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New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
High-level Event to launch the Principles for Responsible Banking
Remarks by the Secretary-General
Principles for Responsible banking, CEO’s signing agreement to do responsible banking
These Seven Principles of Human Learning taken from the National Academies Press free ebook Learning and Understanding (2002).
"During the last four decades, scientists have engaged in research that has increased our understanding of human cognition, providing greater insight into how knowledge is organized, how experience shapes understanding, how people monitor their own understanding, how learners differ from one another, and how people acquire expertise. From this emerging body of research, scientists and others have been able to synthesize a number of underlying principles of human learning. This growing understanding of how people learn has the potential to influence significantly the nature of education and its outcomes."
Image licensed under Creative Commons by philipbouchard: www.flickr.com/photos/pbouchard/3196503910/
"Download : fisrtmagazine.biz/?book=012809284X
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"
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
The Epic Seascape! Malibu Sea Caves!
Landscape photography is not only about traveling through space, but it is also about traveling through time. One may return to the same beach time and again throughout the seasons to find a million different universes, changing in an infinitude of manners with each passing wave.
Not only do we voyage outwardly to get the shot, but we travel even further inwardly. While I spend my year trekking along the John Muir Trail, and on through Zion, Yosemite, the Grand Canyon, Death Valley, and the Colorado Plateau, my heart always finds its home in these Malibu sea caves, where I have stood in awe during all hours of the day and night.
Included within are a few shots that only I have so far captured, including a miraculous winter solstice sunrise.
Best wishes throughout the coming year!
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
THE IMMATERIALISM
Curator: Fabrizio Lollini
Artist: Rothko
About twenty years ago, a great historian of art, Michael Baxandall, wrote a fundamental book for the methodology of the studies, Patterns of Intention, in which, on the basis of a series of principles, he proposes an “inferential criticism” based on nature and fundamental affirmations that we support when we analyze a work of art. That is to say, “If we think or speak of a picture as, among other things, the product of situated volition or intention, what is it that we are doing?” He analyzes, for instance, the expectations that we have towards the work of art as bearer of the formal values of the period (How can we know them? What value they assume for us? How can we be sure that the public is aware of them?) He studies the relationships between the artist and his potential target, the artist and his colleagues, the artist and his client (Did they use common communicational codes? So then, how can we explain the changing of the taste during history? When we speak about “stylistic influence” what do we mean exactly?) Or, again, the relationship between the work of art and the scientific (or philosophical and economical) theories of its period (How can we affirm that the artistic product mirrors them, and if this reflection is intentional or not?)
All this, taking on Baxandall’s previous studies, is made more complicated from the fact that in order to express any critical judgment, we use a language that is not the one of the work of art, that is to say it’s not the visual or sensorial one. Rather, it is the cultural one, which belongs to the written language and bases itself on its own structures that change throughout time.
In the previously quoted text, the critical effort is displayed in four examples, which are different
for technical typology and periods: an iron bridge, the scotch Fort Bridge; Picasso’s Portrait of Daniel-Henry Kahnweiler; Chardin’s A Lady Taking Tea; and Piero della Francesca’s Baptism of Christ.
The chronological order is not respected, because the matter of method, though applied to different objects, must respect a formal rigour that transcends the specificity of the singular case (however bearing it in our mind).
Apart from that, and from some other few anomalous cases of methodological consciousness, especially in the phenomenological sphere, what would happen if the mental forms of contemporary art history were applied to the concrete production of exhibition catalogues, monographic studies or other scientific occasions, to medieval art? Or vice versa? If we read the Renaissance, as the manuals or the students of art history usually do, as “avant-garde” in the modern twentieth-century sense of the term, we will not understand neither its importance, nor its ways of diffusion, nor even the influences on (and from) the client’s taste.
The mimetic distance from the visual reality that an impressionist, or a futurist, or even a landscapist puts in his works, cannot be measured, neither on the basis of motivation nor on material ways, similar to the iconic allusiveness of Byzantine art. There is a feeling of the loss of references in metaphysical art, for instance, like how we feel when we look at Duchamp’s pissoir or bottle dryer, but also at a steady filming of a skyscraper.
Could this be possible in the art of the fourteenth century? The famous pipe, perfectly mimetic, doesn’t aim to be what it is, as the man of an Irish miniaturist of the early Middle Ages pretends to be what he is not, that is to say a material and recognizable reality.
The examples could be numerous.
Most contemporary critics base themselves on the outpouring of known facts regarding the author of the work of art seen in the work itself. From Picasso to Warhol to Haring we have a large documentation, which has built a sort of a daily agenda. But if we go back to the past ages where the information is fewer this agenda we are less likely to find. Hasn’t Cimabue only been a phase of Italian Art for the Anglo-Saxon world, losing a specific argumentum ad personam? (Not by chance, of his 50-year long activity as an artist we know only two concrete facts, as archival data). So, when we have a scheme of interpretation so lacking in details do we need to eliminate in the critical process the need to turn to biographic analysis? Yet, we are still attached to
the idea of genius and formal independence, especially in periods when the artist is quite far from contemporary representation. Some interpretations of medieval production as craftsmen clashed with the fondness for a history of art made of people, as we have been taught by Vasari: Yes, Antelami and Giotto are in fact multiple productive entities, but they are also – and they must be – identifiable as characters of an absolute level.
The idea of materiality opposed to the one of immateriality is not a key of interpretation exclusively based on the present age. Of course, the “immaterial values” that Bacon expresses with material choices in his manner of painting, in relation to the support constituted by the canvas, don’t follow the same of Titian.
Today, when with a plastic card pretending to be money (immaterial money) we buy two letters pretending to be a pair of jeans, or underwear, this doesn’t have a direct parallel to the Middle Ages, even if the signatures of Calvin Klein and Giotto have something in common. They express an immaterial value of quality with reference to the physicality of the object.
We don’t know what Piero della Francesca was thinking concerning the concrete values of his media, in his projects, perceptively rationalizing spaces and shapes. Sometimes we have the impression that he would gladly give up his tables, lime, and chalk if he had available realities that today we would define as more “virtual” (He could be thought as the remote patron of the supporters of Photoshop and AutoCAD).
While we all know very well Bill Viola’s theoretical speculations about technical devices able to overpass the instant temporality, in order to enter a tradition, that is, in the majority of the cases, deliberately and deeply “classic”.
Early on, Petrarch made a distinction between the learned elite and the uneducated public, between the expectations of the ones “who know” and the simpler ones “who don’t,” the stifling nature of ignorant evaluations like “Ah…look! What a nice painting! It seems like a picture!” and, “Look at this nice picture, it really seems like a painting!” always exist, and constitute the basis of a fundamental matter of art history.
From ancient Greek painters on, from Apelle‘s flowers and fruits, which seem so real that the birds crash into the wall in order to pick them up, some of the principles of evaluation have always been how far is the work of art from the reality that it portrays or suggests, if this distance is consciously achieved, or, vice versa, unintentional and not perceived and, finally, if it is permissible to see in the painting, or sculpture, something different from what materially we see.
In this way, without having any claim to offer a homogenous and coherent key of interpretation, or to be particularly original, it could be useful to have a look at some facts of the history of non-contemporary art regarding some ways to look beyond the materiality of the work of art. To show determinate objects, so it doesn’t count as an historical introduction, a sort of “history of art according to us,” but rather as a playful critical hint to highlight the critical course.
If we speak exactly about feeling of a loss of references, why we don ‘t remind ourselves of the scene in which Giotto, at the end of the thirteenth century, places the viewer from the “wrong side” with reference to the common senses? If we speak of “avant-garde”,
why don’t we call back the examples of conscious self-affirmations of the artist, as in Lanfranco’s, Wigelmo’s or Antelami’s eulogies in Northern Italy between the end of the eleventh and the beginning of the thirteenth century?
When we speak about “iconicity” in today’s art production, and nowadays we abuse this concept without having completely understood it, maybe it is better to keep in our mind a concrete example of Byzantine painting, and of the ways of its mental and visual fruition.
One of the biggest masterpieces of the Italian Renaissance is Piero della Francesca’s Legend of the True Cross, in the church of San Francesco in Arezzo.
As we know, the protagonist of the paintings is the sacred wood: born from Adam’s mouth, recognized by the queen of Sheba, hidden by Solomon, collected and employed to crucify the Savior, brought to light from Elena, mother of Constantine, and became the symbol of the new faith and the Christianization of the Roman Empire.
This is an event that is repeated and evocated through many other periods, whose main point is a common material that becomes extraordinary because it constitutes the physical object on which the death of God as human, the theological absolute reality of the foundation of Christianity, is carried out.
This is the only aim of the history.
But there is no crucifixion scene, it is a stage that is skipped, only physically recalled from the painted wooden cross placed on the altar, mentally perceived as the immaterial entity that this pictorial cycle has determined.
official web site: www.nybiennaleart.org/
official blog: nybiennaleart.blogspot.com/
The Journal asked writers and illustrators to contribute a series based on design icon Dieter Rams’ Ten Principles of Good Design manifesto. Each writer wrote on one of Rams’ principles; each illustrator reacted to a writer’s essay. This is the eight illustration from the ten-part series.
Aaron Heth wrote on Rams’ ninth principle, Good design is environmentally friendly. Mr Heth co-hosts Read Between the Leading, a podcast for design education and discussion. He recently graduated from Savannah College of Art & Design’s design program and is freelancing in the San Francisco area. Jeffrey Bowman created the above illustration based on Mr Heth’s essay. Mr Bowman works under the name Studio-Bowlegs. He is currently enrolled as MA student at The University of Huddersfield, and has designed for numerous clients, including Urban Outfitters, Computer Arts, and Nike.
[Image] A return to first principles in a #republic is sometimes caused by the simple virtues of one man. His good example has such an influence that the good men strive to imitate him, and the wicked are ashamed to lead a life so contrary to his example -Niccolo #Machiavelli
The pavilion consists of 35 fiber-composite components which are robotically wrapped.
photographed by
Frank Dinger
BECOMING - office for visual communication
facebook: Becoming office for visual communication
NK 1505 P7 1990
Superb illustrations depict networks on which repeat patterns can be arranged: square, brick and half-drop, diamond, triangle, ogee, hexagon, scale, and circle. Eye-catching pattern samples from textiles, macrame and embroidery, wrapping paper, mosaics, painting, collage, sculpture.
Biochemistry Update: Discover the latest professional resources in Biochemistry - wileyasia.wordpress.com/2012/10/31/biochemistry-update-di...
The Journal asked writers and illustrators to contribute a series based on design icon Dieter Rams’ Ten Principles of Good Design manifesto. Each writer wrote on one of Rams’ principles; each illustrator reacted to a writer’s essay. This is the seventh illustration from the ten-part series.
Joshua Brewer wrote on Rams’ second principle, Good design is useful. Mr Brewer is a San Francisco-based designer and the Director of User Experience at SocialCast. He co-founded 52 Weeks of UX, an educational online weekly centered around usability on the web. The Journal drew inspiration for the Rams series from Mr Brewer’s Week 8 post on Rams’ Principles. Adam Garcia created the above illustration based on Mr Brewer’s essay. Mr Garcia works under the studio name The Pressure. He is a graphic designer at Nike Sportswear and illustrates for local and national publications.
The principle on this poster that really catches my eye is the emphasis, because of the bright colors used to create a proportion. The colors give a fresh look to poster, which is really suitable to the meaning.
Source: www.fromupnorth.com/graphic-design-inspiration-1052/
A heart-backed spider living in the Solomons.
A collaboration between Tomás Saraceno, Visiting Artist at MIT’s Center for Art, Science & Technology and Lodovica Illari of MIT’s Department of Earth, Atmospheric and Planetary Sciences, Aerocene invites us to think of new ways to sense the circulation of energy and resources, towards a new thermodynamic imaginary, actively reframing the material ethics and politics of our contemporary modes of moving, dwelling, and being-together, here on Earth. It pursues the vision of Cloud Cities, previous undertaking of Saraceno. For COP21 Paris, the artist will present Aerocene in an outstanding sculptural installation at Grand Palais. At Palais de Tokyo, a symposium will be organized, and a series of actions and collective performances, based on open-source collaborative principles, will take place in various locations.
Expedition participants included Tomás Saraceno, Francesca von Habsburg, Markus Reymann (TBA21), Juan Enriquez (noted author), Bill Mckenna (MIT), and Nicholas Shapiro (Pacific Lab), alongside the community from Kukudo (sp) in the Solomon Islands. Just after sunrise, Saraceno launched the first test of Aerocene off the Dardenella and then followed the floating structure in a wood canoe as it floated up powered only by the heat of the Sun.
Learn more at arts.mit.edu
Photo by ©Tomás Saraceno
Please ask before use
The principles of design in this photo are contrast and emphasis. The dark colors of the shadow are emphasized against the light. To take this photo I went outside when the sun was setting and had a light shine through to cast a shadow. I think I did well with having the shadow contrast and show the shape of the person. One thing I would change is to have the light more even throughout the picture.
Ground Zero Center for Nonviolent Action, Mother's Day 2008
Anti-war / anti-nuclear weapons activists converged on the Naval Submarine Base Kitsap-Bangor on Saturday May 10th, 2008 in a Mothers Day commemorative action. Participant's engaged in a traditional vigil and nonviolent civil resistance direct action to oppose the weapons of mass destruction as they exist in their offensive capacity on the base. The offensive capacity of the weapons is in contravention of several legally binding international agreements. Unfortunately, the United States Government is in flagrant violation of these treaties. The abnegation of international law by the Government of the United States of America imperils the world. Decision-makers behave in ways that are Machiavellian. They employ the Hobbesian model of power-politics where "might makes right" and the "ends justify the means", which is then applied to international discourse. However, there is a better way.
By respecting international laws and agreements, the United States can help to promote and create an international environment of equity and respect.
One of the problems with the trident nuclear missile programs is that in addition to their purported role as a well-intentioned defense, these missiles also serve as a basic international bully mechanism. The trident missile system deployed via Bangor submarine base is estimated to be capable of wreaking a several months' long nuclear winter over much of the globe.
Instead of operating in the realm of power-politics where the application, or the threat of application, of brute force hangs over international proceedings: I challenge the Government and the People of the USA to pursue a better way. I challenge the Gov't and People of the United States of America (including myself) to work for a foreign policy that truly values human rights, human dignity, human health, environmental health, fairness and equity, truth, honesty, respectfulness (for ourselves individually, for each other, and for the Earth). The means create the ends.
Programming languages are heart of computer science. They are the tools we use to communicate not only with computers but also with people. The principal goal of this book is to provide the reader with the tools necessary for critical evaluation of existing and future programming languages and constructs.
This subject has been included in the course curriculum of engineering student by Rajasthan Technical University at undergraduate level.
Authors: Devendra Kr. Sharma, Vipin Jain.
San Antonio billionaire Jim Leininger with Gov. George W. Bush.
Dr. Leininger, a major funder of the charter school movement, is on the board of evangelist Bill Gothard's Institute in Basic Life Principles: iblp.org/iblp/about/corporate/board/
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Faculdade de Engenharia da Universidade do Porto by architects Pedro Ramalho and Luis Ramalho. Porto - Portugal
bi-cam using pinhole side + Kodak Ultra 400 (expired January 2007)
High-level Event to launch the Principles for Responsible Banking
Remarks by the Secretary-General
Principles for Responsible banking, CEO’s signing agreement to do responsible banking
From left to riht: Dean Wallace, Linda Wallace, Keeta Lauderdale, Ray Lauderdale, and Shelby Lauderdale.
Garrison Green was developed according to the principles of New Urbanism. The result -- a compact, pedestrian-friendly urban community that’s located just minutes from downtown Calgary. In addition to more than 1,000 homes in a variety of styles and price levels, Garrison Green also offers seniors and assisted living housing, as well as the Cypress Green affordable housing complex. This is thanks to a partnership between the city, province, CLC and Canada Mortgage and Housing Corporation.
Garrison Green is also home to Peacekeepers Park. This park is the site of an annual event that pays tribute to the men and women who serve in Canada’s peacekeeping forces. CLC is committed to honouring the past, while creating vibrant communities for Canadians.
_________________
Garrison Green a été aménagée selon les principes du nouvel urbanisme. Le résultat? Un quartier compact et invitant pour les piétons, à quelques minutes du centre-ville de Calgary. En plus des quelque 1 000 résidences de styles divers pour tous les budgets, Garrison Green comporte des résidences pour les aînés et des logements avec assistance, de même qu’un complexe d’habitation abordable, Cypress Green. Le projet résulte d’un partenariat entre la ville, la province, la SIC et la Société canadienne d’hypothèques et de logement.
Garrison Green est aussi le site du parc des Casques bleus, lieu de commémoration annuelle à l’intention des hommes et des femmes qui ont participé à des missions de maintien de la paix. La SIC s’engage à rendre hommage au passé tout en créant des communautés animées pour tous les Canadiens et Canadiennes.
The goal of this project was to experience controlling relational properties of form (i.e. position, direction, space, and gravity) to achieve an intended design outcome. Restricted to five geometric unit forms with at least three in an oblique orientation to one another and the base, this design expresses a clear concept and features the relational elements of form and the means of connecting unit forms as important sources of visual interest in the solution while considering intentions for mass or space dominance.
Constructed from wood, matt board, cardboard, and paper, it was crucial to apply the basic principles design while creating compositional strength from all angles.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
The Epic Seascape! Malibu Sea Caves!
Landscape photography is not only about traveling through space, but it is also about traveling through time. One may return to the same beach time and again throughout the seasons to find a million different universes, changing in an infinitude of manners with each passing wave.
Not only do we voyage outwardly to get the shot, but we travel even further inwardly. While I spend my year trekking along the John Muir Trail, and on through Zion, Yosemite, the Grand Canyon, Death Valley, and the Colorado Plateau, my heart always finds its home in these Malibu sea caves, where I have stood in awe during all hours of the day and night.
Included within are a few shots that only I have so far captured, including a miraculous winter solstice sunrise.
Best wishes throughout the coming year!
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Principles of Design Portfolio that I had to do for school awhile ago. You may have notcied I spelled Principles wrong on the actual Photoshop Document.
Students in Mark Corson's principles of humanitarian aid course sort through logistical issues involved in a trimester-long role-playing simulation, Dec. 6, 2011. The scenario, in the fictional country Atlantica, had students working in a consortium comprised of four humanitarian aid groups to deliver aid to Atlantica, which was devastated by an earthquake. The course is offered as part of Northwest's comprehensive crisis response minor. (Photo by Darren Whitley/Northwest Missouri State University)