View allAll Photos Tagged statement
Process statement:
-It is I in the photo.
-Yes I can see myself in the photo. There's literally two of me.
-Cloning, photoshop, greenscreen used. Magikarp stolen from internet.
-It was kinda hard to orient the camera, set up the timer, run out, pose, and pray that I had set up the shot correctly.
tiny nail invisibly dedicated to Nirvana SQ
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Study of the day:
"Je ne crois pas à l'immatériel : cela n'existe pas. (...) J'appelle hypermatière, un complexe d'énergie et d'information où il n'est plus possible de distinguer la matière de sa forme. Il faut dépasser ce que Simondon appelle le schème hylémorphique qui consiste à penser la forme (morphè) et la matière (hylè) en les opposant. Et j'appelle hypermatériel le processus où l'information - qui se présente comme une forme immatérielle - est en réalité le résultat d'un train "d'états de matières" produits par des dispositifs techno-logiques où la séparation de la forme et de la matière est totalement dénuée de sens."
"I do not believe in the immaterial: this doesn't exist. (...) I name hypermatter, a complex of energy and information where it is no more possible to distinguish the matter of its form. We must go beyond what Simondon called the hylemorphic scheme which is to think the form (morph) and the matter (hylè) opposing each other. And I name hypermaterial the process where information - which presents itself as immaterial - is actually the result of a series of "statements of materials" produced by techno-logical devices where separation of form and matter is totally devoid of sense."
( Bernard Stiegler - 2008 - Economie de l'hypermatériel et psychopouvoir )
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
Dunstanburgh Castle is a 14th-century fortification on the coast of Northumberland in northern England, between the villages of Craster and Embleton. The castle was built by Earl Thomas of Lancaster between 1313 and 1322, taking advantage of the site's natural defences and the existing earthworks of an Iron Age fort. Thomas was a leader of a baronial faction opposed to King Edward II, and probably intended Dunstanburgh to act as a secure refuge, should the political situation in southern England deteriorate. The castle also served as a statement of the earl's wealth and influence and would have invited comparisons with the neighbouring royal castle of Bamburgh. Thomas probably only visited his new castle once, before being captured at the Battle of Boroughbridge as he attempted to flee royal forces for the safety of Dunstanburgh. Thomas was executed, and the castle became the property of the Crown before passing into the Duchy of Lancaster.
Dunstanburgh's defences were expanded in the 1380s by John of Gaunt, the Duke of Lancaster, in the light of the threat from Scotland and the peasant uprisings of 1381. The castle was maintained in the 15th century by the Crown, and formed a strategic northern stronghold in the region during the Wars of the Roses, changing hands between the rival Lancastrian and Yorkist factions several times. The fortress never recovered from the sieges of these campaigns, and by the 16th century the Warden of the Scottish Marches described it as having fallen into "wonderfull great decaye". As the Scottish border became more stable, the military utility of the castle steadily diminished, and King James I finally sold the property off into private ownership in 1604. The Grey family owned it for several centuries; increasingly ruinous, it became a popular subject for artists, including Thomas Girtin and J. M. W. Turner, and formed the basis for a poem by Matthew Lewis in 1808.
The castle's ownership changed during the 19th and 20th centuries; by the 1920s its owner Sir Arthur Sutherland could no longer afford to maintain Dunstanburgh, and he placed it under the guardianship of the state in 1930. When the Second World War broke out in 1939, measures were taken to defend the Northumberland coastline from a potential German invasion. The castle was used as an observation post and the site was refortified with trenches, barbed wire, pill boxes and a minefield. In the 21st century, the castle is owned by the National Trust and run by English Heritage. The ruins are protected under UK law as a Grade I listed building and are part of a Site of Special Scientific Interest, forming an important natural environment for birds and amphibians.
Dunstanburgh Castle was built in the centre of a designed medieval landscape, surrounded by three artificial lakes called meres covering a total of 4.25 hectares (10.5 acres). The curtain walls enclose 9.96 acres (4.03 ha), making it the largest castle in Northumberland. The most prominent part of the castle is the Great Gatehouse, a massive three-storey fortification, considered by historians Alastair Oswald and Jeremy Ashbee to be "one of the most imposing structures in any English castle". Rectangular towers protect the walls, including the Lilburn Tower, which looks out towards Bamburgh Castle, and the Egyncleugh Tower, positioned above Queen Margaret's Cove. Three internal complexes of buildings, now ruined, supported the earl's household, the castle constable's household, and the running of the surrounding estates. A harbour was built to the southeast of the castle, of which only a stone quay survives.
It's been awhile since we saw one of these...
I'd rather have a foot of snow instead of ice...the absolute worst!
Let's hope this is yet more media hype by the so called forecasters.
Carthay Circle Restaurant
Disney California Adventure
The Carthay Circle Restaurant occupies the Carthay Circle Theater, the new centerpiece of DCA. Nobody denies the place is beautiful both inside and out, but some questioned whether the centerpiece of the park should be a restaurant rather than an attraction of some sort. While an attraction is always nice, I think the Carthay makes a statement. The place is unprecedented within a theme park on the West Coast of the US. Walt Disney World in Florida's big secret is that it's a culinary powerhouse, but even there most of the good stuff is hiding in hotels or to the wonderful selection in Epcot's World Showcase, which itself has unprecedented refined theming and dining. Yet still, the Disney theme parks suffer from stereotypes of their own past and lesser amusement parks that crowd the country. Burgers, fries, and junk food are what most people expect, and anything beyond that is greeted with low expectations. Sure Disney has multiple award-winning chefs working the background of many of these restaurants, but you can't blame the general public for not knowing about this or expecting it: the parks themselves don't really advertise themselves as places to have fantastic, unique dining experiences.
But here we have the Carthay Circle Restaurant, a place that has ended up one of the classiest restaurants in Southern California let alone a theme park. The first floor houses a full lounge and bar serving 1930s era cocktails put together with a masterful flavor and attention to detail. These aren't drinks you can just go pick up anywhere in the country, finding anything like them typically requires finding one of a few top tier bars scattered about, even then usually buried in a few populous cities like LA or NY. The 2nd floor is a dramatic, opulent dining area, full of various rooms and enclaves evoking a restaurant design they really don't do that often anymore. The food is exceptional, with a menu that isn't afraid to be adventurous even though it still needs to appeal to a majority of the tens of thousands of people walking through the gates. Quail, Rack of lamb, Fresh fish, Short Rib, Udon… it's a feat that it all pulls together.
The dining experience is really an extension of Disney's approach to most experiences: a great blend of nostalgic theming, constructing an idealized past along with modern flourish. You can't really go anywhere else in California and have the dining experience you can have at the Carthay. That Disney has put this front and center in the park is a notice to all guests that theme parks may not be about what they assume they are. It's not just rides and burgers (although there's nothing wrong with that): it can be about refinement and relaxation, it can be about idealized culinary experiences as much as lands of fairy tales and talking cars.
I think the Carthay is one of those placemaking institutions, a place DCA sorely needed. The Carthay is something I can keep coming back to. There's always one more drink to have, always an item on the menu calling my name. Sometimes it's not about a ride or attraction, sometimes I want to be transported to an idealized fantasy and just exist in it, sipping a cocktail, looking over the menu, enjoying my surroundings and my company. Putting a place like this within an icon of a theme park tells people "this is the kind of thing you should be expecting to do here." If it defies expectations for not being "a ride" then I think the plan is working perfectly.
(That's a Pimm's Punch up there by the way: a perfect drink for the summer.)
Website: Consumer Machine
Twitter: photojames
Tokyo DisneySea in Photographs eBook: available in both iPad and PDF editions.
Michael and Albert (AJ) Patnode - Artist Statement
Father and son collaboration
Our photographic art is a kinetic motion study, from the results of interacting with my son A.J and his toys.
He was born severely handicapped much like a quadriplegic. On December 17,1998. Our family’s goal has always been to help A.J. use his mind, even though he has minimal use of his body.
A.J. likes to watch lights and movement. One of the few things he can do for himself is to operate a switch that sets in motion lights and various shiny, colorful streamers and toys that swirl above his bed.
One day I took a picture of A.J. with his toys flying out from the big mobile near his bed like swings on a carnival ride. I liked the way the swirling objects and colors looked in the photo.
I wanted to study the motion more and photograph the whirling objects in an artful way, I wanted my son A.J. to be a part of it. After all, he’s the one who inspires me. When A.J. and I work together on our motion artwork, A.J. starts his streamers and objects twirling, I take the photographs.
Activating a tiny switch might not seem like much to some, but it’s all A.J. can do. He controls the direction the mobile will spin, as well as when it starts and stops. The shutter speeds are long, and sometimes, I move the camera and other times I hold it still.
I begin our creation with a Nikon digital camera. Then I use my computer with Photoshop to alter the images into what I feel might be an artistic way. Working with Photoshop, I find the best parts from several images and combine them into the final composite photograph. I consider the finished work to be fine art. The computer is just the vehicle that helps my expressions grow.
I take the photographs and A.J. adds the magic. It’s something this father and son do together. After I’ve taken a few shots, I show him the photos in the back of the camera. When the images are completed, I show him from a laptop. He just looks. He can’t tell me whether or not he likes the images, but he’s always ready to work with me again.
It offers me my only glance into A.J.’s secret world. We’ve built a large collection of images and I hope the motion and color move you as much as they do me.
A.J. inspires me to work harder to understand my life in the areas of art, photography, people, spirituality, and so much more. He truly sets my mind in motion and helps me find the beauty in everyday things.
AJ Patnode - A Journey of Hope (documentary):
www.youtube.com/watch?v=OR7m8QFcmRM
AJ'S blog:
Abstract set:
www.flickr.com/photos/patnode-rainbowman/sets/72157602269...
because i enjoy photographing cherries more than i do eating them
that was a false statement. cherries are delicious.
comments off.
a HUGE bowl of juicy cherries (or well.. i suppose if you would prefer warm honey and milk you could have that too:) to two very sweet girls for their ubber sweet testimonials! and darlings, go check your testimonial box: i always write back *hint hint. Hehee!
But really,
are truly such dolls.
❤
View of a steel bridge over a creek.
Digital Collection:
North Carolina Postcards
Publisher:
Ess an Ess Photo Co., Inc., New York, N.Y.;
Date:
1915; 1916; 1917; 1918; 1919; 1920; 1921; 1922; 1923; 1924; 1925; 1926; 1927; 1928;
1929; 1930
Location:
Mount Holly (N.C.); Gaston County (N.C.);
Collection in Repository
Durwood Barbour Collection of North Carolina Postcards (P077); collection guide available
online at www.lib.unc.edu/ncc/pcoll/77barbour/77barbour.html
This was taken in 2010 and nothing has changed in this park as this 1912 building, and the park is listed as a historical site. So glad to see Calgary is taking more notice of keeping the history.
HERMIS historical information below.
Statement of Significance
Description of Historic Place
The Memorial Park Library is a classically-inspired, early twentieth-century, two-storey sandstone building located on 1.93 hectares in Central Memorial Park in downtown Calgary. The library is situated within view of other Calgary landmarks such as the Masonic Lodge and the First Baptist Church. An east facing portico set atop a series of granite steps is adorned with Ionic columns and a skilfully carved pediment, creating a dignified entry into the library. The building is topped with a low hipped roof, and expertly executed decoration.
Heritage Value
The heritage value of the Memorial Park Library lies chiefly in its status as the first major public library building built in Alberta. The building also stands as an exquisite example of a classically-inspired public building of the Edwardian era, within a carefully planned landscape environment.
Opened in early 1912, the Memorial Park Library was the first public library building in Alberta and one of the over 150 libraries built in Canada with funds from the American millionaire Andrew Carnegie. Carnegie, the world's wealthiest man at the time, had limited formal schooling, which convinced him of the need for freely accessible learning for all people. To achieve this goal Carnegie focused his philanthropy upon building and funding libraries. Calgary's first librarian, a classicist from Ontario named Alexander Calhoun, firmly believed that the city needed a first rate building to underline the importance of education and culture in the West. In his own words he wanted to build a library as a "temple of knowledge" and "intellectual counter balance" in rough-and-ready Calgary. To this end he campaigned tirelessly to raise financial support from individuals as well as ongoing city investments in the library - one of the stipulations for receiving Carnegie funds. The Memorial Park library became an enduring symbol of that ideal. It cost one hundred thousand dollars to build, a full eighty thousand of which was provided by Carnegie.
Robustly constructed and richly detailed, the Memorial Park Library is a fine representative of Edwardian Classicism, a pre-First World War architectural style related to the French Beaux-Arts style. Edwardian Classicism was popular for monumental public and commercial buildings. Often the elegance and grandiosity of Edwardian Classical buildings was echoed in the formal landscapes in which they were set. Central Memorial Park, which surrounds the library building, is a planned urban green space typical of turn-of-the-century urban parks. Initially designed by Parks Superintendent Richard Iwerson, the development of the park was undertaken by his replacement William Reader. As Parks Superintendent from 1912 to 1942, Reader designed many Calgary parks during this period. As an Edwardian era park designed in the Victorian style, Central Memorial Park reflects the ideals of that time. Its symmetrical layout, manicured lawns, mix of domestic and exotic trees and plants, intricate bedding schemes and geometrical walking paths provided tranquil respite for urban dwellers while, at the same time, demonstrating the far-reaching influence of the British Empire and the triumph of mankind's rationality over the chaos of nature. Many of the park's elements were intended to evoke feelings of British patriotism and to memorialize those who sacrificed their lives for the Empire to ensure its expansion. Park features such as its flag pole, statuary and memorial monuments demonstrate these purposes. While the fervour of Imperial patriotism has passed over the generations, the park is still significant as a memorial to Canada's veterans and those killed in combat. While some additions and changes have been made over the years, the park retains most of its original design elements and most of its memorial statuary.
Source: Alberta Culture and Community Spirit, Historic Resources Management Branch (File: Des. 150)
Character-Defining Elements
The character-defining elements of the Memorial Park Library include such features as:
Exterior:
- load-bearing yellow Paskapoo sandstone walls, smoothly finished, and backed with brick;
- projecting front entry way with two smooth columns with volutes supporting a pediment surmounted by a replicated decorative shell;
- tympanum bearing a cartouche with a carving of an open book;
- entablature bearing the words CALGARY PUBLIC LIBRARY;
- stone stairs with twin wrought iron lampposts lead to the front entrance;
- copper roof with finials;
- replica decorative shell motifs on roof (originally was of carved sandstone);
- cornices with shell motifs over the front and side windows;
- curved façade with evenly spaced bands of windows on rear of the building;
- rusticated masonry on the foundation;
- white-painted window frames, balconets on the first floor and latticing in the smaller second storey windows;
Interior:
- original interior public spaces, including the main floor reading room;
- plaster walls and ceilings with classically-inspired decorative mouldings and ionic columns;
- terrazzo floors with mosaic trim in the main reading room and circulation area;
- marble staircases to the second floor.
Site:
- symmetrical arrangement of walkways, lawns and bedding plants;
- ornate landscaping;
- formally designed raised beddings with brilliantly coloured plantings;
- use of Russian poplar trees along the edges of the park, spruce trees around the library building and shrubberies throughout the park;
- orientation of most statuary and memorial elements on the park's central axis;
- the 1914 equestrian statue The Horseman of the Plains, commemorating the South African (Boer) War, located in the centre of the par's oval;
- First World War Memorial, added in 1924, located at the east end of the park in front of the library;
- Cenotaph and accompanying benches, added in 1928, located at the west end of the park;
- Federal Geodetic Survey marker, added in 1928, located at the east end of the park's oval;
- water fountain commemorating the 50th Battalion, Canadian Expeditionary Force, added in 1930;
- R.B. Bennett memorial south of the library building, added 1953 (not located on the central axis);
- Eternal flame memorial located to the east of the cenotaph, added 1967;
- Royal Canadian Legion Commemorative Medallion located to the West of the cenotaph, added 1994;
- Second World War memorial, Burma Star, located near the cenotaph, added in 1996;
- memorial to the Australian and New Zealand armed forces located near the cenotaph, added in 2004;
- wrought iron lampposts and bollards throughout the park;
- flagpole located near the cenotaph.
Now that it's officially Spring, we can at least start thinking about umbrellas instead of parkas - despite a "special weather statement," which suggests very wintry weather for the next couple of days.
This and all South Telegraph designs are its sole property and cannot be resold or republished.
Goal: To create key art for a series on how to recover from life's big mistakes
Audience: Adult weekend service.
Direction: Client wanted the statement NOW WHAT? to stand in the midst of different sins. They wanted the sins to have a rough stained type of feel.
Project: This is the bulletin cover the series.
As always I love your feedback/ideas/critiques
Bust of a Figure with Corkscrew Curls
This photo was taken by a Kowa/SIX medium format film camera and a KOWA 1:3.5/55mm lens with a Kowa L1A ø67 filter using Kodak Portra 160 film, the negative scanned by an Epson Perfection V600 and digitally rendered with Photoshop.
It was a cold, cold cold morning (-8 C) on the last Saturday in May in Riding Mountain National Park.
This bison cow was sporting the latest in bovine haute couture :)
On a more ominous note, that downturned horn appears to be piercing the skin just above her eye.
We saw this monument a couple of days ago, and I didn’t really know then if / how I would share this. It represents one of my “watershed” moments, when the past, the present and the future explode into a singular crystal-clear understanding of how things work. The first of these moments was in Cape Town, South Africa, after reading the simple statement at a museum that South African only became a true democracy when apartheid ended. Part of my immense admiration for Prime Minister John DIefenbaker stems from the fact that he had the courage to push through legislation in 1960 that gave Canada’s Aboriginals the ability to vote in elections, something prohibited under the old Indian Act of the day. Canada only became a true democracy in 1960. The watershed moment then was that Canada until then had been existing until 1960 in a state of apartheid just like South Africa.
This recent watershed moment was that a specific object like a bush plane could have radically different interpretations, depending on your own history and genealogy. To understand the pain that permeates the text here is to know a little about Canada’s residential school system, which is as old as Canada itself. Legislation was enacted early on allowing the government to remove children from Aboriginal families and have them taught in European-style residential schools. To put it bluntly, the schools literally tried to beat the Indian-ness out of the students. Although this sounds a bit harsh, it was in fact one of cruelest things a government could do its own people. Today it is understood that this school system was an act of genocide, one that continued the policies that had been started under British rule primarily through the destruction of the buffalo. The last of the residential schools ended in the 1980’s, and so for the last 50 years of the system, bush planes had been the instrument used to sever children from their parents, some who never see each other again, as not all children survived the schools, and not all parents survived being without their children. Or if they did, neither parent nor child would be the same person for the indignity and cruelty they suffered.
It may seem that Canada is painted here in an awful light, and this only portrays a small part this sad part of our history. But I believe, however, that the same can be demonstrated in every country in Western Europe, as well as in Russia, the U.S.A., China, Japan and elsewhere. Whether it is Buckingham Palace, the Louvre, the Empire State Building, the Winter Palace in St. Petersburg, etc etc, each of the empires which generated these marvels was built on the backs and from the blood of serfs, child-workers, slaves, and countless underclasses. As a result, today we have the immigration crisis out of Asian and African to Europe, and we have Black Lives Matter. None of us is exempt, none of us is not-guilty.
en.wikipedia.org/wiki/Canadian_Indian_residential_school_...
It's not going to be a good day/week.
As of Wednesday morning, there are 149 active wildfires burning in Quebec and 52 fires burning in northern Ontario. By this time last year, 202 fires had burned throughout Quebec. This year so far, the province has seen 435 wildfires.
Location:
GSK World Headquarters
16th and Vine Streets, Philadelphia, PA
Zenos’ statement about his vision of the sculpture
I wanted to create a sculpture almost anyone, regardless of their background, could look at and instantly recognize that it is about the idea of struggling to break free. This sculpture is about the struggle for achievement of freedom through the creative process.
Although for me, this feeling sprang from a particular personal situation, I was conscious that it was a universal desire with almost everyone; that need to escape from some situation – be it an internal struggle or an adversarial circumstance, and to be free from it.
I began this work in a very traditional sculptural manner by creating a small model in clay called a macquette. The purpose of beginning in this manner is to capture the large action and major proportions of the figure within the overall design without any details to detract from the big idea. Another reason for not having details and for working on a small model only a few inches in height is that the small armature within it, holding the clay, is more easily manipulated, allowing for much greater flexibility in developing a concept. For example, an arm, a leg or a head can be pushed around without any concern for obliterating details, such as a nose or a finger.
The macquette is the original mass of clay where a concept is born and from which it grows and develops. This was important later when I enlarged the sculpture from several inches long to 20 feet long, and I retained in the larger work a sense that all the conceptual material, its forms, focus and development sprang from this rough idea. The work metamorphosized, in the way that we do.
Although there are four figures represented, the work is really one figure moving from left to right. The composition develops from left to right beginning with a kind of mummy/death like captive figure locked into its background. In the second frame, the figure, reminiscent of Michaelangelo’s Rebellious Slave, begins to stir and struggle to escape. The figure in the third frame has torn himself from the wall that held him captive and is stepping out, reaching for freedom. In the fourth frame, the figure is entirely free, victorious, arms outstretched, completely away from the wall and from the grave space he left behind. He evokes an escape from his own mortality.
In working on the large scale sculpture, I was satisfied that those who drove by getting a quick look at it would see the big picture: that it was about escape. I was also concerned that those who worked in the building and who passed the sculpture frequently would have something more to see. There was a lot of empty space between the figures on the wall, which I saw as an opportunity to develop further ideas.
It was important to me that the sculpture have more than one theme going on at once. One of the other major ideas incorporated in the work is that the very process of creating the sculpture is clearly revealed in the work itself. The maquette is cast into the sculpture in the lower left hand corner. In the lower right corner is the cast of the sculptor’s hand holding the sculpture tool with two rolls of clay also cast in bronze. Throughout the background of the Wall, I have rolled out the clay and pressed it with my fingers so that my fingerprints are all over the sculpture. I have not hidden how I have made the piece. In fact, the whole idea of the macquette is enlarged so that all the figures in the background look like a giant macquette. And at the same time, as the figures move from left to right, I have shown how figures are developed when you are sculpting from the rough to the more finished product.
Elements of the sculpture trade beside the tools that are cast into the sculpture are calipers both for their use in measuring and their reference to Protagoras’ words “Man is the measure of all things.”
Also cast into the sculpture is an anatomical man, traditionally used as a reference by sculptors. Many of the heads and figures on the wall, some in the round and some in relief, are shown partially sculpted, revealing the process of creation.
Something else I have done with the sculpture is that I have created a one man show of my work. I have always admired Rodin’s Gates of Hell. I similarly thought I would incorporate many sculptures into the wall where it was suitable.
Like T.S. Eliot and other artists, I have put many personal elements in my work. My friend Philip, a sculptor who died of AIDS, created a work that I included in Freedom because he often expressed his wish to have it in a public space. He did not live long enough to accomplish this himself. My cat, who lived with me for 20 years, my mother, father, and my self portrait are in the work. It is obvious which face is mine because there is a ballooned phrase coming from my mouth with the word “freedom”, written backwards, making it clear that the face was sculpted in a mirror. I see the whole Wall sculpture as a kind of illusion akin to Alice’s Through the Looking Glass.
The sculpture contains an original Duane Hanson -- a bronze cast of my own hands that Duane cast for me as a gift.
Much of what I did with this sculpture has to do with taking traditional forms and combining them in non-traditional ways, forming a postmodern sensibility. For example, I dropped a wax cast of my father’s bust from two or three feet in height so that it broke into large pieces. I cast those into the wall in a fractured manner over another face, an old work I found in a vat of clay purchased from a sculptor who had long ago died.
I have hidden many things in the background for people who see the sculpture more than once to discover, such as a cast of coins – a nickel and two pennies, another nickel and two pennies, and two quarters and a penny. These represent not only the relationship between money and art, but the numerals 7-7-51, my birth date.
It is important to me that the public interact with the sculpture, not just intellectually and emotionally but physically. I have created a space in which I have written “stand here” so that people can place themselves inside the sculpture and become part of the composition.
In the end, this sculpture is a statement about the artist’s attempt to free himself from the constraints of mortality through a long lasting creative form.