States of America and attached to the executive branch of the US Gouvernment. The Commission is responsible for commemorating the services and achievements of the United States Armed Forces through the execution of suitable memory shrines, for designing, constructing, operating and maintaining permanent US military cemeteries and memorials in foreign countries. No one enters the Colleville Cemetery by chance, it must be a voluntary process. The visitor prepares himself to penetrate with attention and contemplation a piece of United States in France."
www.musee-memorial-omaha.com/en/partenaire/american-cemet...
www.abmc.gov/cemeteries-memorials/europe/normandy-america...
"Located between Arromanches and Grandcamp Maisy, on the Normandy coast, the Normandy American Cemetery and Memorial is a haven of peace which encourages contemplation. Here, in a beautifully green space perched upon a cliff overlooking Omaha Beach, about 10,000 perfectly aligned white crosses point towards America. In fact, within 173 acres, the cemetery of Omaha gives a home to the fallen American soldiers who sacrificed their lives in the name of freedom during World War II, namely the first episode of the battle of Normandy, “Operation Overlord” which commenced on 6th June 1944.
As well as this cemetery, the Omaha Beach site – a codename for one of the 5 ally landing sectors – is home to a semi-circle memorial, where at the centre is a bronze statue titled The Spirit of American Youth Rising from the Waves. A chapel and orientation table stand just a stone’s throw away, pointing towards the beaches where the allied forces landed in 1944. Discover the museum here which puts into perspective the daily life of these soldiers in France, who fought for liberty. Film, reconstitutions, uniform collections, weapons and vehicles will throw you into the heart of the history of the Normandy landings.
Outside of Omaha Beach, the landing beaches of Sword Beach, Juno Beach, Gold Beach and Utah Beach were the centre stage for the largest airborne military operation in history. Amongst these places of remembrance, Omaha Beach is the place where The Allies lost the majority of their troops. It is also a small corner of America on French turf: given to the US, these Normand territories are managed by the American Battle Monuments Commission."
us.france.fr/en/discover/normandy-visit-omaha-beach-ameri...
it's impossible to provide a link for the gentleman pictured as his influence and omnipresence are felt throughout every inch of the internet
Official FB page:
Something’s stirring underneath the industrial fumes of Rotterdam. Amidst the rancid rats, malodorant traffic and greasy trays of manufactured meat, vast masses of unobtained, raw energy flows about freely. From the emptiness which arose from the omnipresence of materialism and technology, something new can manifest in it’s wake. Turning their backs to the metropole’s mass-identity and urban-individual, the unavoidable birth of Dool has taken place.
Dool wanders through dim streets, out of the city - into the wild. Carried by infinite, sometimes hypnotizing guitar parts, singer Ryanne van Dorst takes the listener from dark caves, inhabited by ancient ghosts (“Oweynagat”), to the deep abysses of a broken heart (“Death of Love”). At times sensual and teasing, like a child molester holding a bag of candy on a playground (“Words on Paper”), at other times imposing and ominous, in the sinister, 10 minute-long epic “Vantablack”.
The band, consisting of Micha Haring (The Devil’s Blood, The Hands) on drums, Job van de Zande (The Devil’s Blood, Malkovich) on bass, Reinier Vermeulen (The New Media, Liar of Golgotha) on guitar and Nick Polak (Gold) on guitar, are aggressive as well as dynamic, alternating shreds of dark rock, gothic pop, as well as bits of psychedelic metal in an ever surprising manner. Audibly influenced by bands such as Sisters of Mercy and Sonic Youth, Dool bends their musical nurture to their own creation, searching for a true identity.
4me4you visits Omni Gallery which featured the artist KATSU - "MECHA".
Channelling the mischievous, anarchic spirit of Dadaists from the turn of the 20th Century, Japanese American artist KATSU (b.1982) began as a graffiti writer in the streets of New York in the early 2000s and has been developing his artistic output ever since.
Through the use of drone technology, video, sculpture, and public intervention, KATSU explores the omnipresence of digital culture, privacy and the pervasive anxiety around technology and its potential for use and misuse.
Mecha presents a suite of paintings made using drone technology which the artist has developed and honed for the past decade.
Channelling this technology, through custom-built painting drones and specialised software, the artist programs drones to create portraits, landscapes, and abstract dot paintings.
Presented as distinctive series’, each of the works have been created by deploying autonomous and semi-autonomous painting drones to render directly on the canvas. The final outcome is not exclusively made by the artist, but instead occurs in collaboration between human and machine - mechas.
These brightly coloured, playful paintings belie a more serious undercurrent. The human experience of mark making has been outsourced via technology to the machine, bringing the idea of authorship and validation into question. Rather than improving quality of life, it can be argued, technology has stripped away humanistic values like freedom, community, and progress by negating the very idea of the individual.
In 2015 KATSU mischievously exploited his newly developed drone technology in one of the first ever acts of large-scale public drone vandalism. Taking less than a minute to complete, the drone spray painted red lines across the face of model Kendall Jenner as she stood six stories tall on one of New York City’s most renowned billboard locations. This small, playful gesture marks a dawning for graffiti artists and vandals, shifting the potential for street writing into a whole new, and for the authorities, terrifying wave of unstoppable possibilities. KATSU’s drone paintings, both on small and monumental scales, interrogate progress at all costs and the onslaught of exploitative uses for these flying vehicles.
Mecha, presents KATSU’s pioneering technology via playful, expertly rendered paintings which serve to explore the conundrum of progress versus imprudent ambition. The exhibition questions where and how technology is allowed to terminally invade our lives.
4me4you visits Omni Gallery which featured the artist KATSU - "MECHA".
Channelling the mischievous, anarchic spirit of Dadaists from the turn of the 20th Century, Japanese American artist KATSU (b.1982) began as a graffiti writer in the streets of New York in the early 2000s and has been developing his artistic output ever since.
Through the use of drone technology, video, sculpture, and public intervention, KATSU explores the omnipresence of digital culture, privacy and the pervasive anxiety around technology and its potential for use and misuse.
Mecha presents a suite of paintings made using drone technology which the artist has developed and honed for the past decade.
Channelling this technology, through custom-built painting drones and specialised software, the artist programs drones to create portraits, landscapes, and abstract dot paintings.
Presented as distinctive series’, each of the works have been created by deploying autonomous and semi-autonomous painting drones to render directly on the canvas. The final outcome is not exclusively made by the artist, but instead occurs in collaboration between human and machine - mechas.
These brightly coloured, playful paintings belie a more serious undercurrent. The human experience of mark making has been outsourced via technology to the machine, bringing the idea of authorship and validation into question. Rather than improving quality of life, it can be argued, technology has stripped away humanistic values like freedom, community, and progress by negating the very idea of the individual.
In 2015 KATSU mischievously exploited his newly developed drone technology in one of the first ever acts of large-scale public drone vandalism. Taking less than a minute to complete, the drone spray painted red lines across the face of model Kendall Jenner as she stood six stories tall on one of New York City’s most renowned billboard locations. This small, playful gesture marks a dawning for graffiti artists and vandals, shifting the potential for street writing into a whole new, and for the authorities, terrifying wave of unstoppable possibilities. KATSU’s drone paintings, both on small and monumental scales, interrogate progress at all costs and the onslaught of exploitative uses for these flying vehicles.
Mecha, presents KATSU’s pioneering technology via playful, expertly rendered paintings which serve to explore the conundrum of progress versus imprudent ambition. The exhibition questions where and how technology is allowed to terminally invade our lives.
4me4you visits Omni Gallery which featured the artist KATSU - "MECHA".
Channelling the mischievous, anarchic spirit of Dadaists from the turn of the 20th Century, Japanese American artist KATSU (b.1982) began as a graffiti writer in the streets of New York in the early 2000s and has been developing his artistic output ever since.
Through the use of drone technology, video, sculpture, and public intervention, KATSU explores the omnipresence of digital culture, privacy and the pervasive anxiety around technology and its potential for use and misuse.
Mecha presents a suite of paintings made using drone technology which the artist has developed and honed for the past decade.
Channelling this technology, through custom-built painting drones and specialised software, the artist programs drones to create portraits, landscapes, and abstract dot paintings.
Presented as distinctive series’, each of the works have been created by deploying autonomous and semi-autonomous painting drones to render directly on the canvas. The final outcome is not exclusively made by the artist, but instead occurs in collaboration between human and machine - mechas.
These brightly coloured, playful paintings belie a more serious undercurrent. The human experience of mark making has been outsourced via technology to the machine, bringing the idea of authorship and validation into question. Rather than improving quality of life, it can be argued, technology has stripped away humanistic values like freedom, community, and progress by negating the very idea of the individual.
In 2015 KATSU mischievously exploited his newly developed drone technology in one of the first ever acts of large-scale public drone vandalism. Taking less than a minute to complete, the drone spray painted red lines across the face of model Kendall Jenner as she stood six stories tall on one of New York City’s most renowned billboard locations. This small, playful gesture marks a dawning for graffiti artists and vandals, shifting the potential for street writing into a whole new, and for the authorities, terrifying wave of unstoppable possibilities. KATSU’s drone paintings, both on small and monumental scales, interrogate progress at all costs and the onslaught of exploitative uses for these flying vehicles.
Mecha, presents KATSU’s pioneering technology via playful, expertly rendered paintings which serve to explore the conundrum of progress versus imprudent ambition. The exhibition questions where and how technology is allowed to terminally invade our lives.
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"The American Cemetery at Colleville-sur- Mer is situated on the top of the cliff overlooking the famous Omaha Beach. The cemetery, 172 acres in extent, is one of fourteen American World War II Cemeteries constructed on foreign soil. Beyond the reception building, you will see a magnificent semi-circular memorial. Centered in the open arc of the memorial is a bronze statue which represents “The Spirit of American Youth rising from the waves”. In the extension of the ornamental lake there is a central path leading to the 10 grave plots where 9 387 soldiers are buried among which are 4 women and 307 unknown soldiers.
The crosses are oriented Westwards, towards their native land. The precisely aligned headstones against the immaculately maintained emerald green lawn and the omnipresence of the sea convey an unforgettable feeling of peace and serenity. At the crossing of the main paths laid in the form of a Latin Cross, the Chapel shelters a black marble altar on which is the inscription : “I give them eternal life and they shall never perish”. In the garden of the missing located behind the memorial is a semi-circular wall containing the names of 1 557 missing in the region.
The little haven of verdure invites you to meditation and memory. The Normandy American Cemetery is maintained by the American Battle Monuments Commission (ABMC), an independent agency created in 1923 by the Congress of the United States of America and attached to the executive branch of the US Gouvernment. The Commission is responsible for commemorating the services and achievements of the United States Armed Forces through the execution of suitable memory shrines, for designing, constructing, operating and maintaining permanent US military cemeteries and memorials in foreign countries. No one enters the Colleville Cemetery by chance, it must be a voluntary process. The visitor prepares himself to penetrate with attention and contemplation a piece of United States in France."
www.musee-memorial-omaha.com/en/partenaire/american-cemet...
www.abmc.gov/cemeteries-memorials/europe/normandy-america...
"Located between Arromanches and Grandcamp Maisy, on the Normandy coast, the Normandy American Cemetery and Memorial is a haven of peace which encourages contemplation. Here, in a beautifully green space perched upon a cliff overlooking Omaha Beach, about 10,000 perfectly aligned white crosses point towards America. In fact, within 173 acres, the cemetery of Omaha gives a home to the fallen American soldiers who sacrificed their lives in the name of freedom during World War II, namely the first episode of the battle of Normandy, “Operation Overlord” which commenced on 6th June 1944.
As well as this cemetery, the Omaha Beach site – a codename for one of the 5 ally landing sectors – is home to a semi-circle memorial, where at the centre is a bronze statue titled The Spirit of American Youth Rising from the Waves. A chapel and orientation table stand just a stone’s throw away, pointing towards the beaches where the allied forces landed in 1944. Discover the museum here which puts into perspective the daily life of these soldiers in France, who fought for liberty. Film, reconstitutions, uniform collections, weapons and vehicles will throw you into the heart of the history of the Normandy landings.
Outside of Omaha Beach, the landing beaches of Sword Beach, Juno Beach, Gold Beach and Utah Beach were the centre stage for the largest airborne military operation in history. Amongst these places of remembrance, Omaha Beach is the place where The Allies lost the majority of their troops. It is also a small corner of America on French turf: given to the US, these Normand territories are managed by the American Battle Monuments Commission."
us.france.fr/en/discover/normandy-visit-omaha-beach-ameri...
4me4you visits Omni Gallery which featured the artist KATSU - "MECHA".
Channelling the mischievous, anarchic spirit of Dadaists from the turn of the 20th Century, Japanese American artist KATSU (b.1982) began as a graffiti writer in the streets of New York in the early 2000s and has been developing his artistic output ever since.
Through the use of drone technology, video, sculpture, and public intervention, KATSU explores the omnipresence of digital culture, privacy and the pervasive anxiety around technology and its potential for use and misuse.
Mecha presents a suite of paintings made using drone technology which the artist has developed and honed for the past decade.
Channelling this technology, through custom-built painting drones and specialised software, the artist programs drones to create portraits, landscapes, and abstract dot paintings.
Presented as distinctive series’, each of the works have been created by deploying autonomous and semi-autonomous painting drones to render directly on the canvas. The final outcome is not exclusively made by the artist, but instead occurs in collaboration between human and machine - mechas.
These brightly coloured, playful paintings belie a more serious undercurrent. The human experience of mark making has been outsourced via technology to the machine, bringing the idea of authorship and validation into question. Rather than improving quality of life, it can be argued, technology has stripped away humanistic values like freedom, community, and progress by negating the very idea of the individual.
In 2015 KATSU mischievously exploited his newly developed drone technology in one of the first ever acts of large-scale public drone vandalism. Taking less than a minute to complete, the drone spray painted red lines across the face of model Kendall Jenner as she stood six stories tall on one of New York City’s most renowned billboard locations. This small, playful gesture marks a dawning for graffiti artists and vandals, shifting the potential for street writing into a whole new, and for the authorities, terrifying wave of unstoppable possibilities. KATSU’s drone paintings, both on small and monumental scales, interrogate progress at all costs and the onslaught of exploitative uses for these flying vehicles.
Mecha, presents KATSU’s pioneering technology via playful, expertly rendered paintings which serve to explore the conundrum of progress versus imprudent ambition. The exhibition questions where and how technology is allowed to terminally invade our lives.
4me4you visits Omni Gallery which featured the artist KATSU - "MECHA".
Channelling the mischievous, anarchic spirit of Dadaists from the turn of the 20th Century, Japanese American artist KATSU (b.1982) began as a graffiti writer in the streets of New York in the early 2000s and has been developing his artistic output ever since.
Through the use of drone technology, video, sculpture, and public intervention, KATSU explores the omnipresence of digital culture, privacy and the pervasive anxiety around technology and its potential for use and misuse.
Mecha presents a suite of paintings made using drone technology which the artist has developed and honed for the past decade.
Channelling this technology, through custom-built painting drones and specialised software, the artist programs drones to create portraits, landscapes, and abstract dot paintings.
Presented as distinctive series’, each of the works have been created by deploying autonomous and semi-autonomous painting drones to render directly on the canvas. The final outcome is not exclusively made by the artist, but instead occurs in collaboration between human and machine - mechas.
These brightly coloured, playful paintings belie a more serious undercurrent. The human experience of mark making has been outsourced via technology to the machine, bringing the idea of authorship and validation into question. Rather than improving quality of life, it can be argued, technology has stripped away humanistic values like freedom, community, and progress by negating the very idea of the individual.
In 2015 KATSU mischievously exploited his newly developed drone technology in one of the first ever acts of large-scale public drone vandalism. Taking less than a minute to complete, the drone spray painted red lines across the face of model Kendall Jenner as she stood six stories tall on one of New York City’s most renowned billboard locations. This small, playful gesture marks a dawning for graffiti artists and vandals, shifting the potential for street writing into a whole new, and for the authorities, terrifying wave of unstoppable possibilities. KATSU’s drone paintings, both on small and monumental scales, interrogate progress at all costs and the onslaught of exploitative uses for these flying vehicles.
Mecha, presents KATSU’s pioneering technology via playful, expertly rendered paintings which serve to explore the conundrum of progress versus imprudent ambition. The exhibition questions where and how technology is allowed to terminally invade our lives.
Your body is a combination of animate and inanimate consciousness. Each one has a different role to play. Within your body, only your soul is the animate object. How does it work in unison with the inanimate part of you? Get answers to all these questions in this video. For more details, follow the links-
In English- www.dadabhagwan.org/path-to-happiness/spiritual-science/w...
In Gujarati- www.dadabhagwan.in/path-to-happiness/spiritual-science/wh...
In Hindi- hindi.dadabhagwan.org/path-to-happiness/spiritual-science...
4me4you visits Omni Gallery which featured the artist KATSU - "MECHA".
Channelling the mischievous, anarchic spirit of Dadaists from the turn of the 20th Century, Japanese American artist KATSU (b.1982) began as a graffiti writer in the streets of New York in the early 2000s and has been developing his artistic output ever since.
Through the use of drone technology, video, sculpture, and public intervention, KATSU explores the omnipresence of digital culture, privacy and the pervasive anxiety around technology and its potential for use and misuse.
Mecha presents a suite of paintings made using drone technology which the artist has developed and honed for the past decade.
Channelling this technology, through custom-built painting drones and specialised software, the artist programs drones to create portraits, landscapes, and abstract dot paintings.
Presented as distinctive series’, each of the works have been created by deploying autonomous and semi-autonomous painting drones to render directly on the canvas. The final outcome is not exclusively made by the artist, but instead occurs in collaboration between human and machine - mechas.
These brightly coloured, playful paintings belie a more serious undercurrent. The human experience of mark making has been outsourced via technology to the machine, bringing the idea of authorship and validation into question. Rather than improving quality of life, it can be argued, technology has stripped away humanistic values like freedom, community, and progress by negating the very idea of the individual.
In 2015 KATSU mischievously exploited his newly developed drone technology in one of the first ever acts of large-scale public drone vandalism. Taking less than a minute to complete, the drone spray painted red lines across the face of model Kendall Jenner as she stood six stories tall on one of New York City’s most renowned billboard locations. This small, playful gesture marks a dawning for graffiti artists and vandals, shifting the potential for street writing into a whole new, and for the authorities, terrifying wave of unstoppable possibilities. KATSU’s drone paintings, both on small and monumental scales, interrogate progress at all costs and the onslaught of exploitative uses for these flying vehicles.
Mecha, presents KATSU’s pioneering technology via playful, expertly rendered paintings which serve to explore the conundrum of progress versus imprudent ambition. The exhibition questions where and how technology is allowed to terminally invade our lives.
4me4you visits Omni Gallery which featured the artist KATSU - "MECHA".
Channelling the mischievous, anarchic spirit of Dadaists from the turn of the 20th Century, Japanese American artist KATSU (b.1982) began as a graffiti writer in the streets of New York in the early 2000s and has been developing his artistic output ever since.
Through the use of drone technology, video, sculpture, and public intervention, KATSU explores the omnipresence of digital culture, privacy and the pervasive anxiety around technology and its potential for use and misuse.
Mecha presents a suite of paintings made using drone technology which the artist has developed and honed for the past decade.
Channelling this technology, through custom-built painting drones and specialised software, the artist programs drones to create portraits, landscapes, and abstract dot paintings.
Presented as distinctive series’, each of the works have been created by deploying autonomous and semi-autonomous painting drones to render directly on the canvas. The final outcome is not exclusively made by the artist, but instead occurs in collaboration between human and machine - mechas.
These brightly coloured, playful paintings belie a more serious undercurrent. The human experience of mark making has been outsourced via technology to the machine, bringing the idea of authorship and validation into question. Rather than improving quality of life, it can be argued, technology has stripped away humanistic values like freedom, community, and progress by negating the very idea of the individual.
In 2015 KATSU mischievously exploited his newly developed drone technology in one of the first ever acts of large-scale public drone vandalism. Taking less than a minute to complete, the drone spray painted red lines across the face of model Kendall Jenner as she stood six stories tall on one of New York City’s most renowned billboard locations. This small, playful gesture marks a dawning for graffiti artists and vandals, shifting the potential for street writing into a whole new, and for the authorities, terrifying wave of unstoppable possibilities. KATSU’s drone paintings, both on small and monumental scales, interrogate progress at all costs and the onslaught of exploitative uses for these flying vehicles.
Mecha, presents KATSU’s pioneering technology via playful, expertly rendered paintings which serve to explore the conundrum of progress versus imprudent ambition. The exhibition questions where and how technology is allowed to terminally invade our lives.