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This is another shot of Oakland’s ultra-modern Cathedral of Christ the Light. I spent a good hour here roaming around with complete freedom and I was just about to leave when I saw this guy standing at one end of the church, waiting for his wife to come meet him. It all seemed very romantic and the futuristic dome gave the scene a cool feel. I love this church.
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Remember when you were a kid and you would spend silly amounts of time imagining shapes in the clouds? This was one of those times for me. I was up on Diamond Head peak in Oahu, just as the sun was coming out and I saw this cool cloud formation that looked like a rising phoenix. Sure, this particular phoenix is made of high concentrations of air and precipitation, is cold and white, but the world likes variety ... don't pick on him.
Photograph Smile was the long-awaited solo album from Julian Lennon, and in this endeavor, he exhibits much of his acquired influence from the Beatles. There are many reminiscent guitar riffs and what seem to be lyrics the Beatles might have written, only better, and several with more pathos. OK, let's just get it out-- yeah, he sounds like John, he can't help it. Are we on the Julian page now? Some were obviously written about his relationship with Lucy Bayliss. Quite a different set of tunes from "Valotte", but still with the signature sound for which he has become known. It is a very introspective album and nothing that will "rock you out" like much of the Valotte material --- it lacks the same velocity, but listen to the lyrics. Some good changes. This was created during a time in his life when things were totally different from the "Valotte" times. It is overall quite an accomplishment and a very good album. All the tracks are very good. Unlike some artists whose albums pomp one or two tracks, these are all good. I may not say much about some tracks, but they're all worth a listen. Some take several listens to really get into. Despite a few jaunty tunes, it's basically a "getting over you" heartbreaker collection. (Not that that's a bad thing.)1. Day After Day -- Apparently a soldier's letter to his love back home, a segment of which made a brief appearance in the film "Music From Another Room". This tune was very popular in the U.K. during its initial release (although not in the U.S., due to poor promotion), catchy and very good. ("Music From Another Room" thereafter became the name for Julian's label.)2. Cold -- I really love this song, but didn't at first, mostly because of the heaviness of it, but still with good lyrics and a point. At first, I found it too heavy, but after repeated listenings, it has become a beautifully haunting favorite. Some good acoustic guitar. Sometimes airy and nebulous, with echo effects. "I can feel you everywhere tonight, don't leave me cold."3. I Should Have Known -- Because you broke my heart. Pleasant, but graphically sad.4. How Many Times -- A very eco-friendly tune, about humanity devastating the planet; pleading for sensibility. Has a good beat, and after a few turns, you'll probably be singing along.5. I Don't Wanna Know -- Sounds like his dad, with all the appropriate accompaniment. Could've been a "lost" Beatles tune. Got some rock to it.6. Crucified -- "On the cross of inuendo..." Slightly dark with some Eastern influence. "We're all freaks in this sideshow."7. Walls -- Soft and ponderous. May take some getting used to; some great, gentle piano strokes which build beautifully.8. Believe -- Typical lyrics, but a good tune and beautifully done, considering the average subject matter. "We tear ourselves apart and leave a broken heart." It could really touch a crier.9. Good To Be Lonely -- Not terribly inspired, sounds like filler, but listenable. Has good backup.10. Kiss Beyond The Catcher -- I couldn't really get too close to this one until after many listenings; it's a matter of taste, but not too bad (pseudo-jazzy).11. And She Cries -- In many ways, a beautiful update of "She Loves You", but with more feeling and better lyrics, better guitar (sounds like George). Doesn't rock as much as "She Loves You", but has a story line, and resolves beautifully ("Nowhere Man" reference). Gorgeous song -- it'll tug at ya.12. Photograph Smile -- Wispy parting song. Sad. Pretty. Good violin accompaniment.13. Faithful -- A very good song (I have a problem with the lyrics -- "undoubtably" should be "undoubtedly"), nice tune, "That's all I've ever wanted from you ..." Some female backup, and a few good background crescendos. 14. Way To Your Heart -- Feels a bit heavy until you get into it -- "I want to see you untangled, I want to see you from every angle..." Very nice love song. Good lyrics. A brief orchestral interlude is reminiscent of "Lucy In The Sky With Diamonds" (no doubt an intententional reference to Lucy B. -- apparently a real heartbreaker). It is soulful and pleading without being mushy.Compared to "Valotte", at least half of these tunes take some patience in that they don't "grab" you right off, but after repeated listenings, they will. I have to say that at first I was disappointed, but now I can see the changes he's made and his music reflects his personal travail. No doubt the better portion of this work is heavily influenced by his ended relationship with Lucy. Keep that in mind and remember that recording artists ARE artists; their work reflects their current feelings. The works of great artists are the release of intense emotion, and whatever is important in their lives at the moment of creation. Accept it or don't. No regrets about buying this Julian Lennon CD. Great work!!! I look forward to his next phase. For More 5 Star Reviews Photograph Smile by Julian Lennon
One of my favorite public art events in Austin is the annual Creek Show, which is presented by the Waller Street Conservancy. The event runs for a week and a half and features a series of illuminated art installations and family-friendly activities at several locations along Waller Creek.
Our fourth stop of the 2017 Creek Show was this work that uses lights to mimic rainfall and evaporation. The lights dangled from the arch of the 7th Street bridge, and this video clip captures their color and movement. A nearby informational placard provided a few details on the work, which was titled EPHEMERAL SUSPENSION and created by Pathos and Touch To.
EPHEMERAL SUSPENSION
PATHOS + Touch To
Francisca Aroso (co-lead)
Brandon Cuffy (co-lead)
Aaron Upshaw
Matthew Camden
W2MacFab (collaborator)
Light and shadow, moist and dry, below and above; these are a few of the many dispositions of Waller Creek. The creek is a critical vein through the fabric of Austin, connecting people, places, and wildlife, presenting itself not only as a natural connector, but a social hub, as well. With revitalized amenities, landscape, and waterscapes, Waller Creek provides a series of rich experiences connected to the life and culture of the city. The vitality of the promenade along the creekside can be extended further, down into the lower creek level, rendering a new datum of experience in the city. The character of the creek is that of a civic nexus of urban energies, bringing people together around a restored environment. Bringing nutrients from upstream, the creek plays an important role in a large ecosystem of plants and animals. The atmosphere created by the processes of evaporation, rainfall, and flow contribute to the microclimate in the vicinity of the creek. It is from these natural processes that Ephemeral Suspension takes its inspiration, intangible processes caught in midair.
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Friday, November 10, 2017
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This collection of photographs was the result of a happy mistake while walking through the Hakone Garden’s bamboo forest in Saratoga. I was messing around with my camera on manual mode, trying different angles and motions when I noticed the resulting images resembled impressionist paintings. I liked how the bamboo forest was implied though color, light and movement, so I sat there for a while and tried different things until I got the look I wanted. All of these photographs are single shots with very minor adjustments in Photoshop.
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I am starting a new series of images which are digital paintings of my travel photos. I will keep adding to this collection over time. I hope you like them.
Forse ci piace soffrire, forse è proprio nella nostra natura. Perché senza sofferenza, non so, forse non ci sentiremmo reali. Com’è quel detto? “Perché continuo a farmi del male?” Perché è meraviglioso quando smetto di farlo
Ares, Vices to Veils, Pathos, +More at Hoosier Dome
Posting most of my recent work on Facebook
www.facebook.com/media/set/?set=a.1319475438065733.107374...
so subjects can use for social media.. gotta find time to cull the best for posting here... soooo many pics, so lil time, LOL
www.facebook.com/events/601789106669751/
Photos by Philipp Geist ©2013 / VG BildKunst
WAGNR RMX - Philipp Geist
WGNR rmx 2013 - PHILIPP GEIST
Light Installation / Video Mapping Installation
New City Hall Bayreuth from July 7th to August 28th On the occasion of Richard Wagner’s 200th birthday the Berlin artist Philipp Geist (1976) develops a comprehensive light and video mapping installation on the external walls of the New City Hall in Bayreuth over a period of 40 nights. The artist dismisses the use of screens and projects his artistic image and light projections directly onto the facade. The projection merges with the location and invites visitors to linger around the New City Hall. The art installation is going to be further developed and enhanced during the mentioned period.
The subject of the artistic installation is Richard Wagner and his works; images, words, quotes, and associations from his operas are artistically interpreted and incorporated into the installation. These terms and quotations from Wagner's operas are projected in a "carpet of words" and abstract verbal images on the facade. With his pictorial language the artist Philipp Geist develops his own artistic interpretation of Wagner's themes. Geist creates a dialog between the location, i.e. the New City Hall, the visitors, and the artistic works of Richard Wagner. In the process, the access to the "Wagner" topic is complex: On a first direct level, concepts and images of his major works will be displayed on the facade by means of the visual language of Philipp Geist. Visitors will be inspired by individual characters and scenes from the rich repertoire of fine arts, from paintings and illustrations, especially from the 19th century. However, the characters and scenes will be alienated and integrated into the abstract structures of Philipp Geist’s worlds of images. Known Wagner themes, such as fire, natural phenomenons, and symbols like the ring, the sword, and the storm as a mirror for the inner turmoil, can be re-experienced and emerge as quotes in the form of images. In this way the installation demonstrates connections in a non-narrative manner and thus admits a different modern and contemporary access to Wagner’s works.
In this manner the radiant face of the hero appears in order to darken and vanish in the next moment. The great void comes into sight through the building bathed in darkness symbolizing the fraud, the vile and the dark side existing in men.
A scenery appears for an instant to dissolve in a flash into a graphic pattern again. Pristine landscapes turn into pixels and remind the viewer of the actual romantic ideal.
The Rheingold shines and sparkles through a hinted blue surface of water to crumble to dust a moment later. Gray and white particles float over the facade; the material transience is almost palpable.
The symbolism of the colors is adopted from the works: white sails become black, and vice versa; for the contemporary video projection technology it is easy to decide instantly on fateful questions. The sails may also turn into colorful triangles and fly away over the facade as a graphic pattern. At the same time, it is the random and ludic character of the installation that lures out the tragic and borne nature of the Wagner pathos and allows viewers of any age to envision uncountable points of contact. The installation celebrates Wagner, but it also uncovers critical voices: polarizations like genius and kitsch clash together and cover the building as one, quotes as Wagner’s "Aber, aber, was sollen die Sentimentalitäten" [But for all that, what’s the point of all these sentimentalities] wander along the facade.
On another level the approaches followed by Wagner matter for Geist’s installation: Wagner crossed the boundaries between the different arts and contents. He allied image and sound, music and stories, symphony and legends. Also Geist’s installation is influenced by Crossover: the multimedia artist creates a synergetic work on the City Hall giving rise to images from texts and mixing the analog with the digital by painting with light and his computer
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
WAGNR RMX - Philipp Geist
Lichtinstallation / Video-Mapping-Installation
Bayreuth Neues Rathaus 20.07.2013 bis 28.08.2013
KONZEPT PHILIPP GEIST
Anlässlich des 200. Geburtstags von Richard Wagner entwickelt der Berliner Künstler Philipp Geist (1976) über den Zeitraum von 40 Abenden eine flächendeckende Licht- und Video-Mapping-Installation auf das Neue Rathaus in Bayreuth. Dabei verzichtet der Künstler auf den Einsatz von Leinwänden und projiziert seine künstlerischen Bild- und Lichtprojektionen direkt auf die Fassade. Die Projektion verschmilzt mit dem Ort und lädt Besucher zum Verweilen am Neuen Rathaus ein. Über den Zeitraum der Installation wird die künstlerische Installation weiterentwickelt und ergänzt. Inhalt der künstlerischen Installation ist Richard Wagner und sein Werk; Bilder, Begriffe, Zitate und Assoziationen aus seinen Opern werden künstlerisch interpretiert und in die Installation eingebaut. Dabei werden Begriffe und Zitate aus Wagners Opern als Wörterteppich und abstrakten Wort-Bilder auf die Fassade projiziert. Der Künstler Philipp Geist entwickelt mit seiner Bildsprache seine eigene künstlerische Interpretation der Wagner-Themen. Geist entwickelt einen Dialog zwischen dem Ort, also dem Neuen Rathaus, den Besuchern und dem künstlerischen Werk von Richard Wagner. Der Zugang zum Thema „Wagner“ ist dabei vielschichtig. Zum Einen auf einer ersten, direkten Ebene, werden Begriffe und Bilder seiner Hauptwerke in der Bildsprache von Philipp Geist auf der Fassade zu sehen sein. Einzelne Figuren und Szenen aus dem reichen Repertoire der Bildenden Kunst, aus Gemälden und Illustrationen v.a. aus dem 19. Jahrhundert werden dem Besucher begegnen. Sie werden jedoch verfremdet und in die abstrakten Strukturen von Philipp Geists Bilderwelten integriert. Bekannte Wagner-Themen wie das Feuer, Naturereignisse und Symbole wie der Ring, das Schwert, und den Sturm als Spiegel für die innere
Aufruhr werden neu erfahrbar gemacht und tauchen als Bildzitate in der Installation auf. Die Installation zeigt so in nicht narrativer Art Zusammenhänge auf und lässt somit einen anderen modernen und zeitgenössichen Zugang zu dem Werk Wagners zu. So erscheint das strahlende Gesicht des Helden, um sich im nächsten Moment zu verdüstern und zu verschwinden. Die große Leere erscheint durch das in Dunkel getauchte Gebäude und symbol- isiert den Betrug, das Niederträchtige und Düstere im Menschen. Eine Szenerie taucht auf, um gleich wieder in ein grafisches Muster zu zerfließen. Unberührte Landschaften werden zu Pixeln und führen dem Betrachter vor Augen, dass es sich um ein romantisches Ideal handelt. Das Rheingold strahlt und funkelt durch die blaue angedeutete Wasseroberfläche hindurch, um im nächsten Moment zu Staub zu zerfallen. Graue und weiße Partikel schweben über die Fassade, die materielle Vergänglichkeit wird geradezu greifbar. Die Symbolik der Farben wird aus dem Werk übernommen, weiße Segel werden zu schwarzen und umgekehrt, es ist der zeitgenössichen Videoprojektionstechnik ein Leichtes, ganze Schicksalsfragen zu entscheiden. Vielleicht werden die Segel auch zu bunten Dreiecken und fliegen als grafisches Muster über die Fassade davon. So ist auch das Zufällige und Spielerische Merkmal der Installation, die das Tragische und Getragene des Wagner-Pathos herausfordert und eine Vielzahl von Anknüpfungspunkten für das Publikum jeden Alters ermöglicht. Die Installation feiert Wagner, macht aber auch kritische Stimmen sichtbar: Polarisierungen wie „Genie“ und „Kitsch“ treffenen aufeinander und ziehen sich gemeinsam über das Gebäude, Zitate wie Wagners: „Aber, aber, was sollen die Sentimentalitäten“wandern die Fassade entlang. Auf einer weiteren Ebene werden die Ansätze, welche Wagner verfolgte, auch für Geists Installation von Bedeutung sein: Wagner überschritt die Grenzen der verschiedenen Künste und Inhalte. Er brachte Bild und Ton, Musik und Geschichten, Symphonie und Sagen zusammen. Auch die Installation von Geist ist geprägt vom Crossover: Der Multimedia-Künstler erschafft ein synergetisches Werk auf dem Rathaus, lässt aus Texten Bilder entstehen und mischt Analoges mit Digitalem, indem er mit Licht und dem Computer malt.
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
Studio Philipp Geist
Post Box (Postfach) 080311
10003 Berlin/ Germany
Leipziger Str. 6610117 Berlin Studio PHILIPP GEIST - Leipziger Str. 66 - 10117 Berlin
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Michael Armitage: Pathos and the Twilight of the Idle / Kunsthaus Bregenz. Full video: vernissage.tv/2023/07/19/michael-armitage-pathos-and-the-...
Aluna: Cristina Savi
Foto: Denise Wichmann
Modelo: Janaina (JOY)
Cabelo/maquiagem: Johnny Left
Tratamento de imagem: Luly Salle
Trabalho desenvolvido para o editorial do livro Pathos Projeta-me (disciplina Desenvolvimento de Coleções II, a qual ministro), onde o aluno desfilará a sua coleção no dia 11 de dezembro na Feevale.
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This collection of photographs was the result of a happy mistake while walking through the Hakone Garden’s bamboo forest in Saratoga. I was messing around with my camera on manual mode, trying different angles and motions when I noticed the resulting images resembled impressionist paintings. I liked how the bamboo forest was implied though color, light and movement, so I sat there for a while and tried different things until I got the look I wanted. All of these photographs are single shots with very minor adjustments in Photoshop.
Buy Prints | Blog | Google+
I was visiting my family a couple of weeks ago in Folsom, so I brought them with me on a brief photo excursion. On the opposite side of Highway 50 there is a huge open area full of hills and rolling pastures. I found this awesome path leading to nowhere and I stopped to get a picture of it. I can only assume this is where the Smurfs live. Well, maybe not the Smurfs who got their own TV show, but perhaps their distant non-commercially-adept cousins.
On our way back to civilization, the sun was setting over a nice hill so I waited to catch the light just right for this shot. The clouds seemed to explode off of the hill and I almost expected to see the silhouette of the next evolution of man coming up over the horizon. However, Neom (next evolution of man) did not make an appearance. Perhaps next time …
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... I have been hanging out a lot with my daughter lately ...