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I conceive each painting as a musical score where notes become color fields and lines that intertwine into a living mosaic. The superposition of memory and future functions like a chord whose full resonance emerges only in the viewer’s gaze. Through geometry, color, and silence, I invite you to pause and measure your own timescapes anew
Symphonies of Superpositions are my attempt to harmonize biography and cosmos. The colorful shapes at the edges of each canvas represent threads of memory, desire, and dream that weave through the narrative of my life. The unblemished white center marks those moments when everything was open—times in which past and future exist in unresolved tension.
KreativRaum Galerie
Der Raum dazwischen
6.bis 19.September 2025
Vernissage ist am Di. 9.September, ab 18.30
Di, Mi, Fr: 15:00 – 19:00 Uhr, Sa: 12:00 – 17:00 Uhr
Biberstraße 4, 1010 Wien
o/` in any universe you are my dark star
i want you to want me
why don't we rely on chemistry?
why don't we collide the spaces that divide us?
i want you to want me o/`
endlich gelandet ist ...
wird der Himmel blau ...
;-) ...
das 300 000 000 -Projekt von Coop Himmelb(l)au ...
Mutations of form, penetrations, deformations, simultaneities, breakdowns, and variabilities affect architecture. The resulting architecture is characterized by the interactions, fusion, and mutation of different entities constituting a new shape. The building ground of the museum is located on a peninsula that was artificially extended 100 years ago. Even though it was apparent that this site would be a difficult one (536 piles had to be securely driven 30 meters into the ground), it was clear that this location would be very important for urban design. The building should serve as a distinctive beacon and entrance for the visitors approaching from the South, as well as a starting point for urban development.
The striking interface situation of the construction site at the eponymous confluence of the Rhône and the Saône inspired the superposition in the urban space of two complexly linked architectural units, crystal, and cloud. The cloud structure, floating on pillars, contains a spatial sequence of black boxes— admitting no daylight, to achieve maximum flexibility for exhibition design.
The Musée des Confluences does not consider itself as an exclusive “Temple of the Muses” for the intellectual bourgeoisie but as a public place providing access to the knowledge of our age.
To build a museum of knowledge, a complex new form had to be developed as an iconic gateway. A building that truly stands out can only come into being through shapes resulting from new geometries. It was important to the concept that the flow of visitors arriving from the city to the Pointe du Confluent should not be impeded by a building. The idea was therefore to develop an openly traversable building that would be floating in part only on supports, to create a public space underneath.
The architecture hybridizes the typology of a museum with the typology of urban leisure space. The concept of two complexly connected architectural units is a result of the striking interface-like situation of the building site. The crystal rising towards the side of the town is conceived as an urban forum and entrance hall for visitors. Its shape that can be read clearly stands for the everyday world. In contrast to this, the cloud hides the knowledge about the future; it is a soft space of hidden streams and countless transitions.
Within the Musée des Confluences the present and the future, the known and the still unknown are conceived as a spatial arrangement trying to “spur public curiosity”. As an extension of the park located on the Southern tip of the island a new urban space formulates itself; a landscape consisting of ramps and surfaces merging the inside and the outside and resulting in a dynamic sequence of spatial events. This movement is also followed by the alternating spatial structure of the exhibition halls. Closed black boxes and free exhibition areas alternate by exploiting the double room height of two levels.
Essentially, the building consists of three parts. Situated on a slightly raised base (due to the high groundwater) that houses the production workshops, the auditoriums, and the group visit reception area, crystal — foyer, and cloud – exhibition area.
ƒ/6.3 21.0 mm 1/640 100
_V0A3237_28_pt2
Coincidenze...
Sistiana, Friuli, foto di qualche settimana fa
#moon #luna #bird #uccello #volo #flight #superposition #sovrapposizione #prospettiva #prospective #crateri #craters
www.flickr.com/photos/secondskifija/55094908345/in/photos...
An exploration of the liminal space between the organic and the mechanical. My original paintings depict the instinctive process of "embedding" into an alternate reality.
Here, glass and bronze merge with living matter, and devices designed to teleport consciousness perform irreversible manipulations of perception. This is a world where biology is completely subordinated to surreal engineering.
L’automne, fall… and the second photo is a Mix of photos of the same place, multiple exposure and superposition.
In playing with making simple superpositions in photoshop, it's been amazing to discover how so many of my images echo the form of this particular spiderweb that was laid over them. Art really does imitate nature.
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En faisant les superpositions simples dans photoshop, ça m'a étonnée à quel point les formes et les compositions dans mes photos font un écho à cette toile d'araignée. Comme quoi, l'art imite la nature pour le vrai !
Vaison-la-Romaine (Latin: Vasio Vocontiorum) is a commune in the Vaucluse department in the Provence-Alpes-Côte d'Azur region in southeastern France.
The historic section is in two parts, the Colline du Château on a height on one side of the Ouvèze, the "upper city" and on the opposite bank, the "lower city" centered on the Colline de la Villasse.
The area was inhabited in the Bronze Age. At the end of the fourth century BCE, the upper city of Vaison became the capital of a Celtic tribe, the Vocontii or Voconces. After the Roman conquest (125-118 BCE) the Vocontii retained a certain degree of autonomy; they had two capitals, Luc-en-Diois (in modern Drôme département), apparently the religious center, and Vaison. Their continued authority in the gradual Romanization of the Celtic oppidum[1] meant that the city plan incurred no disruptive re-founding along rigid Roman orthography.[clarification needed] The city's modern archaeologist Christian Goudineau has suggested that early examples were set by Vocontian aristocrats who moved down from the oppidum and established villas along the river, around which the Gallo-Roman city accreted.[2] In the Roman period it became one of the richest cities of Gallia Narbonensis, with numerous geometric mosaic pavements[3] a fine small theatre on a rocky hillslope, probably built during the reign of Tiberius, whose statue was found in a prominent place on its site.[4] The Polyclitan Vaison Diadumenos (now in the British Museum) was discovered in the theatre in the nineteenth century.[5] At Vasio Pompeius Trogus, the Augustan historian, was born.
The barbarian invasions were presaged by a pillaging and burning in 276, from which Roman Vasio recovered, but in the fifth century the benches of the theatre began to be reused as Christian tombstones. Vaison belonged the Burgundians, was taken by the Ostrogoths in 527, then by Clotaire I, King of the Franks in 545, and became part of Provence
The disputes which broke out in the twelfth century between the counts of Provence, who had refortified the ancient "upper town" and the bishops, each of whom were in possession of half the town, were injurious to its prosperity; they were ended by a treaty negotiated in 1251 by the future pope Clement IV, a native of Saint-Gilles-du-Gard.
At disturbed times of the Middle Ages, the inhabitants emigrated to the higher ground on the left bank of Ouvèze, with the shelter of the ramparts and a strong castle. From the eighteenth century most of the population had moved back down to the plains by the river.
A flood struck Vaison-la-Romaine on 22 September 1992, costing $1.5 billion in damages. It was the town's worst flood since 1632, and was featured in the Discovery Channel series Destroyed In Seconds.
La région est d’abord habitée par les Ligures qui introduisent le bronze. À la fin du IVe siècle av. J.-C., Vaison devient la capitale d’une tribu celtique, intégrée au sein du peuple des Voconces. Après la conquête romaine (125-118 av. J.-C.), la cité des Voconces compte deux capitales, Luc-en-Diois et Vaison. Les Romains en font l’une des villes les plus riches de la Gaule narbonnaise. Elle fut la patrie de l'historien Trogue Pompée. Le plus grand historien de langue latine Cornélius Tacitus, Tacite, est, probablement, originaire de Vaison-la Romaine (sources: Tacite oeuvres complètes traduites par Catherine Salles aux éditions Robert Laffont février 2014). Les invasions barbares du Ve siècle ruinent la cité.
L’Ouvèze, autrefois navigable, sépare la Haute-Ville de la cité actuelle qui recouvre la ville gallo-romaine, dont 15 hectares sont dégagés. Quant au « château de la Villasse » et son allée de platanes bicentenaires, il domine les vestiges gallo-romains dits de La Villasse. Plus à l’est, la colline de Puymin est signalée par un vaste espace boisée. Les autres vestiges gallo-romains (Thermes du Nord, villa du Paon) échappent au regard. Le reste de la cité antique demeure sous le Vaison actuel. Enfin, on remarque deux édifices romans à l’ouest de La Villasse : la chapelle Saint-Quenin, et plus au sud, la cathédrale Notre-Dame de Nazareth et son cloître. Ce panorama urbain, où s’imbriquent vestiges antiques, bâtiments romans et constructions récentes, suggère superpositions et déplacements des occupations au cours des âges. Des vestiges d’habitat et de rempart laissés par la communauté agraire du Premier Âge du Fer (VIIe – Ve siècle av. J.-C.) ont été découverts sur la rive gauche de l’Ouvèze, au bas de l’éperon rocheux. C’est sur cette hauteur, marquant le paysage (actuellement occupé par la Haute-Ville), que se sont abritées les populations ligures, puis celto-ligures à partir de l’invasion des Voconces au IVe siècle av. J.-C. Vaison s’appelle alors « Vasio voncontiorum » c’est-à-dire « Vaison des Voconces ». Dès avant la conquête romaine, la cité est la capitale de ce peuple d’origine celtique qui occupait un territoire limité par la Durance au sud, l’Isère au nord, le couloir rhodanien à l’ouest, la Durance et les Préalpes à l’est.
Vaison-la-Romaine, le théâtre antique.
Avec la conquête romaine, Vasio devient « cité fédérée » (et non une colonie). Les Voconces descendent sur la rive droite où se structure progressivement une ville. L’urbanisme commence à partir de noyaux agricoles qui se métamorphosent en habitations de ville, lors de la création des voies de circulation et l’édification des grands monuments publics dans la seconde moitié du Ier siècle : théâtre, pont, aqueduc, thermes… La paix romaine est propice à l’extension de la cité, qui connaît sa splendeur au IIe siècle. Elle couvre alors 70 à 75 hectares. Elle est l’une des villes les plus riches de la Narbonnaise. Après la chute de l’Empire romain, Vaison devint un centre religieux relativement important (un évêché y existe dès le IVe siècle) où se réunirent deux conciles, en 442 et 529.source wikipédia
Plage de Biscarrosse - 2012 (Landes - France)
Superposition d’images
Don’t use this image on Websites/Blog or any other media
without my explicit permission. © All rights reserved, don’t use without permission.
Grande Arche de la Défense
Essai "superposition" du Nikon, le CNIT en arrière plan, un jour de pluie ... ;-)
Carrefour international de théâtre - Québec 2022
Spectacle déambulatoire sous le thème «Déracinement»
This image is a superposition of two images, using Photoshop's radial blur filter in one. My goal was to bring back the cool and windy atmosphere of the day.
Viewed from the right angle, it seems that the gravestones of Clonmacnoise are leaning against each other and the tower.
Clonmacnoise is a medieval monastery situated on the river Shannon south of Athlone in Ireland. The site contains ruins of churches, numerous Christian graves and beautiful Celtic crosses from the Middle Ages. The picture shows McCarthy's tower of the temple Finghin from the 12th century.
The monastery Conmacnoise was founded by St. Ciarán in 548 and, due to its privileged location, experienced a rapid growth that lasted until the 12th century despite frequent attacks by the Irish, the Vikings, and the Normans. It was finally destroyed by the English garrison at Athlone in 1552.
C'est au pied de Leirhnjukur que s'étale la coulée noire de 1984. La vapeur d'eau chargée d'anhydride sulfureux et d'acide chlorhydrique fuse encore du champ de lave. Un sentier a été tracé à travers la coulée pour permettre d'observer de près cratères, cone de scorie échancré, laves cordées, plaques lisses, tunnels de lave, évents bordés de lave rouge, fissures fumantes et cristaux de soufre ... bref un régal pour les géologues. Là où un néophyte ne verra que de la lave noire, le géologue "déchiffrera" toute l'histoire de la coulée. Du sommet du cone de scorie, on peut observer la superposition de coulées successives, les plus anciennes brunes, les plus récentes noires. La lave en contournant le mont Leirhnjukur rencontra même un terrain intact couvert de végétation et offre un magnifique contraste vert-noir.
ENGLISH :
View from the crater Leirhnjukur.
It is at the foot of Leirhnjukur that spreads the black flow of 1984. Water vapor charged with sulfur dioxide and hydrochloric acid still fuse of the lava field. A path was traced through the flows to allow closely observation of craters, scoria cones, ropted lavas, smooth plates, lava tunnels, vents lined with red lava, steaming cracks and sulfur crystals ... in short a feast for the geologists. Where a neophyte only see the black lava, the geologist "decrypt" the whole history of the flowing. From the top of the cone of scoria, one can observe the superposition of successive flows, the oldest brown, newer black. Lava bypassing Mount Leirhnjukur even met an intact ground covered of vegetation and offers a beautiful green-black contrast.
Une superposition d'images de la roue et du système de vannage de la rivière
An overlay of images of the river's wheel and hydraulic system
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Nikon FE
Pellicule Agfaphoto color 400 (aka Orwo Wolfen NC 500)
Développement en kit Cinestill CS41
superposition des négatifs avant de les avoir scannés
sandwiched negatives
Bronica Sqa, Bronica zenzanon 150mmm, Ilford Delta 400, developed in Rodinal
The text made vague by superposition of thin paper, came from book by Florence Montgomery - Misunderstood (1910)
more: wordpress.com/post/dragermeurtant.wordpress.com/1375
(c) Drager Meurtant, 2024
The interior of the Real Chiesa di San Lorenzo in central Turin, shot with my 8mm Samyang fisheye lens.
Click here to see more of my photos from various trips to Italy : www.flickr.com/photos/darrellg/albums/72157603213111374
From Wikipedia : "The Royal Church of Saint Lawrence (Italian: Real Chiesa di San Lorenzo) is a Baroque-style church in Turin, adjacent to the Royal Palace of Turin. The present church was designed and built by Guarino Guarini during 1668-1687...........
The architect Guarino Guarini was a great innovator in Baroque principles first developed by the great Roman Baroque architect Francesco Borromini, in particular the play with optical effects and organic "deconstruction" of the classical orders and principles of column and entablature. However, in San Lorenzo Guarini took these further.
The ground plan is a kind of square which becomes an octagon at the level of the entablatures above the columns only to change again to become a Greek cross at the level of the pendentives of the vaults. Again, the base of the dome is circular in plan yet the lantern above it octagonal. The dome itself is supported by eight ribs forming a lattice similar to those found in mosques and Romanesque churches in Spain. To this superposition of - by the standards of convention - contradictory central plans is added an elliptical choir. The high altar, separated from the nave by a convex and concave archway receives natural light from a hidden dome, devices drawn from the other key Roman Baroque architect Gian Lorenzo Bernini."
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© D.Godliman
So long sitting here,
Didn't hear the warning.
Waiting for the tape to run.
We've been moving around in different situations,
Knowing that the time would come.
Just to see you torn apart,
Witness to your empty heart.
I need it.
I need it.
I need it.
Through the wire screen, the eyes of those standing outside looked in
at her as into the cage of some rare creature in a zoo.
In the hand of one of the assistants she saw the same instrument
which they had that morning inserted deep into her body. She shuddered
instinctively. No life at all in the house of dolls.
No love lost. No love lost.
You've been seeing things,
In darkness, not in learning,
Hoping that the truth will pass.
No life underground, wasting never changing,
Wishing that this day won't last.
To never see you show your age,
To watch until the beauty fades,
I need it.
I need it.
I need it.
No love lost - Joy Division
handmade superposition, color, positive transparencies over black and white photos. Impossible Project color and black and white film.
Iron and Wine: youtu.be/viXMXo1aG-Q
I don't believe in fate
No psychic vision
But when things fall into place, superposition
In any universe you are my dark star
www.flickr.com/photos/secondskifija/55094908345/in/photos...
An exploration of the liminal space between the organic and the mechanical. My original paintings depict the instinctive process of "embedding" into an alternate reality.
Here, glass and bronze merge with living matter, and devices designed to teleport consciousness perform irreversible manipulations of perception. This is a world where biology is completely subordinated to surreal engineering.