View allAll Photos Tagged omnipresence
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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.
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.
Project Team Members: Mykie Hrusovski
Project Summary:
The competition brief suggests that amending the disparity between “our collective green conscience and our infrastructure” can solve our e-waste problem. Rather, we contend that the best solution is one which embraces the basic concept of reuse. We believe that introducing new products (bins) for the purposes of managing e-waste is contradictory to green consciousness. In conjunction with the e-waste processing stations, our entry employs the retooling and reuse of varying types of newspaper dispensers as e-waste bins. With Internet news sources gaining more followers, the prominent steel fixtures which dot streetscapes are nearing disuse. Along with keeping these out of the landfills, reusing these vending boxes provides an archaeological record of the evolution of information sharing as it simultaneously comments on the casualties of technological evolution. Drastically reducing the cost of a new, potentially expensive initiative, newspaper boxes already exist and are strategically located. This omnipresence also boosts the ease with which such a measure can adapt to new laws.
Their location accurately reflects the density of readership, and thus, the population where installed. In rural areas (less dense neighborhoods), newspaper delivery boxes are used; and coin-operated machines are used in more dense neighborhoods. Our entry capitalizes on, and underscores these preexisting strengths. The ability to recycle e-waste must mirror the ubiquity of electronics use. Accordingly, instead of being concealed behind walls, e-waste bins and the act of recycling should be dramatically displayed and integrated into the landscapes of everyday life. The use of retooled newspaper vending boxes provides the perfect avenue for doing so.
Incentives:
In its use of disused newspaper bins, this entry promotes e-cycling by first being recycled and exemplifying recycling. By putting the act of recycling and even the bins' contents on display, the entry also succeeds at being informative as one readily sees items diverted from landfills. Communities can take pride in seeing their bins and know that they are truly doing their part.
my 1st mandala art project
( en.wikipedia.org/wiki/Mandala )
- this mandala project is about exploring my ancestral people's collective consciousness, history, folklore's, the mystical, my soul as the anthology of that has been experienced and shared. my influence has been inspired by CG Jung's recently published " big red book"..link below;
www.artknowledgenews.com/2010-03-25-00-29-07-swiss-psychi...
- this is in constant evolution, utilizing my expression of entangled optical illusions as energy fields that are in constant motion...for nothing is static in the laws of universal physics.
** guided by my 'intuitive will' of the omnipresence universe that surrounds and flows through everything that is.
* in a given day i am dedicating about 6 hours on this project, while experimenting with about 40 versions each daily session.
my 1st mandala art project - in constant evolution, utilizing my expression of entangled optical illusions as energy fields that are in constant motion...for nothing is static in the laws of universal physics.
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.
Adobe Illustrator & Adobe Photoshop, size 20″x15″ (2018)
This artwork is an abstract representation of a God’s Eye. The God’s Eye is an all-seeing eye that knows where people are located and what they are going at all times. The art is a mosaic comprised of only geometric shapes arranged together to form the God’s Eye pattern. At the center of the piece is a camera aperture representing the iris of the eye. The center octagon is black empty space like the pupil of an eye. The camera aperture is a surveillance camera that watches what people do. Surrounding the center eye are banding strips that mimic the woven treads of a traditional God’s Eye folk art. Around the outside edge are a repeating pattern of parallelograms. At each of the four corners is a pyramid. The reason for the pyramids is because they represent the all-seeing eye such as the one found on the Illuminati pyramid, and because they look like rooftops as seen from above. Throughout the art there are pieces separated from the rest of the mosaic. These pieces are made to look like glass shards. They are above and overlapping the rest of the mosaic. The glass shards represent transparency, or lack there of shown by governments when it comes to security and how much they reveal they know about people’s information.
This artwork was first rendered with vector paths and grey scale color fills in Adobe Illustrator. Several large rectangles were drawn from a center point. Then diagonal lines were drawn to bisect those 90-degree angles creating 45-degree angles. Those 45-degree angles to create parallelograms. As the pieces were divided they got smaller in size. Some of the areas were colored with varying degrees of grey scale fills. Some of the pieces were selected to have transparent opacity to make glass shards. Then the whole artwork was imported into Adobe Photoshop where color was overlaid over the grey scale pieces. Areas of highlights and shadows were added to create depth and make it appear the pieces overlap each other. Layers of texture were added to each of the separate pieces to give a rough texture to the flat vector shapes that otherwise looked to sterile. Glowing effects were added to the glass shards and camera lens to create light reflections. In some dark areas red lines were added to create contrast between the red glowing lines on the dark background and green glass.
The color palette for this artwork was inspired by the Verdigris oxidation of copper metal. Colors such as dark copper orange and light cyan green and bright red accents are used because these colors work well together to create a complimentary color palette. The composition of the overall artwork is static, but the diagonally angled glass pieces create a dynamic composition creating energy and movement that runs through the overall piece. The whole artwork is symmetrically and radially balanced with the camera lens as the main central focal point. This creates a feeling of calmness and stability in the viewer. The whole piece is rendered entirely out of geometric shapes the idea is to take something that is traditionally made by woven yarn by hand and expressing it abstractly with vector shapes creates a modern take on old folk art. The geometric shapes that make up the mosaic look like fields of land as viewed from a satellite in space, giving another meaning to this artwork.
This artwork was inspired by the Mexican folk art of creating a God’s Eye (in Spanish, Ojos de Dios). The God’s Eye is a spiritual and votive object made by using two sticks to form a cross then weaving a design out of yarn around the sticks. The God’s Eye symbolizes the power to see and understand things unknown to the physical eye. They also represent the all-seeing eye of God and his omnipresence in our world. Another inspiration for this art is the God’s Eye surveillance system that uses multiple camera enabled devices to monitor and track people over a large distance. Another inspiration for this piece is the Chinese bi (Pi) disk. They are round disks made usually out of jade by people hundreds of year ago. The bi represents heaven and the relationship between the center of a circle and its circumference.
"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...
"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.
"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...
The Bayon is famous for the faces carved on on the four sides of each of its 54 towers. There has been much debate about who or what the faces are meant represent but it is generally agreed they are images of Jayavarman VII and signify his omnipresence as king. Angkor Archaeological Park, Siem Reap, Cambodia.
Life is rhythm. It is the tandem of push and pull against the sand; of violence and tranquility atop a hill’s mouth; of rays and shadows puppeteer-ed by the sun.
In the Philippines, life is in constant tango with the sea. Whether we face it with adventure or withdraw from its irrepressible freedom, its omnipresence submerges us body and soul. Deep beneath our feet the sea flows still, and no matter how we insist we’ve left it for the concrete jungle, just in rhythm our hearts and our heritage remain embraced in its waves.
What is your true self? Are you just the name or the body? Get your answers here from the The Enlightened One.
In English- www.dadabhagwan.org/path-to-happiness/spiritual-science/w...
In Hindi - hindi.dadabhagwan.org/path-to-happiness/spiritual-science...
In Gujarati- www.dadabhagwan.in/path-to-happiness/spiritual-science/wh...
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.
47/365
every tuesday, the farmers market comes to USC!
every tuesday, i wake up for my earliest class of the week. and these farmers are already all set up and ready to go. i admire their hard work. especially the strawberry guy, because he ALWAYS picks the strawberries right before coming, and they are ALWAYS fresh. he even offers free samples. as i long board pass them, all i see are happy faces. this makes me wonder what true happiness is. how can these people be living lives as farmers, and still be so happy? maybe money and a good job isnt always the answer to happiness.
other than that. another ordinary day. got into many longboard accidents today. i think the healing sprained ankle is making me a little shaking on my board. bummed out cuz i counted the decimal places wrong on my quiz. need to study for my midterm tom. had a good long talk. and another short one with steph. ohana :)<3
Dans Challenge: its crazy how certain things just make you think of certain people. when i see farmers market, there is only ONE person i can think of in this world. and she knows who she is. its amazing how God can use such simple things to create such connections to people in our hearts. how a simple song can remind us of past great relationships, or a lost/current friend. God created all the things in the world, and it only makes sense that He uses them somehow. its just amazing that He chooses to use those things on us, who continuously disobey Him, to help remind us of those we love, those we have lost, the new people we meet, or the people we want to reach out to. but wait, there is one more thing. to remind us of His omnipresence of Him.
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.
Grosse Heidelibelle, Sympetrum striolatum, Common Darter, Male.
The picture was taken in Wildegg, Switzerland.
02.10.2011 14:38:08
Eos 7D, EF 300mm 4.0 L
ISO 320, F 7.1, 1/640 Sec.
Manual focus, Handheld
The Arse Electronica is a possible and also, a necessary statement on artificial intelligence and robotics. We record, that uncountable contributions to the discussion about what machines could and should do are done almost by everybody. Robots, that take care of our old people, driverless cars, internet of things, intelligent market agents, big data, digitalisation – the omnipresence of the topic deserves a statement like the Arse Electronica: a gigantic pink bottom, equipped with motors and sensors. A person that dares to step under it is rewarded with a shower of golden Confetti.
In the torment of so much speculations and announcements the concrete symbolism of the Arse Electronica is relief we all deserve.
‘It was pain itself, singing behind a smile,’ wrote Federico García Lorca, outwardly happy, inwardly torn.
He didn’t write to please, but to rip open the heart and then restore it, perfected. He left us vivid descriptions of the authentic Spain, where life seems to be an instinctive battle between impossible love and the omnipresence of death.
Programma:
Petra Vermote (1968)
Eco del Reloj - Chamber Symphony (world premiere)
Diferencías
Federico García Lorca (1898-1936)
Selection from his poetry
Selection from Canciones Espanolas Antiguas
za 06 februari 2016: Concertgebouw – Brugge
Uitvoerders:
Vlaams Sinfonietta: ensemble
Raf De Keninck: conductor
Elise Caluwaerts: coloratura soprano
Klaas Verpoest: visuals
my 1st mandala ( en.wikipedia.org/wiki/Mandala ) art project
- this mandala project is about exploring my ancestral people's collective consciousness, history, folklore's, the mystical, my soul as the anthology of that has been experienced and shared. my influence has been inspired by CG Jung's recently published " big red book"..link below;
www.artknowledgenews.com/2010-03-25-00-29-07-swiss-psychi...
- this is in constant evolution, utilizing my expression of entangled optical illusions as energy fields that are in constant motion...for nothing is static in the laws of universal physics.
** guided by my 'intuitive will' of the omnipresence universe that surrounds and flows through everything that is.
* in a given day i am dedicating about 6 hours on this project, while experimenting with about 40 versions each daily session.
my 1st mandala art project - in constant evolution, utilizing my expression of entangled optical illusions as energy fields that are in constant motion...for nothing is static in the laws of universal physics.
Please feel free to check out all my photos in this series by typing, "religion series" or clicking this link.
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
Dans un pays foncièrement catholique. Pas surprenant de croiser quelques religieuses de temps à autre.
Who am I, and what shall be the sign? So she answered him, bending down, a lambent flame of blue, all-touching, all penetrant, her lovely hands upon the black earth, & her lithe body arched for love, and her soft feet not hurting the little flowers: Thou knowest! And the sign shall be my ecstasy, the consciousness of the continuity of existence, the omnipresence of my body.
Messianic Worship Music Artist Against deception music is available now on Spotify, i Tunes, Amazon,
i heart, and Pandora Radio. All streaming platforms.
www.againstdeception.com isn't just an expression of religious belief, it may lead to heavenly reward, however, it's not an exclusive term of faith; it's a means of indirectly expressing religious beliefs, while apparently, this music task has very little relationship with religion. Music has long been a powerful medium for sharing the universal experience, and its possibilities have inspired movements like polytheism, pantheism, and monotheism. Theological expressions like trinity, theosis, logos, and omnipresence are all possible because of
‘It was pain itself, singing behind a smile,’ wrote Federico García Lorca, outwardly happy, inwardly torn.
He didn’t write to please, but to rip open the heart and then restore it, perfected. He left us vivid descriptions of the authentic Spain, where life seems to be an instinctive battle between impossible love and the omnipresence of death.
Programma:
Petra Vermote (1968)
Eco del Reloj - Chamber Symphony (world premiere)
Diferencías
Federico García Lorca (1898-1936)
Selection from his poetry
Selection from Canciones Espanolas Antiguas
za 06 februari 2016: Concertgebouw – Brugge
Uitvoerders:
Vlaams Sinfonietta: ensemble
Raf De Keninck: conductor
Elise Caluwaerts: coloratura soprano
Klaas Verpoest: visuals
‘It was pain itself, singing behind a smile,’ wrote Federico García Lorca, outwardly happy, inwardly torn.
He didn’t write to please, but to rip open the heart and then restore it, perfected. He left us vivid descriptions of the authentic Spain, where life seems to be an instinctive battle between impossible love and the omnipresence of death.
Programma:
Petra Vermote (1968)
Eco del Reloj - Chamber Symphony (world premiere)
Diferencías
Federico García Lorca (1898-1936)
Selection from his poetry
Selection from Canciones Espanolas Antiguas
za 06 februari 2016: Concertgebouw – Brugge
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).
Perhaps I was always
Forever here...
And I just forgot
I imagine Eternity would have that effect
Would cause a certain amount of drifting
Like omnipresence would demand omniabsence.
-Animae Partus, Pain of Salvation
Minwos 8 kai Lavyrinthou, Mytilini. 11/2009
Promoting my Sister's first published book! - Congrats D.S Quinio
The destiny of Kyle Drummond is now ready to be told.
With a diverse class of inimitable and resilient individuals to aid him in his quest, his fate unfolds before him as his past and future is revealed in the first book of The Orbs of Power...
Hello everyone! We are happy to announce that our internationally published debut novel "Omnipresence: The Rise of the Gatekeeper (Book One of The Orbs of Power)" is now available for SALE!
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Acrylic on canvas, 40”x 30”, 2012
This is a collaborative project that started off as mere coincidence: both my friend and I tried out painting in the shower when we saw the unique functions that bathrooms have on catharsis. We thought that this is due to the presence of water, which has significant capacity to absorb human emotions because of its vastness and omnipresence. Working together on a painting that focuses on the viewers’ reactions, we aimed to elicit viewers’ internal reliance on water to expressing their feelings.
Bayon temple (巴容寺) is one of the more enigmatic temples in Angkor Thom with the four faces of each tower looking to the four cardinal points signifying the omnipresence of the bodhisattva Lokesvara. The characteristics of this faces - a broad forehead, downcast eyes, wild nostrils, thick lips that curl upwards slightly at the ends-combine to reflect the famous 'smile of Angkor'.
There were originally 49 towers but today only 37 are standing. But not everyone of them has 4 faces. The central tower however, has much more faces carved into it.