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“No man has the right to dictate what other men should perceive, create or produce, but all should be encouraged to reveal themselves, their perceptions and emotions, and to build confidence in the creative spirit.”
~Ansel Adams
For my Flickr groups…
Perception is a first-person narrative horror adventure featuring a young, blind woman who depends on her razor-sharp hearing to solve an ancient mystery and survive the forces that pursue her.
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This clever sculpture is concave instead of convex, demolishing expectations and playing with your parallax.
Asheesh probably wasn't supposed to hop this fence and put Herbert in front of the sculpture, but at least he didn't disobey the sign that said "do not touch the art". I started singing "This Land Is Your Land" as Asheesh stepped over the fence, but nobody got it.
Mingle Media TV and Red Carpet Report host Stephanie Pressman were invited to cover the 35th College Television Awards at the Leonard H. Goldenson Center in Hollywood recognizing excellence in college student-produced video, digital and film work.
The 35th College Television Awards ceremony was hosted by Playing House’s Jessica St. Clair and Lennon Parham, with Matt Bomer, of USA’s White Collar, Fox’s The New Girl, Max Greenfield, Key & Peele’s Keegan-Michael Key and Jordan Peele, Scandal’s Darby Stanchfield, Revenge’s Nick Wechsler, Dexter’s Aimee Garcia, Perception’s Scott Wolf and House of Cards’ Benito Martinez. Additionally, television industry professionals from FX’s Justified writer Graham Yost, Modern Family director Gail Mancuso and voice actor Bob Bergen were also on hand to present awards and give anecdotes about the industry.
The annual event is managed by the Television Academy’s charitable arm The TV Academy Foundation which was established in 1959 to preserve and celebrate the history of television, and educate those who will shape its future.
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About the College Television Awards
The College Television Awards is a national competition recognizing excellence in college student-produced video, digital and film work. Each year, hundreds of colleges and universities nationwide submit entries in a variety of categories. Winners are honored with a personalized trophy at the gala in Los Angeles, receive cash awards, industry recognition and the opportunity to network with top television executives. Entries are judged online by members of the Television Academy who are professionals working in each respective discipline. Viewing is restricted to competition judges and staff only. Finalists' work in each category proceeds to Blue Ribbon Panels for selection of winners in prior to the Awards Ceremony. For more info please visit www.emmysfoundation.org/college-television-awards
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
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Follow our host Stephanie Pressman on Twitter at twitter.com/StephPressman
The bloody ivory damask underbust corset features 18 steel bones encased within a beautiful 14-panel silk damask shell, hand-flossed with gold thread. The corset also features a historically spaced split-front busk, "rabbit ear" lacing, floating modesty panel, and silver grommets and aglets. And blood, lots of blood!
Standard sizing with the addition of an M+ size created specifically for very curvy avatars that don't fit into the standard sizes, and a Bx size for top-heavy avatars.
Available in-world at Perception and on the Marketplace.
WHITE CUBE IN THE MUSEUM OF ADMONT MONASTERY . Collection “BEYOND SEEING – Art unites the blind and the sighted”
This special collection is an independent collection module within the contemporary art collection. It currently comprises 27 contemporary art works that are equally accessible to the blind and the sighted. Since 2002, select artists have been commissioned for that purpose. They have developed different approaches to this special topic that addresses blindness and vision impairment. In dialogue with those affected, they challenge themselves to study their perception of the world and, in turn, to reflect on their own perceptions, physical navigation systems and their own respective artistic production.
This process engendered artworks that can be directly explored and experienced on a multi-sensory level. The spectrum extends from simple structural and highly complex multimedia works right up to works that evolved in dialogues between the blind and the sighted.
The collection is conceived as a proactive invitation to the blind to participate in a discourse on contemporary art, in order to inaugurate a process that will expand the boundaries of ART SHARING and SPACE SHARING. The collection offers the chance to encounter different worlds, to engage in an exchange between them as well as for mutual enrichment. A common space that evolves in a cooperative process. Sighted people can find hands-on, innovative, approaches to art as well as different styles and worlds of perceptions and interpretations. The collection also thematises the quality of experience of the senses as a different art category, as embodying a different artistic value. This art project, which is unique to all of Europe, offers a new approach to contemporary art.
“BEYOND SEEING – Art unites the blind and the sighted” was first presented to the public in 2012 at the Museum of Admont Abbey – to commemorate its 10th anniversary.
In 2013/14, the collection was reviewed at the Centre of Contemporary Art Winzavod in Moscow. It generated consistently positive reactions and made lasting impact right there.
The collection was developed and presented with the help of scientific researchers and is accompanied by multimedia documentation. A film project is envisaged that will document the process of reception over many years. The interactions between the blind and the sighted have generated a comprehensive know-how and facilitated the development of new approaches for mediation and reception.
Future exhibition sites for the coming years are currently under discussion.
Michael Braunsteiner, Curator
Barbara Eisner-B., Coach | Research Assistant | Documentation | Film Project
Featuring works of:
Thomas Baumann, Wolfgang Becksteiner, Adi Brunner, Hannelore Demel-Lerchster, Johannes Deutsch, Manfred Erjautz, Heribert Friedl, Matthias Gommel, Michael Gumhold, Stefan Gyurko, Maria Hahnenkamp, Julie Hayward, Tomas Hoke, Anna Jermolaewa, Karl Karner, Michael Kienzer, Karl Leitgeb, Michael Maier, David Moises, Werner Reiterer, Constanze Ruhm, Emil Siemeister, Gustav Troger, Norbert Trummer, Martin Walde, Hans Winkler, Fabio Zolly
" Ce qui s’imprime dans notre regard n’est pas l’œuvre, ce n’est pas l’art. L’art n’est pas visible, il se perçoit. " ~ Lee UFAN
"The reality of life is that your perceptions -- right or wrong -- influence everything else you do. When you get a proper perspective of your perceptions, you may be surprised how many other things fall into place." -Roger Birkman
Wallpaper Version Available: solefield.deviantart.com/art/Ten-439472743
Bloody white coutil corset features a late Victorian design with historically spaced straight front busk, two-layer construction with sandwiched, hand-flossed boning channels, and detailed back lacing including a floating modesty panel and silver grommets and aglets. And plenty of blood!
Standard sizing with the addition of an M+ size created specifically for very curvy avatars that don't fit into the standard sizes, and a Bx size for top-heavy avatars.
Available in-world at Perception and on the Marketplace.
altared perceptions
it was just a table
its only claim to fame - it had been around awhile
seen a few things
been a few places
watched in a wistful wooden way
as
generations ate played and maybe loved a little
cottage pie
monopoly
adultery
and all the jigsaw stations in between
life waxing lyrical
on waxed pine boards
strait-laced victorians
wartime letter writers
joss sticks and swinging sixties
all tolerated celebrated and remembered
then
the day came
as such days must
when it was no longer required
legs a little shaky
complexion not what it was
small ads had no takers
so
on a sunny sunday afternoon
with saw and sledgehammer
it held its last service
a communion of noise and shadows
Mesh skull necklaces available at the *Perception* Booth at the Unhinged festival.
Mod/Transfer permissions.
Tactile perception(collection)
A moment fragile as a furtive image between two cultures, for French, one squeezes(tightens) idiot, it is two things, is it is a moron, or other things....
un instant fragile comme une image furtive entre deux cultures , pour les français , un serre con , c'est deux choses ,soit c'est un abruti ,soit d'autres choses...
I've been sitting on this image for a while. Doing some different studio-situated work and exploring something more personal than before.
When Brent resided his shop, he only did the two sides facing the highway. Even out here, perception is everything.
It is when we visit a place that sometimes colours our perception of it. I say that because of all the churches and fine buildings we visited on our holiday in July, that this one left the biggest impression on Julie and myself.
It was a wonderfully hot day, too hot some might say, in Edinburgh, and we had just about had it and were thinking of going home, when we saw the church ahead of us, so decided to go in.
Light was streaming in through all the windows on the southside, and those windows seemed to leave no room for walls. It was a church of light.
And what wonderful light, colouled with the most incredible ceiling and the warm welcome we received upon entering, and the clear pride that there is in this fine building.
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The Church of St John the Evangelist, or St John's, lies on the south side of Edinburgh's Princes Street, at its very western end where it meets Lothian Road. At the bustling heart of Edinburgh, the church overlooks one of the busiest junctions in the city, making the contrast when you step inside still more remarkable.
St John's is in the diocese of Edinburgh of the Scottish Episcopal Church. The Scottish Episcopal Church had its origins in 1582 when the national Church of Scotland rejected government by bishops (episcopal government) in favour of government by elders (presbyterian government).
This was no minor matter in the 1600s when James VI/I and Charles I tried to enforce rule by bishops on the Church of Scotland (thus bringing it into line with the Church of England), resulting directly in the two "Bishops' Wars" between England and Scotland, effectively the opening act of the 20-year Wars of the Three Kingdoms that included the English Civil War and the Cromwellian occupation of Scotland that followed.
Following the Restoration of the Monarchy in 1660, Charles II tried again to impose bishops on Scotland. After James VII/II. was deposed (largely because of his Catholicism) by William and Mary in 1689, the Church of Scotland was allowed to become fully presbyterian, and the displaced bishops refused to recognise the new regime, supporting instead the "legitimate" (albeit Catholic) King James VII/II, giving the church a common cause with the Jacobites who sought to retake the throne on a number of occasions until 1745. Over time, the Scottish Episcopal Church freed itself of its Jacobite overtones and became a separate church, part of the world-wide Anglican Communion.
The building of St John's started in 1816 on the site of what had previously been a council-owned market garden. It cost £18,000, and the finished church was consecrated on Maundy Thursday, 19 March 1818. St John's was designed by the eminent architect, William Burn, in the perpendicular Gothic style. During construction the size of the church was increased from seven bays to eight. In January 1818 a storm blew down the open lantern that originally sat atop the tower of the still uncompleted church, which was not replaced.
Since 1818, the church has changed significantly on a number of occasions. In 1882 the original flat wall at the east end was removed, being replaced by a magnificent chancel built out into what had previously been part of the burial ground. A church hall was added to the south east of the church in 1916, and a beautiful chapel was built onto the south side of the chancel in 1935.
But in many ways, the most important changes were made between 1857 and 1861 when many of the original, plain glass, windows in the aisles were replaced with the magnificent collection of stained glass on show today. These were the work of the Edinburgh studio of Ballantyne and Allan. In 1882 Ballantyne's son added two further stained glass windows in the aisles; and Ballantyne's grandson added two more in 1930, and the stained glass window in the chapel in 1935.
The only stained glass not locally sourced were the windows inserted when the chancel was built in 1882, which came from two different London studios. What you see in St John's today is one of the finest collections of stained glass in Scotland, made all the more vivid by the removal and restoration of all the windows over the ten years up to 1995, during which time the exterior stonework of the church was also cleaned.
The interior of St John's could be a world away from the busy streets that lie just beyond its walls. The most striking feature is the plaster ceiling vault, which was inspired by King Henry VII's chapel in Westminster Abbey, London. This is wonderfully complex and ornate. As is the chancel, which is perhaps the second feature that draws your attention on entering the church. The combination of the dark wood fittings, the dark stone used in the arch, the windows, and the ornate ceiling give an effect from the nave like looking through a door into another world.
The chapel to the south of the chancel is beautiful and intimate, and its window is especially striking as you feel closer to it than you do to those in the aisles or chancel.
Stepped down from the south side of the church is St John's terrace. This is home to the Cornerstone Cafe; the Cornerstone Bookshop, an Ecumenical not-for-profit bookshop; the Edinburgh Peace & Justice Centre; and the OneWorld Shop, a fair trade shop established in 1983. Access is via the external steps near the south west corner of the church, on Lothian Road.
War mentality cleaves the world into noble allies and despicable enemies; justifies any measures necessary to prevail, including violence to innocent bystanders; and disdains accommodation, compromise, or any questioning of authority until total victory is achieved.
In essence, war mentality suspends normal human compassion and intelligence.
~ Bruce Alexander, Peaceful Measures
Sketchnote of a talk by Chris Atherton (@finiteattention) at GOTO Zurich in April 2013. Chris covered a whole range of cognitive science theories and gave a load of great examples to illustrate the talk.
I made several photos of reflections in this interesting modern window in a newly built structure in the business park it stands within. The lamp posts and stained hardwood fence panels outside in the carpark created interesting patterns in the wavy glass. Each time I focused and clicked the shutter a different pattern of distorted images and shapes came out in the glass. Some were quite remarkable. One was even startling.
It is interesting to note that the structure is built upon the boundary of an anglo-Saxon burial ground, which is upon a Bronze age fortified settlement, which is built upon a neolithic monument that was part of a larger ceremonial landscape that encompassed an area from Springfield to Little Baddow and Boreham. The area they were built upon is rich in large gravel, flint nodules, and fossil rock. History reaching back over 30,000 years. One theory based upon extensive research that has been done, investigating unusual natural phenomena or reports of "hauntings" is that the local geography and geology combine with historical events that occurred on the site to cause optivcal illusions under certain conditions. The theory is that the crystalline matrix of certain types of stone, rock, or mineral deposits in abundance is able to absorb and record a sort of imprint of an event or scene, particularly those associated with high levels of emotion or traumatic events. This leaves a sort of "place-memory" that stays there, somehow embedded within the place itself. You must, however view the recorded image being "played back" from a certain perspective in a certain light in specific atmospheric conditions or you will never be able to see it. Author and educator Tom Graves has an interesting take on it in his book "Needles of Stone" here www.isleofavalon.co.uk/GlastonburyArchive/ndlstone/06ghos... I have worked with photonics and holographic glass plates, so I understand this scientific principle. It works with glass and minerals, so why not with a larger amount of minerals in favorable conditions? I saw some unusual images in the window....but I will let you decide what you see. It is your own window of perception that counts.