View allAll Photos Tagged perception
Research, Concept, Direction
Guru Kamalini Dutta
Dancers
Bharatanatyam
Dr. Sridhar Vasudevan
Purvadhanashree
Kathak
Divya Goswami
Hemanta Kumar Kalita
Music Composers
Rakesh Pathak
K Venkateshwaran
Dr. Sridhar Vasudevan
We speak of the spiritual core of classical Indian dance but it is rare for artists to reach beyond stories with the aspiration of tapping into the cosmic. Kashmir Shaivism expresses a profound non-dualistic understanding of the universe — viewing life as filled with rasa/enjoyment. This philosophy of inclusiveness is the need of the day and its interpretation through Bharatanatyam and Kathak in a production by Anugraham — Classical Art Community called Rango’ntaratma on April 1 at 6:45 pm at Kamani Auditorium was an eye-opener for most.
Rango’ntaratma is the central sutra of the Shiva Sutras which define the inner consciousness of the individual as the performance arena where life is played out. Every individual is an actor who assumes multiple roles in his/her life. Manifesting this in performance has been the driving inspiration behind Kamalini Nagarajan Dutt’s year long creative efforts envisioning the theme and working with four superb dancers to bring to life the concepts of this wonderful sutra — Naada, Bindu, Kalaa and Rasa.
The production reveals the hidden concepts of some of these mythological symbols. The journey begins from the formless and unfolds in various forms accessible to sensory perceptions.
Full disclosure: Kamalini Nagarajan Dutt is my kalyanamitra and I have watched with awe as she has immersed herself into the process of developing the concepts and directing the dancers over many months.
- Guru Sharon Lowen, in The Asian Age
景色が逆さに見えたり、周囲の音がワンテンポ遅れて聞こえたりする体験ができる装置。A device that allows you to experience things like seeing the scenery upside down and hearing surrounding sounds one beat delayed.
For this project I wanted to look at the human form from an abstract view, taking away any previous experience or relation to the human body I wanted to create this new physical form relating more to extra terrestrials and the idea of life beyond earth.
What would they look like ?
how would they move ?
Enjoy
“... one day i realized ‘wow’ it was about me. i had to do well because if i didn’t, then who knew what my life would be like.”
sea scorpion attempts to eat common blenny who sticks pectoral fins out to prevent this occuring
* ARTICLE: cavewallmedia.co.uk/cwmstories/funnies-snippets-rummage-b...
* Cave Wall Media on fb: www.facebook.com/CaveWallMedia
Advertising Agency: age. comunicações, São Paulo, Brazil
Creative Director: Carlos Domingos
Art Director: Henrique Mattos
Copywriter: Daguito Rodrigues
Published: June 2009
Artist & Best Friends Animal Sanctuary founder, Cyrus Mejia's show Pits & Perception opened in Los Angeles @ Artology 101 in Glendale. There were several live pit bulls in attendance at the festivities.
From cyrusmejia.com/art/pits-and-perception
"Art can present us with a different view, a new perspective, another way of thinking about things. In this series of paintings of Pit Bulls I’m challenging the current-day perception of these dogs. Not by changing their image, but by depicting them close-up, larger than life, and inviting the viewer to question how they see and perceive Pit Bulls."
Artology101
3108 Glendale Boulevard, Los Angeles, CA 90039-1806(323) 644-0101
Perception is a thing of beauty, what look as an ordinary rope to someone, looks like a interesting motive for a photographer.
"First thing that I noticed was...."
Listen to enhance the image.. www.youtube.com/watch?v=UOYVKgczvvY
Artist & Best Friends Animal Sanctuary founder, Cyrus Mejia's show Pits & Perception opened in Los Angeles @ Artology 101 in Glendale. There were several live pit bulls in attendance at the festivities.
From cyrusmejia.com/art/pits-and-perception
"Art can present us with a different view, a new perspective, another way of thinking about things. In this series of paintings of Pit Bulls I’m challenging the current-day perception of these dogs. Not by changing their image, but by depicting them close-up, larger than life, and inviting the viewer to question how they see and perceive Pit Bulls."
Artology101
3108 Glendale Boulevard, Los Angeles, CA 90039-1806(323) 644-0101
The light shines more when it is hidden. Seeing it from the shadows, the beauty of light can be seen more intensely. Standing under it, we do not think about its meaning, but when we are not under it, when we see it from afar, we realize just how much we desire it.
A beautiful flower? Actually a closeup of a glass of iced green tea with a lime. Shot with reverse-mounted Super-Takumar 50mm.
My blog at whatipic
George Moore has been investigating the intersection of animation, sound, video, and code for the past two decades. His recent work in digital animation explores subtle interaction of layers, the influence of spatial and temporal phenomena on each other, and the role of individual memory on perception.
No Patent Pending #12
Quartair, Den Haag 2015
Presented by iii in cooperation with TodaysArt and Quartair.
No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.
Adam Donovan is a hybrid media artist originally from Australia and currently based in Vienna who works in the area of science, art and technology. His artwork incorporates Nonlinear Acoustics, robotic sculpture, Game Engine Environments and camera tracking. Inspired by our attachment to machines and the intangible aspects of physics that we experience every day, Adam Donovan explores these phenomena amplifying their effects to create new mediums and new experiences.
The St.Benedictusberg Abbey at Vaals, the Netherlands, is a Benedictine Abbey which was built between 1921 and 1928 by the architects Dominicus Böhm & Martin Weber as a simple quadrilater with two towers marking the corners and left unfinished for several years. The new abbey church and crypt, monastery court and reception hall with consulting rooms by architect Dom. Hans van der Laan (1904-1991), finished in 1968. In 1986 followed a second extension of the monastery with a second patio, a library and a sacristy. It is a pronounced highlight in post-war Catholic architecture, without the lavish decorations that characterized Roman church building for centuries and at the same time were equally awe-inspiring and mysterious.
The architect, who was also a Benedictine monk residing in the abbey until his death in 1991, was a prolific architectural theorist whose main contribution is about the fundamental principles of architecture and the combination of spatial and philosophical concepts with practical design tools. His main invention was a proportional system called “the plastic number“, which he considered an objective response to the fundamentals of perception, space qualities and elements of structure.
The plastic number was not created to reveal any kind of “superior order of the world” and was not derived by nature; instead, it was a method which could be applied to the world, through the means of architecture, to structure our understanding of space. The plastic number is “premised upon that principle that we can understand and quantify the subjective experience of space”. Van der Laan’s built projects become testing grounds for his system: in the abbey, the plastic number defines the relationship among the single elements, the modules and correspondences within the cells, the open spaces, the heights and the openings ,right to the design of each single piece of furniture. The choice of rough and austere materials coupled with a complete lack of decoration underlines Van der Laan’s interest in an architecture completely defined by proportional rules and control of light.
"Architecture is born of this original discrepancy between the two spaces – the horizontally oriented space of our experience and the vertically oriented space of nature; it begins when we add vertical walls to the horizontal surface of the earth. Through architecture a piece of natural space is as it were set on its side so as to correspond to our experience-space. In this new space we live not so much against the earth as against the walls; our space lies not upon the earth but between walls. This space brings a completion to natural space that allows it to be brought into relation with our experience-space; at the same time it allows our specifically human space to be assimilated into the homogenous order of nature." - Hans Van der Laan.