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To learn more about REact and the FIU College of Business, visit react.fiu.edu and business.fiu.edu.
To learn more about REact and the FIU College of Business, visit react.fiu.edu and business.fiu.edu.
Carlie Stalvey reacts after throwing a bean bag in corn hole against her brother at the Georgia National Fair in Perry, Ga. Photos taken on Oct. 9, 2021 for the UGA visual journalism workshop. (Photo/Denali Lerch, dnl89226@uga.edu)
To learn more about REact and the FIU College of Business, visit react.fiu.edu and business.fiu.edu.
To learn more about REact and the FIU College of Business, visit react.fiu.edu and business.fiu.edu.
REact 2023 Real Estate Conference | Miami, FL, November 3, 2023. To learn more about the FIU Hollo School of Real Estate please visit realestate.fiu.edu.
Richard, Duke of Gloucester, and the Lady Anne - 1896
Artist: Edwin Austin Abbey (American, 1852–1911, M.A. (Hon.) 1897)
In this scene from William Shakespeare’s Richard III, the villainous, humpbacked Richard, Duke of Gloucester, brazenly attempts to woo the Lady Anne, the widow of a man he has recently stabbed to death, as she walks in the funeral procession of her father-in-law, King Henry VI, another of Richard’s victims. Richard pleads his case and offers her a ring, asserting that he killed the two men in order to get near her. Anne reacts with fury to his words, but like a fly caught in a net, she soon succumbs to his flattery, and the artful duke becomes her husband and England’s next king.
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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Austrian Sculpture Park Premstätten near Graz, Austria
When sculpture and nature come together, they react to each other: an interrelationship develops that tells a story over time and constantly changes. The garden as man-made and yet constantly growing nature corresponds in the Austrian Sculpture Park in particular to the weather-exposed sculptures that blend in with the landscape or react to it. The vocabulary of contemporary sculpture ranges from abstract sculpture to everyday objects, from anthropomorphic figurations to everyday objects. The dialogue between location and sculpture is intended to make this vocabulary visible, i.e. to make statements about art, but also about society, its conflicts and dreams, and to create spaces for encounters.
Mario Terzic's ever-growing ark of living trees is the epitome of conflict and harmony between nature and sculpture. Oswald Oberhuber's sculpture on the wall points out that, since Minimal Art, every sculpture can not only stand on the floor, but can also hang on the wall, so that sculpture is also in dialogue with the picture. The dialogue inherent in art, e.g. B. between image and space, can also be expanded through a dialogue between forms of art and nature, as shown by the juxtaposition of the sculptures by Fritz Hartlauer and Jörg Schlick, which deal with rules of form, algorithms and growth. The sculptures by Christa Sommerer and Michael Kienzer also belong to this category. Works by so-called old masters can be found on a stepped landscape facing the sky, which acts as a pantheon. This power of place also supports the importance of Heimo Zobernig's tower at the entrance to the Austrian Sculpture Park or Susana Solano's "Wheel" sculpture. The same applies to Werner Reiterer's sculpture, which inflates and collapses in a hollow, Hans Kupelwieser's cushion placed between hedges, or Peter Weibel's work, which makes it possible to experience the globe as a suitcase.
Moving machines such as cars (Erwin Wurm), ships (Michael Schuster), sails (Martin Walde), airplanes (Nancy Rubins) or trains (Hans Hollein) tell of the fate of the apparatuses, of failure and standstill, social and technical dreams and transform the landscape in a sea or an airport. Correspondingly, Heinz Gappmayr's references to "things that are not yet visible" and "no longer visible" depending on the position of the viewer, Yoko Ono's cross to be nailed, the dancing trees by Timm Ulrichs and the water sculpture by Jeppe Hein increase the relationship between the visitor and artwork. The Austrian Sculpture Park is used as a platform to open up a horizon of dialogue with contemporary sculpture and to be able to better understand its language.
Elisabeth Fiedler, Peter Weibel
NRG react onstage at VALORANT Masters Santiago Playoffs Stage Day 2 held at Espacio Riesco on March 7, 2026 in Santiago, Chile (Photo by Colin Young-Wolff/Riot Games)
Maureen (Ashlie Sadler) and Joanne (Dora Bullock) react as Mimi (Ciara DiNapoli) seems to be fading.
Fan reacts in audience at the TFT Vegas Open 2023 at the MGM Grand in Las Vegas on December 9, 2023. (Photo by Colin Young-Wolff/Riot Games)
"Música electrónica creada a partir de piezas geométricas sobre una mesa de luz hecha exprofeso (vía @magami)." (supongo que esa seria una explicación en palabras sencillas)
en.wikipedia.org/wiki/Reactable
www.youtube.com/watch?v=0h-RhyopUmc
Pic by @hacheoriginal
(yo nomás le dí una arregladita)
A photo from March 2004 of my cat Pickle. I sometimes try and get Pickle to do "things" with headlines from the paper. This is one of the best of those attempts. Cat yawn but it looks like he is upset.
July 26, 2022 - React to IED event at the 2022 ARNG National Best Warrior Competition.
(Photo by Spc. Everett Babbitt)
✔️ DOWNLOAD: www.dropbox.com/sh/g4skmyexdr385qb/AADUhNzoh0UJMkCkrQIGTe...
💡HOW ? 🔽
Here are 7 colorimetric presets for adobe premiere pro.
With green and blue hues as well as orange/brown representing the hues of the planet Mars covered with astral cold.
1️⃣ Method 1: Double left click on the "prfpset."
2️⃣ Method 2: If method 1 does not work ... Go directly to the "effects" tabs from your Adobe Premiere Pro software.
Then, right click, then select 'import' and choose the downloaded colorimetric file ending with "prfpset."
- Music (🎵) = COPY & PASTE [---]
- Video (🎥) = COPY & PASTE [~~~]
- Presets (️) = COPY & PASTE [☼☼☼]
ℹ️ How to use Video: www.pexels.com/license
ℹ️ How to use Presets: creativecommons.org/licenses/by/4.0
ℹ️ How to use Music: freetousemusic.com
📋 WHAT ?
🌟 Mars Winter
💫 Presets & Colors World
🌌 Creative Common Presets Galaxy
✨ Presets (️)
📝 Type : Software
🎨 Style : Creation (Lumetri Color)
🔊 Language : International (🇬🇧 Text & Description in English)
📏 HOW MUCH ?
👑 7 Senses
⚡ 5 Intelligences
WHO ?
📡 Posted by Laurent Guidali
️ Presets by Laurent Guidali
📼 Video by Laurent Guidali
🌅 Thumbnail by Laurent Guidali
🎵 Music by Ethan Sturock
️Video promoted by eXploration
📼Video Link: youtu.be/twHBQZoLk14
~~~ 🎥 VIDEO EDITING ☼☼☼ ️ PRESETS
Laurent Guidali
~~~ ☼☼☼
~~~ 🎥 FILMED
RODNAE Productions
Mikhail Nilov
Athena
Taryn Elliott
Welton Souza
Nursultan
cottonbro
Kindel Media
Pixabay
Kelly L
~~~
--- 🎵 MUSIC
Ethan Sturock (Sunset Chaser)
📌 Instagam: instagram.com/ethansturock
📌 Twitter: twitter.com/EthanSturock
📌 YouTube: youtube.com/c/EthanSturock
📌 Spotify: open.sptfy.com/ethansturock
📌 SoundCloud: soundcloud.com/ethansturock
📌 TikTok: tiktok.com/@ethansturock
📌 Coffee: buymeacoffee.com/ethansturock
---
📍 WHERE ?
🇫🇷 France [Video eDiting & Preset]
🇺🇸 United States of America [Music]
From Mars ! [Videos Pexels]
🕓 WHEN ?
🎆 2021 (🎥 Video)
🎆 2021 (🎵 Music)
🎆 2021 (️ Presets)
🔖 React with official Hashtags :
#Etoile
#ETL
#eXploration
💌 Contact : contactexploration@gmail.com
En Sergi Jordà, uns dels desenvolupadors de Reactable, ens va explicar el seu funcionament d'aquest espectacular instrument musical de sintetització electrònica amb interfície tangible.
JD Gaming react on stage at First Stand Tournament Group Stage Day 4 on March 19, 2026 at the Riot Games Arena in São Paulo, Brazil. (Photo by Bruno Alvares/Riot Games)
Saw this mobile billboard today driving down the Embarcadero. There was video and audio; it was pretty annoying and potentially dangerous (do we really need *another* distraction while driving??).
July 26, 2022 - React to IED event at the 2022 ARNG National Best Warrior Competition.
(Photo by Spc. Everett Babbitt)
Minda Haas Kuhlmann | 2019
USAGE INSTRUCTIONS: You are welcome to share or publish to your own site or social media account, but you MUST credit me, Minda Haas Kuhlmann. Twitter: @minda33. Instagram: minda.haas
BNK FEARX reacts onstage at First Stand Tournament Group Stage Day 5 on March 20, 2026 at the Riot Games Arena in São Paulo, Brazil. (Photo by Cesar Galeao/Riot Games)