View allAll Photos Tagged omnipresence
Two banderoles, one above and the other below the central circle, contain Latin texts from Deuteronomy (32: 28-29 and 20), warning against the wages of sin. The upper banderole, between the tondos of Death and the Last Judgment, reads: Gens absq[ue] [con]silio e[st] et sine prudentia // deutro[m]y 32 [um//] utina[m] sapere[n]t [et] i[n]telligere[n]t ac novissi[m]a p[ro]videre[n]t (For they are a nation void of counsel, neither is there any understanding in them. O that they were wise, that they understood this, that they would consider their latter end!). The lower banderole, set between Hell and Glory, reads: Absconda[m] facie[m] mea[m] ab eis: et [con]siderabo novissi[m]a eo[rum] (I will hide my face from them, I will see what their end shall be). Man, bereft of reason, seems to have set out in unbridled pursuit of the Seven Deadly Sins. Yet all is not lost: Christ, portrayed in the innermost ring of the large central roundel, is ever alert. According to the Latin inscription beneath him: Cave cave d[omin]us videt (Beware, beware, the Lord is watching). These three texts link God’s omnipresence with man’s freedom and the fruits of sin. The message conveyed by the Table of the Seven Deadly Sins is that Hell awaits those who stray from God’s path.
Bosch represents the message in five circles. At the centre of the largest, central circle, which resembles a huge eye or a concave mirror, Christ is shown rising from his tomb as the Man of Sorrows, displaying the wound in his side. A similar image is to be found in The Mass of Saint Gregory on the closed shutters of the Prado Adoration of the Magi. It is an appeal to the faithful, urging them to follow the path that Jesus has shown them and to meditate on his death on the cross for the forgiveness of man’s sins. This innermost circle or pupil is surrounded by gilded rays stretching to the outer ring, which is divided into seven segments of varying size, each depicting one of the seven Deadly Sins, identified by an inscription. Bosch conveyed this moral teaching through everyday situations involving people from different social classes, observed by the all-seeing eye of God. Yet, regardless of the message, some of the scenes -particularly Gluttony- mark him out as a pioneer in genre painting, which was later to acquire such importance.
Anger or Wrath (ira), placed in a privileged position with regard to the banderoles and the figure of Christ, occupies the space traditionally held by Pride and Envy as the sources of all human sin. Here, it is depicted in the form of a drunken brawl outside a tavern. Moving anticlockwise, the next segment represents Pride, as a woman preening herself in a mirror held up by a devil. Lust shows two courtly couples dallying in a tent, with entertainment provided by a jester. Sloth is personified by a man asleep by the fire, unwilling to devote himself to prayer. The family embodying Gluttony gorge themselves with food and drink. Greed is conveyed by a magistrate accepting a bribe, and in Envy a couple clearly covet the falcon being shown off by a rich man, whilst two dogs fight over a bone.
At the corners of the Table, four smaller circles contain representations of the Last Things, Death, the Last Judgment, Hell and Glory. The scene in the Death tondo closely resembles that depicted in Death and the Miser in Washington, but here the protagonist is receiving the last rites, and the angel has clearly won the contest. Bosch’s treatment of the Last Judgment echoes the tradition of Rogier van der Weyden, with the dead rising from their tombs. In Glory, Saint Peter welcomes the souls of the blessed to Heaven, represented as a Gothic building with a shining gold background. Bosch offers a more personal view of Hell, with sinners receiving the punishments they deserve.
I stand amid the roar
Of a surf-tormented shore,
And I hold within my hand
Grains of the golden sand-
How few! yet how they creep
Through my fingers to the deep,
While I weep- while I weep!
- Poe
Developers are everywhere.
At Union near Main Street where the quaint turquoise house used to stand.
Stained Glass Windows from Good Shepherd Lutheran Church Monroe, CT
Handmade by members of the congregation.
Dedicated in memory of Rev. Charles R. Schwarz (1940-1999) in November 2004.
God created all that is and everything that he created was good. He spoke and his Word, symbolized by the three-dimensional beam of light, brought about all that exists. Man, the epitome of God’s creation, was formed in God’s image, distinct from all else. We are not like God in appearance, omnipresence, omnipotence, or omniscience, but our inventive and intellectual abilities reflect that of our creator. He has endowed us with the freedom to make choices and the capacity to demonstrate goodness and love.
We have an extraordinary relationship with God, superior to the rest of creation but subordinate to him. Even as Adam and Eve aspired to be like God and chose not to obey him, this unique bond was not destroyed. God’s infinite love for his people was immediately evident, and his plan for their salvation and redemption was established. God’s Holy Spirit, present from the very beginning and represented by the dove, is with us now and will remain with us always. The road that begins in the garden is one that we all travel as we respond to God’s boundless love and mercy and seek to follow his will.
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.
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.
William Oser.
Lafayette No. 2 Cemetery
Washington Avenue at Loyola - Central City
New Orleans, Louisiana
Orleans Parish
All-Seeing Eye, Eye of God Eye of Horus, Eye of Providence
Symbolizes the omnipresence of God.
The Eye of God enclosed in a triangle represents the the all-seeing God of the Holy Trinity. The tent is the house of God, it's flaps open to show inner truth. The chain represents both the Trinity and the link that binds the faithful to God. All-Seeing Eye, Eye of God, Eye of Horus, Eye of Providence
The Eye of God enclosed in a triangle represents the the all-seeing God of the Holy Trinity. The tent is the house of God, it's flaps open to show inner truth. The chain represents both the Trinity and the link that binds the faithful to God. This symbol first appeared in the west during the 17th and 18th centuries, but representations of an all-seeing eye can be traced back to Egyptian mythology and the Eye of Horus. 17th century depictions of the Eye of Providence sometimes show it surrounded by clouds. These are also symbols of The Free and Accepted Masons fraternal order.
Lafayette No. 2 is located on Washington Avenue and bound by Saratoga St., Sixth St., and Loyola Avenue. It was built by the city of Lafayette, and passed to the city of New Orleans with Lafayette cemetery No 1 probably around 1850. In 1847 Lafayette Cemetery No. 1 was reaching capacity and it was deemed that there be no new burials in the original cemetery so along came Lafayette No 2. On May 20, 1851, the City Council ordered the new cemetery to be divided into three sections like Lafayette No 1. The section of the cemetery bordering 6th Street was set aside "for the occupancy of colored people". In this beautiful section, numerous society tombs were built such as the Ladies Pride Benevolent Association, the Young Men Olympian Jr. Benevolent Association, Coachmen Benevolent Association and the Cotton Yard Men Benevolent Association. The Cotton Yard Men Benevolent Association built in 1886 has an engraved cottom scale. Other large tombs in the cemetery can be seen such as Winhan's Chapel Home Missionary Benevolent Association (1864), Hartford Benevolent Association, Young Men Philonthropic and the stunning Société de Bienfaisance des Bouchers (1867) can be found.
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.
One mysterious aspect of the orient for a traveller from the west is the near omnipresence of this strange feline image, waving at you with one ivory paw, from every quarter.
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.
A text board in the tiny chirch of St Thomas Becket, Fairfield, Kent. Most appropriate considering its location and the omnipresence of sheep droppings right outside the door.
Originally established by monks from Canterbury in 11-12th century who were in the process of draining this part of what is now Walland Marsh. It is now at good half mile from the nearest house and a lot further from the nearest village, with only sheep for a congregation most days. This is taken from the nearest lane; sadly on this occasion I was only able to get this view of the west end. The church is surrounded by dykes and in the winter not infrequently has water lapping at the door. Even now it has no electricity; the only lighting is candles and fortunately the present rector has re-established services like carols by candlelight although there is regular worship here only once a month in summer.
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
Along with a bajillion other people, I followed Gretzky down Granville Street. I was headed that way to work anyway. Too late, I realized he was headed straight for Burger King. Considering the omnipresence of corporate sponsorship at the Olympics, and considering McDonalds is a major sponsor, I thought a photo of the torch with the Burger King sign would be awesome. I tried to catch up a bit, but this was the best I could do.
Sharon Sutton's Streets Paved in Moonlight and Candle Lit Cafes, elegantly and precisely executed in the colors of earth and sidewalks, contains the fleeting, slippery images produced by moonlight and rain, flickering candles and crowded compressed spaces, that can cause one to slip or bump. The one thing in a painting or print that is usually stable is the frame, but in this case it shifts and slips like dislodged masonry. The distortion of the ovals that turn to circles as one moves to left or right before her lithograph, the gold reflected surfaces and shifting frame, the concave backgrounds and flat patterned discs all reconfirm the instability and insecurity of the perception of material objects, the illusion of light and movement. In this regard, it is a spiritual painting, declaring the reality of intangibles and the omnipresence of energy and light. She is a dreamer who finds her way by moonlight.
In her work there is a maximum sameness in each cartouche of the design, with a maximum difference between the cartouches through placement, color and tone. This expresses, with the precision of mathematics, one of the most profound underlying principles of life: that everything is related to everything else, and everything is different from everything else.
Sharon Sutton is a renowned researcher, author, artist and lecturer. Her fine art has been exhibited and collected by galleries, museums, businesses and universities across America. She was inducted into Michigan's Women's Hall of Fame of Life Achievements
William Hogarth - The Analysis of Beauty, 1753. Fig. 115 in: LEFAIVRE, Liane & TZONIS, Alexander (2004). The Emergence of Modern Architecture. A documentary history from 1000 to 1810. Routledge, New York. ISBN 0-415-26025-6.
"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...
linocut illustration for a four year old's autobiographic poem. apparently she channels a napping, book reading pink unicorn that likes to mysteriously gift pictures to unwitting lucky recipients and possesses a buddha like omnipresence in animals and flowers.
the type pass comes in a day when the ink is set enough to handle more freely.
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.
from tagaytay city in cavite province, we encircled down the ridge unto the lake shore where the world's smallest active volcano is nestled, onwards to talisay in batangas province. this very site is actually across the lake. i was standing on an old bridge, admiring the expanse of the water lilies wading by, the waters flickering with the abundance of light emanating from the sun... i took chances capturing the moment with my ordinary camera phone (which was not even branded and of latest model)
The famous roof, with its rows and rows of winged cherubs, representing the omnipresence of God, draws most eyes. There’s space for 135 cherubs, though 13 have been erased by water damage. No face is identical.
----------------------------------------------------------------------------------------------------------------------------------------
Right click ♫, then open in new tab
----------------------------------------------------------------------------------------------------------------------------------------
Sai Devotees in Paris, France are blessed with visible proof of Sai Baba's omnipresence. Swami appeared in His astral form and is seen leaving the meeting in this amazing photo.
Rain is a large part of life in the NW. I noticed while waiting for my bus how little time I spent looking at the rain despite its omnipresence. The bus stop by my work is covered by a thick glass overhang. While standing underneath looking up at the rain I took this picture looking up at the rain. I thought it a compelling moment in the rain.
Kuva/Foto: Nathan R. Grison.
Of all the elements of greenness which strike the eyes of the visitor when coming to the Nordic Region, the omnipresence of bikes in cities might be the most impressive one.
The photography I took in Copenhagen and decided to submit for this contest, entitled 'The Bike Storm', aims at expressing the unconventional and positive importance of this non-polluting means of transportation in the Nordic lifestyle.
Both the scene and the title constitute a play on word. The bikes have indeed been temporarily brought down on the ground by a windstorm. But, metaphorically, they have invaded all Nordic towns, and have in a way taken the cities by storm.
HD TV, Full HD, HD Ready, HDMI, Compatible HD, TNT HD et j'en passe. En magasin, les stickers pullulent sur les téléviseurs et il y en a tellement qu'on s'y perd. Un fouillis à refroidir un prospect chaud.
Loin de ce débat technophile, il m'a paru important d'informer l'acheteur potentiel à propos d'une caractéristique, elle bien commune, à toutes les télés mises en vente sur le marché français.
A viagem de comboio do Entroncamento até Elvas foi muito demorada, pois durou uma manhã, mas a contemplação da paisagem alentejana ajudou muito a passar o tempo.
De Elvas o que mais recordo é a cor amarela nos muros e paredes, juntamente com o branco, claro. E também a omnipresença de muralhas e de guaritas que lembram guerras passadas.
Foi agradável andar pelas ruas e à volta do aqueduto, comi uma ótima bifana, numa tasca onde estavam apenas elvenses com idades próximas da minha e trouxe vários souvenirs. Contudo, o trajeto para a estação, já de noite, foi desastroso: usando o GPS, encontrei-me num local onde não havia estação nenhuma quando faltavam poucos minutos para o comboio chegar. Já a pensar que teria de dormir em Elvas, lá consegui descobrir o caminho para a estação, mas tive de correr durante algum tempo para não perder o comboio.
The train ride from Entroncamento to Elvas was very long, as it lasted a morning, but admiring the Alentejo landscape helped pass the time.
What I remember most about Elvas is the yellow color on the walls and walls, along with the white, of course. And also the omnipresence of walls and guardhouses that remind us of past wars.
I enjoyed walking through the streets and around the aqueduct, I ate a great bifana, in a tavern where there were only people from Elvas, who were around my age, and I brought back several souvenirs. However, the journey to the station, already at night, was disastrous: using the GPS, I found myself in a place where there was no station at all, just a few minutes before the train arrived. Already thinking that I would have to sleep in Elvas, I managed to find the way to the station, but I had to run for a while to not miss the train.
EOCT# 14
Taken from the Bo Kaap, 2007.
Doesn't this sum us up? The omnipresence of barbed wire is often one of the first things visitors notice I find, after the beauty of the mountain and the sea of course. This new phenomenon of 'Eina Ivy', barbed wire disguised as ivy, perhaps sums us up even more.
Manifestation for the Upholding and Remembrance of the Widely Recognized Insight in the Omnipresence of Love
or something very like it
Words have the power to maintain focus on a certain topic or area or craft the lens through which we see the world. How you view the world, or even what's in front of you right now is perhaps the most important DECISION that you aren't even aware you're making.
Once you get conditioned into seeing people or the world in a certain way, often only slight updates are made to that perspective. That's why they say first impressions matter a lot.. and depending on how we structure our information we can easily start putting things into categories, labels and boxes that help us sift through the new information quickly so that it FEELS familiar.
The only problem with this fast sorting of new information is that we can start relating with the world from a conditioned perspective, a kind of semi-automatic 'program' that runs in response to the things we think we already know about the world, rather than with fresh eyes, or more importantly from a GOD perspective.
GOD PERSPECTIVE
The God perspective I'm talking about here is one in which God is the witness of everything, but THROUGH the individual lenses. And you are only privy to the lens through which you can see, yet you are still apart of the greater GOD perspective. In fact if you can even imagine what it would be like to see through multiple perspectives at once, you are getting closer to imagining what it would be like to experience omnipresence. Or the power to be in multiple perspectives at once.