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Getting into more compact three-dimensional tessellations... I need to start wetfolding or MC-ing these, I have to hold it together just to get a good photo. I've been thinking about denser tessellations, and this is the first exploration into that idea-- I hope to have more soon.
On another note, Happy New Year! As some of you know, I'm a music major at college; and recently I've been playing with Audacity, a really neat sound editing program. Improvising as I go, of course... and I couldn't help but spread the mood a little. So click on the link and take a listen! All of those voices are me, no digital pitch changes; just a few loops. I hope you enjoy this new year as much as I've enjoyed the last!
Brigham Young University Big Band "Synthesis" at their free outdoor concert in Oslo on July 5th, 2010. It was a great concert. Lots of good tunes and some really respectable solos.
soundcloud.com/toxi/sets/granular-synthesis
Initial tests of image based audio synthesis... Spectrum of the red & blue channels of a slit scanned image. The top row is at 110Hz, the bottom row 8 octaves higher, with 32 tones/octave. The red channel is controlling grains in the left stereo, blue mapped to right. Green intensity (not shown) is used to morph between different wave forms (sine > triangle > sawtooth > square)
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Evanescence at the SEC Armadillo Glasgow on their Synthesis Live tour.
Thanks to Uber Rock for arranging the pass for me.
Korzo, Den Haag 2013
Clara Lozano (Klara Ravat, ES/NL) works with video, film, photography and performance. She uses analogue and digital film, not wanting to choose for one or the other. She is currently looking for ways to combine video and film with the sense of smell.
Synthesis is an audio-odor-visual piece which portrays a transformation towards synthetic communication.
Evanescence at the SEC Armadillo Glasgow on their Synthesis Live tour.
Thanks to Uber Rock for arranging the pass for me.
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Brigham Young University Big Band "Synthesis" at their free outdoor concert in Oslo on July 5th, 2010. It was a great concert. Lots of good tunes and some really respectable solos.
We have paired 10 visual artists with 10 performing artists or groups. They represent a diverse cross-section of the arts: music, theatre, comedy, sculpture, video, painting, spoken word, and photography.
The artists are split into two waves of creativity. Ten artists will get the party started by creating original works based on a Queen West-related theme. After an intense two-week creation period, these works are submitted to the second wave of ten, who take inspiration from the first group and respond with their own original works.
On the night of the SYNTHESIS gala, guests will be able to enjoy the artistic harmony the artists have created in the form of art installations and live performances. We sincerely hope you join us and add your own ideas, stories and perceptions to the mix.
Gladstone Gallery: The Gladstone Hotel's Gallery is located on the second floor and is a multi-use space that provides a unique setting for receptions, exhibitions, break-out meetings, artist work studios and conferences. www.gladstonehotel.com/venue.
Photos by Shane Kalicharan
flickr.com/shanes_stuff
(Color pencils on paper) (BEST VIEWED LARGE)
A randomly-edited selection of approximately 700 of my pictures
may be viewed by clicking on the link below:
www.flickr.com/groups/psychedelicart/pool/43237970@N00/
Please click here to read my "autobiography":
thewordsofjdyf333.blogspot.com/
And my Flicker "profile" page may be viewed by clicking on this link:
www.flickr.com/people/jdyf333/
My telephone number is: 510-260-9695
Olivia Dorencz's Synthesis was an Honourable Mention in our 2016 Art of Astrophysics competition for BU affiliated entries and won $25.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
1-7-2013 REPRO FREE
Dr Mary Shire, Vice President Research, UL, Mr Michael Noonan TD, Prof Don Barry, President of the University of Limerick and Jan O'Sullivan, TD Minister for Housing and Planning arrive at the launch of the Synthesis & Solid State Pharmaceutical Centre (SSPC) based at the University of Limerick.
Mr Richard Bruton TD, Minister for Jobs, Enterprise and Innovation and Mr Sean Sherlock TD, Minister for Research and Innovation announced funding, through the Department of Jobs, Enterprise and Innovation, of €30 million to support world-class research at the Synthesis & Solid State Pharmaceutical Centre (SSPC) based at the University of Limerick.
This exchequer funding is leveraging a further investment of €10 million from industry partners, to the SSPC. The Minister for Finance, Mr Michael Noonan TD and the Minister for Housing & Planning, Ms Jan O’Sullivan TD were present at the announcement. The SSPC is dedicated to supporting the pharmaceutical industry in Ireland which is responsible for over 60,000 Irish jobs and exports over €50 billion annually.
Pic Sean Curtin Photo.
Brigham Young University Big Band "Synthesis" at their free outdoor concert in Oslo on July 5th, 2010. It was a great concert. Lots of good tunes and some really respectable solos.
Brigham Young University Big Band "Synthesis" at their free outdoor concert in Oslo on July 5th, 2010. It was a great concert. Lots of good tunes and some really respectable solos.
COLOR SYNTHESIS... following the current magazine focus , I make photos test in my for now neighborhood .. before try with some ( pop and plastic or more ) cameras , here is a small portion of many neighbors skating every days as good models for the photos! The best photos will up in the issue March - April. These are big sized in my flickr Link by my website Oh , of course they will be better centered after i did it again ! Bit again about it in the next issue
soundcloud.com/toxi/sets/granular-synthesis
Initial tests of image based audio synthesis... Spectrum of the red & blue channels of a slit scanned image. The top row is at 110Hz, the bottom row 8 octaves higher, with 32 tones/octave. The red channel is controlling grains in the left stereo, blue mapped to right. Green intensity (not shown) is used to morph between different wave forms (sine > triangle > sawtooth > square)
Brigham Young University Big Band "Synthesis" at their free outdoor concert in Oslo on July 5th, 2010. It was a great concert. Lots of good tunes and some really respectable solos.
Poster for the Bang, Bang, Bang Spring Arts Festival, 1966
Richmond Professional Institute (now VCU)
Gift of the estate of Richard Carlyon
Special Collections and Archives
Location: lower level, study area outside Innovative Media's Workshop
Note: Richard Carlyon was a VCU Presidential Medallion recipient, and professor emeritus. He received his bachelor's and masters degrees from Richmond Professional Institute (now VCU) and taught in the School of the Arts for more than 40 years. He was awarded the Distinguished Teaching of Art Award from the College Art Association of America in 1993 and the Theresa Pollack Prize for Excellence in the Arts in 2001.
the sunflowers were going to be thrown away by the florist, so I got a few for free. putting them to use along with manny.
Evanescence at the SEC Armadillo Glasgow on their Synthesis Live tour.
Thanks to Uber Rock for arranging the pass for me.
See also: www.ludgerphilips.org/en/gallery/images-of-synthesis/
09 February 2014, A 5, pencils and photo work
The Eastern wisdom describes the unfoldment of the creational activity in tremendous time cycles called Manvantaras. They cover periods far before the creation of our present earth and go into cycles of far distant future times. A Manvantara is ruled by a solar intelligence called Manu and the Manu presiding over the present cycle is called Vaivasvata. Vaivasvata is the son of the Sun; he is the mind of the Sun and is also called the light of the soul. The Sun is called the weaver, Vivasvata; he weaves the globe of light around itself. The very meaning of Vaivasvata Manu is “the weaver of the light of the soul”, of the divine plan on earth.
This painting visualizes Vaivasvata Manu as emerging from the Sun in the background. Behind his head you see the radiance of the solar light and his headpiece has the form of the solar material shown in images of the Extreme Ultraviolet Imaging Telescope (EIT). His youthful face reminds of him being the son of the Sun.
The sages describe the creation as emerging from out of a golden egg. You see a golden egg-shape in the background and the Manu surrounded by a wheel of 14 egg-shaped figures each containing the colours of the rainbow, representing the 14 Manvantaras and the 7 planes of each creation. The whole is contained in a huge lotus, the symbol of unfoldment. Vaivasvata is in the midst of the lotus, and inside the Sun you see a higher octave of the lotus out of which the Manvantaras emerge.
Creating this picture was a strange experience. It seemed that it didn't want to come out. And while working on it, I wasn't satisfied with the way it developed and on several occasions wanted to destroy it. In the end, I realised that my concepts of how the picture should look like were blocking its emergence.
Bio-Synthesis, founded in 1984, is a U.S. based company whose primary emphasis is providing high quality custom products such as custom oligonucleotides, custom peptides, custom antibodies and services for life science research, diagnostics, and therapeutic applications.
Evanescence at the SEC Armadillo Glasgow on their Synthesis Live tour.
Thanks to Uber Rock for arranging the pass for me.
KPLantern is a project of the Kaiser Permanente Innovation Consultancy to understand the health and health care of people who are transgender, using a human centered design/fieldwork approach.
This week is synthesis week, where I am learning from the team how field work comes together into insights.
For more about KPLantern: www.tedeytan.com/tag/kplantern