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Laburnum
From Wikipedia, the free encyclopedia
Laburnum, sometimes called golden chain or golden rain, is a genus of two species of small trees in the subfamily Faboideae of the pea family Fabaceae. The species are Laburnum anagyroides—common laburnum and Laburnum alpinum—alpine laburnum. They are native to the mountains of southern Europe from France to the Balkans.
Some botanists include a third species, Laburnum caramanicum, but this native of southeast Europe and Anatolia is usually treated in a distinct genus Podocytisus, more closely allied to the Genisteae (brooms).
Description
The Laburnum trees are deciduous. The leaves are trifoliate, somewhat like a clover; the leaflets are typically 2–3 cm (0.8–1.2 in) long in L. anagyroides and 4–5 cm (1.5–2 in) long in L. alpinum.
They have yellow pea-flowers in pendulous leafless racemes 10–40 cm (4–15.5 in) long in spring, which makes them very popular garden trees. In L. anagyroides, the racemes are 10–20 cm (4–8 in) long, with densely packed flowers; in L. alpinum the racemes are 20–30 cm (8–12 in) long, but with the flowers sparsely along the raceme.[2] The fruit develops as a pod and is extremely poisonous.
The yellow flowers are responsible for the old poetic name 'golden chain tree' (also spelled golden chaintree or goldenchain tree).
Laburnum tree in full flower
All parts of the plant are poisonous, although mortality is very rare.Symptoms of laburnum poisoning may include intense sleepiness, vomiting, convulsive movements, coma, slight frothing at the mouth and unequally dilated pupils. In some cases, diarrhea is very severe, and at times the convulsions are markedly tetanic. The main toxin in the plant is cytisine, a nicotinic receptor agonist.
It is used as a food plant by the larvae of some Lepidoptera species, including the Palearctic moth, the buff-tip.
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Had a very tiring day of basketball and baby sitting my little cousin who is the model here. Also wanted to try out and see what my new lens filter is capable of!
2022 Roller Rink Fountain Gold Prometheus Statue by Paul Manship - at entrance to Ice Skating Area near 5th Avenue at 30 Rock - Sometimes Ice Rink NYC - theatre Midtown Manhattan 50th Street New York City 09/15/2022 nude nudes profile by Paul Manship American sculptor frieze Art Deco figures architecture 1930s style Futurist modern stone rock carved carving gargoyle gargoyles poeple Greek god types mythology myths myth mythological young
Sunny Day Real Estate is an American emo band from Seattle, Washington.
The band broke up in 1995, they recently reunited again with the original lineup after 15 years apart. The band recently went on a US tour and is rumored to be working on a new album album.
They played for a packed house at Seattle's Paramount Theatre on October 16th, 2009.
just a record of my reroot.
so 2 oz mohair by debbie, white extra long.
have some excess just in case, probably won't be rooting it in cause it's a pain now.
bottom right mass, is excess while making plugs and rooting... top part is not very big, but the excess after combing it out.
had to reroot about 1.5 inch from the top, because the mohair did not always reach the top
quite happy there wasn't a lot of wastage.
memories emerge from the shadows
the stars are the backlit traces of raindrops and other casual colliders with the windowpane; the parallel lines are the irremovable remnants of pseudo-leading imposed on the innocent glass by a previous owner.
the past is always behind us, and remains there, ready to reappear, whether by our searching or an accidental prompting.
this is another cut from the frame that yielded 'light and dust'
seek, seek and ye shall find. parsimony is the source of wealth.
sententiousness us a search for self satisfaction.
"Love dies sometimes, and the fire puts down its fire,
And the lover is separated from whom he loves and their home is demolished.
The era of love has gone, so go in peace my good neighbor,
Oblivion, had erased what was the path to memories,
It erased the path that we had walked upon,
So, how about who walked upon it?!" Ali Al Khawar
Taken at Saint John, New Brunswick, Canada near the Reversing Falls Bridge.
Sometimes we have to go through the grinding so that we can shine. Be patient. Never give up. - SOL
Picture Quotes on Patience & Timing
More Determination Quotes and Sayings
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Original photo credit: Pexels from Pixabay
My condo went on the market a few weeks ago. Unfortunately, it's because I was divorced in July. I have much more journaling in other places, but I wanted to make sure this was in my albums because it is an important piece of this year's story.
The awesome 4x4 card is from a FB post by Lain Ehrmann. Bella Blvd red chevron paper & 2x2 cards, American Crafts blue chevron paper, Wilton doilies, Frecked Fawn emoticon wood veneers, Maggie Holmes bow, Two Peas flair badge, Elle's Studio journaling die cut, Studio Calico Mr. Huey's inky black mist and Perler enamel dots.