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Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
www.sriyantras.com/christian-symbols.html
Hundreds Of High Resolution Christian Symbols in Mandala Form. The Symbols Of The Cross and The Star Of Bethlehem Drawn In Mandala Formation With Influence From Tibetan BUddhist Concepts.
Part of a Set / Slideshow documenting an installation by Claire Simpson.
There is also a YouTube video.
Claire Simpson's Performance & Visual Art (Dance) Degree Show 2012 - Tangible Light - at the University of Brighton. The piece is an installation using the materials of light, colour and theatrical smoke / mist to create the physical and tangible illusion of light. Video projectors were used to project relatively simple geometric moving shapes. This created the illusion of solid cones and planes of light.
This image / video is available under the indicated creative commons licence - subject to the approval of the artist(s) featured - and also subject to any additional conditions that the artist(s) may wish to apply.
Since 2007, the LUX Prize has been a tangible expression of Parliament's belief in the creativity and talent in Europe's film industry, in its ability to reflect the wealth and diversity of European culture, and its capacity to stimulate reflection and debate on Europe, its values and its future.
It is awarded annually based on voting by MEPs. In the end three films are shortlisted for the award. The winner will receive financial support from the Parliament to subtitle the film into the 23 European Union official languages, including an adaptation for visually or hearing-impaired people and to produce a 35 mm print or a digital cinema package for each Member State.
Previous winners were "Auf der anderen Seite" in 2007, "Le silence de Lorna" in 2008, "Welcome" in 2009, "Die Fremde" in 2010.
This year the three finalists for the 2011 LUX prize were: Greece's "Attenberg" by Athina Rachel Tsangari. France's "Les neiges du Kilimandjaro" by Robert Guédiguian and "Play" by Ruben Östlund - a Swedish, French, Danish production.
Today it has been announced by the European Parliament president Jerzy Buzek the name of the winner: the French director Robert Guédiguian with "Les neiges du Kilimandjaro".
www.europarl.europa.eu/en/headlines/content/20111006FCS28...
© European Union 2011 PE-EP/Pietro Naj-Oleari
Frank Ghitalla, chercheur au CNRS et Yann Le Guennec, responsable du programme thématique Réalité Virtuelle (photo: J-C.Quéffélec)
Nuance. Holding this journal, the difference is tangible. Not a perfect book, but perfect for someone. The Zerkall Frankfurt paper is truly lovely.
9.75" x 7" 96 sheets (192 pages, both sides)
Materials
>About the leather: Kodiak Oil-Tanned Leather, dark brown.
Here is a leather as rugged as its name implies. This oil-tanned leather has pronounced grain that gives character to the soft hide that is durable and moisture resistant. 4 oz.
The leather detail on front cover flap is a bit of green nubuck cowhide (an old favorite).
>About the paper: Frankfurt, Ivory, by Zerkall
Characterized by irregular 'wavy' laid lines and the sexy Zerkall watermark, Frankfurt is a delight to handle. Writing on this artisan paper versus commercial paper is a world of difference. But don't take my word for it!
Zerkall Renker & Sohne paper mill, run by the Renker family in its fourth generation, dates from 16th century in the valley of the river Kall between Cologne and Aachen in Germany. Although the mill now only manufactures mouldmade papers, their sheets mirror papers of the past while incorporating modern technology to insure stability and permanence. Zerkall mixes exacting amounts of cotton rag and high alpha cellulose to obtain sheets that are strong, yet able to absorb ink without bleeding. All their papers are acid free, neutral sized, alkaline buffered with calcium carbonate and contain no optical brighteners.
>About the endpaper: Egyptian Papyrus
Papyrus was, and continues today to be handmade from the papyrus reed that grows in freshwater marshes along the river Nile, though today this growth is rare and controlled. Egyptians considered it the "everlasting" paper because it has been found in perfect condition in tombs dating back to 2700 B.C.
Nuance Journals are handbound with 4-ply waxed Irish linen thread in New Orleans by Emily Renee.
made with foil and flotsam. it is a gift for my best bud/brother of different parents/life long love-Steven.
The EU must come together and deliver tangible results, with clear benefits for its citizens, to regain their confidence and fight growing populism and nationalism across the continent, agreed Slovak Prime Minister Róbert Fico and most MEPs in Wednesday morning’s debate on the priorities of the incoming Slovak Presidency in the EU Council of Ministers.
Read more on the Slovak Presidency: www.europarl.europa.eu/news/en/news-room/20160701IPR34486...
This photo is copyright free, but must be credited: © European Union 2016 - European Parliament. (Attribution-NonCommercial-NoDerivs Creative Commons license). If you need high resolution files do not hesitate to contact us. Please do not forget to send the link or a copy of the publication to us: photobookings(AT)europarl.europa.eu
I wish I could write something that accurately would describe the way I felt when I first looked at this photograph.
It shows us some facts ; a boy or young man on a motorcycle making a wheelie somewhere in a desertlike environment on a dirtroad, some hills in the background, a sunny day.Could be America.
I could tell you that there's words on the back of the photo. In blue ballpen ink.
Slightly fading.
I could tell you that I did not take it ;-)
I could tell you that it is also about time, about the tangibility of time.
The Old Bootmaker’s Shop c1904
This building is the last known remaining early 20th Century 'self-built rubble masonry’ in Mylor and is a tangible remnant of the G W Cotton Working Man’s Block Scheme.
John Joseph Staples is credited with building this simple one room dwelling/workshop. John Staples emigrated from Chatham, Kent, and had arrived in Adelaide by 1870. He worked as a bootmaker in Brompton and Adelaide, before moving to Mylor. He was then 52 and a widower. After securing the lease of Homestead Block Section 1403, in 1904, John built his one roomed home and shop, using undressed timber from trees growing on his land and barrowing sand and rubble from the adjacent creek to build the walls. He lined the ceiling and southern wall with hessian flour bags, sewn neatly together and whitewashed. The original floor (since rotted away) was ‘paved’ using thick roundels of River Red Gum wood.
John lived and worked in his small home from 1904, until his death in 1919. He was an active member of the Mylor community and was well thought of.
Since 1919, the land and the ‘old bootmaker’s shop’ has had several owners, the last owner being Mrs Martha Sherry.
Martha used the old shop as her garden shed after building her house next to it. She bequeathed the land, now known as “Sherry Park” to the Adelaide Hills Council for parkland purposes.
Her nephew, Ben Jackson, lived there as oval caretaker until 1983. Her house was then removed, with the old ‘shop’ retained for historic interest.
The building remained untouched and gradually fell into ruin. Over the years, it survived many threats of demolition and has been the subject of many earnest community plans to ‘save and restore it’. In 2010 the Mylor Heritage Society Inc formed, and started a restoration and reconstruction process, culminating in the Old Bootmaker’s Shop being retained in the streetscape of Mylor.
It remains a testament to the earlier days of Mylor and of the aspirations of the ‘working man’.
Ref: Story Board
Part of a Set / Slideshow documenting an installation by Claire Simpson.
There is also a YouTube video.
Claire Simpson's Performance & Visual Art (Dance) Degree Show 2012 - Tangible Light - at the University of Brighton. The piece is an installation using the materials of light, colour and theatrical smoke / mist to create the physical and tangible illusion of light. Video projectors were used to project relatively simple geometric moving shapes. This created the illusion of solid cones and planes of light.
This image / video is available under the indicated creative commons licence - subject to the approval of the artist(s) featured - and also subject to any additional conditions that the artist(s) may wish to apply.
A tangible interface for buying and selling equities on the London, New York, Tokyo and Frankfurt stock markets. The visitors make their purchases in an unconventional manner—by inhaling a line of “cocaine” (i. e. pure sugar).
Credit: Florian Voggeneder
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
www.sriyantras.com/christian-symbols.html
Hundreds Of High Resolution Christian Symbols in Mandala Form. The Symbols Of The Cross and The Star Of Bethlehem Drawn In Mandala Formation With Influence From Tibetan BUddhist Concepts.
"Tangible Cultural Property of Incheon Metropolitan City No. 15
The Location: 667, Unnam-dong, Jung-gu
It is said that Yonggungsa at the north-east foot of Mr. Baekun in Yeongjong Island was built by Wonhyo (a famous monk) in the 10th year of King Munmu's reign (670) in Silla dynasty. When Heungseon Daewongun (King Go-jong's father in the Joseon dynasty) rebuilt it in the year of King Cheol-jong's reign (1854), the present name, Yonggungsa, was given. Buildings such as Gwaneumjeon, Yonghwanggak, Chilseonggak, Yosachae and 11 metres high, Mireukbul (statue of Maitreya) were set up recently."
bioLogic is growing living actuators and synthesizing responsive bio-skin in the era where bio is the new interface. Natto bacteria are harvested in a bio lab, assembled by a micron-resolution bio-printing system, and transformed into responsive fashion, a “Second Skin”. The synthetic bio-skin reacts to body heat and sweat, causing flaps around heat zones to open, enabling sweat to evaporate and cool down the body through an organic material flux.
credit: Rob Chron
Since 2007, the LUX Prize has been a tangible expression of Parliament's belief in the creativity and talent in Europe's film industry, in its ability to reflect the wealth and diversity of European culture, and its capacity to stimulate reflection and debate on Europe, its values and its future.
It is awarded annually based on voting by MEPs. In the end three films are shortlisted for the award. The winner will receive financial support from the Parliament to subtitle the film into the 23 European Union official languages, including an adaptation for visually or hearing-impaired people and to produce a 35 mm print or a digital cinema package for each Member State.
Previous winners were "Auf der anderen Seite" in 2007, "Le silence de Lorna" in 2008, "Welcome" in 2009, "Die Fremde" in 2010.
This year the three finalists for the 2011 LUX prize were: Greece's "Attenberg" by Athina Rachel Tsangari. France's "Les neiges du Kilimandjaro" by Robert Guédiguian and "Play" by Ruben Östlund - a Swedish, French, Danish production.
Today it has been announced by the European Parliament president Jerzy Buzek the name of the winner: the French director Robert Guédiguian with "Les neiges du Kilimandjaro".
www.europarl.europa.eu/en/headlines/content/20111006FCS28...
© European Union 2011 PE-EP/Pietro Naj-Oleari
Zo: Tangible AI is a tangible interface that enhances physical engagement in digital communication between the audiences and a social chatbot. Zo can rhyme and move with people. The compact, pneumatically shape-changing hardware is designed with a rich set of physical gestures that brings her to life during conversations.
credit: Florian Voggeneder
THE HISTORY OF PENA ADOBE
Lagoon Valley was settled by two friends, from New Mexico, along with their families. The only tangible reminder of their efforts is the adobe built by Juan Felipe Pena. The two Juans,
Juan Manuel Vaca and Juan Felipe Pena gathered their families and struck out for California in 1841. They left New Mexico, seeking the land of milk and honey. Juan Felipe brought his wife, Isabella Gonsalves and their six children. Juan Manuel had lost his wife in 1839.
The widower was accompanied by their eight children. The intrepid families followed the Old Spanish Trail that terminated at Pueblo de Los Angeles. Their arrival coincided with the visit to the area by Mariano Vallejo. Admiring of Pena’s and Vaca’s pluck, Vallejo told them of the fertile Lagoon Valley. He convinced them to trek a little further, where he would agree to grant them a vast amount of land if they fulfilled his requirement to build homes, plant trees and pasture livestock.
When the two Juans had satisfied Vallejo’s requirements, they were granted ten square leagues of the Rancho de Los Putos. Ten square leagues amounted to 44,384 acres. This huge territory encompassed all of Lagoon Valley and stretched into what is now, Yolo County. During the 1840s, both families engaged in cattle ranching. Hides and tallow were the principal source of trade and income. It has been speculated that they hauled the hides and tallow by ox-cart to landings along the sloughs of Suisun Bay. The families also engaged the few remaining Native Americans to serve as ranch hands, cowboys and servants. The Vaca’s and Pena’s cultivated orchards and gardens near their homes.
Those were tumultuous times in California history. In just five short years, after their arrival, the Bear Flag revolt occurred, in which Vallejo, his brother and their families were taken to Sutter’s Fort from Sonoma, as captives care of General Charles Fremont and Kit Carson. Many of the “Bear Flaggers” objected to the treatment by Fremont of the captives and made sure that the Vallejo families were accorded some protection on their way to John Sutter’s fort. One of the stops along the way was at Pena’s adobe, where they were treated with respect, “quantities of food and liquid refreshment.”
In 1847, Americans Albert Lyon, John Patton Sr. and Jr., along with J.P.Willis and Clay Long arrived in the Vaca Valley. In April 1849, Vaca agreed to sell a half league of land between Alamo and Ulatis creeks for eight thousand dollars to Albert Lyon and the Pattons. On August 21, 1850, Vaca deeded nine square miles to another new arrival, William McDaniel for three thousand dollars to establish the town of Vacaville.
The Vaca adobe “melted” away in the elements long ago. Pena and his family are believed to have hauled, by oxen or mule teams, from Napa, the redwood that was hand hewn for the joists that support the thatched roof and make up the
window and door lintels. The two feet thick adobe blocks were formed on site from our “famous” local clay soil, straw and water. Sometime around the 1880s, the adobe was modernized and enlarged by encasing the entire building in wood sheathing and frame extension.
The restored home and grounds are now a county park located just off of I-80 west of Vacaville, California.
THE HISTORY OF PENA ADOBE
Lagoon Valley was settled by two friends, from New Mexico, along with their families. The only tangible reminder of their efforts is the adobe built by Juan Felipe Pena. The two Juans,
Juan Manuel Vaca and Juan Felipe Pena gathered their families and struck out for California in 1841. They left New Mexico, seeking the land of milk and honey. Juan Felipe brought his wife, Isabella Gonsalves and their six children. Juan Manuel had lost his wife in 1839.
The widower was accompanied by their eight children. The intrepid families followed the Old Spanish Trail that terminated at Pueblo de Los Angeles. Their arrival coincided with the visit to the area by Mariano Vallejo. Admiring of Pena’s and Vaca’s pluck, Vallejo told them of the fertile Lagoon Valley. He convinced them to trek a little further, where he would agree to grant them a vast amount of land if they fulfilled his requirement to build homes, plant trees and pasture livestock.
When the two Juans had satisfied Vallejo’s requirements, they were granted ten square leagues of the Rancho de Los Putos. Ten square leagues amounted to 44,384 acres. This huge territory encompassed all of Lagoon Valley and stretched into what is now, Yolo County. During the 1840s, both families engaged in cattle ranching. Hides and tallow were the principal source of trade and income. It has been speculated that they hauled the hides and tallow by ox-cart to landings along the sloughs of Suisun Bay. The families also engaged the few remaining Native Americans to serve as ranch hands, cowboys and servants. The Vaca’s and Pena’s cultivated orchards and gardens near their homes.
Those were tumultuous times in California history. In just five short years, after their arrival, the Bear Flag revolt occurred, in which Vallejo, his brother and their families were taken to Sutter’s Fort from Sonoma, as captives care of General Charles Fremont and Kit Carson. Many of the “Bear Flaggers” objected to the treatment by Fremont of the captives and made sure that the Vallejo families were accorded some protection on their way to John Sutter’s fort. One of the stops along the way was at Pena’s adobe, where they were treated with respect, “quantities of food and liquid refreshment.”
In 1847, Americans Albert Lyon, John Patton Sr. and Jr., along with J.P.Willis and Clay Long arrived in the Vaca Valley. In April 1849, Vaca agreed to sell a half league of land between Alamo and Ulatis creeks for eight thousand dollars to Albert Lyon and the Pattons. On August 21, 1850, Vaca deeded nine square miles to another new arrival, William McDaniel for three thousand dollars to establish the town of Vacaville.
The Vaca adobe “melted” away in the elements long ago. Pena and his family are believed to have hauled, by oxen or mule teams, from Napa, the redwood that was hand hewn for the joists that support the thatched roof and make up the
window and door lintels. The two feet thick adobe blocks were formed on site from our “famous” local clay soil, straw and water. Sometime around the 1880s, the adobe was modernized and enlarged by encasing the entire building in wood sheathing and frame extension.
The restored home and grounds are now a county park located just off of I-80 west of Vacaville, California.
Photo: www.truphotos.com
'Kimono in:tangible' presented fashion garments and objects created by fourteen groups of students from Level 2 BA (Hons) Fashion Design and Textiles and BA (Hons) Fashion Media and Industries. The exhibition reflected on the value ascribed to vintage clothing, and how historical artefacts can be re-interpreted for contemporary audiences and consumers.
The garments and objects were inspired by the kimono, a full-length wide-sleeved robe originating in Japan in the late eighth century. To develop their designs, the students researched traditional Japanese fashion and culture, and how these could be translated for a global audience. Made through various processes of deconstruction and reconstruction, the final garments and objects express less tangible aspects of fashion and material culture, such as the meanings and memories associated with the kimono by previous wearers and generations.
Build4People Exhibition 2020: Green Buildings and Sustainable Neighbourhoods
Exhibition Aims and Rationale
Aims:
The exhibition is a tangible product raising awareness on the topic of green buildings and sustainable neighbourhoods.
The exhibition provides information in an accessible format with easy-to-understand language, many graphic visualisations and photos to reach out to a wide public.
The main target group for this exhibition are end-consumers in Cambodia, architects, construction and engineering companies, developer enterprises and institutions of higher education.
Presentation of first ideas how to apply those to Cambodia.
Manufacturing of the exhibits in a portable form because the aim is to do a touring exhibition which shall be shown at as many locations as possible in Cambodia.
Rationale:
Highly dynamic urbanisation is giving rise to more resource-intensive lifestyles, going along with new values and life concepts being formed, with new aspirations and new possibilities are set into place.
Therefore, the development towards a modern consumer society in urban Cambodia strongly affects the way buildings are designed, built and operated.
All in all, the potential to promote climate-adapted architecture, energy efficient and healthy buildings and sustainable neighbourhoods is far from ex-hausted.
Implementing green buildings and sustainable neighbourhoods will reduce energy costs - which are the among the highest in the region - but it will also contribute to an overall higher urban quality of life through increased thermal comfort, better access to urban green as well as improved indoor and outdoor air quality.
Part 1: Science Posters
They introduce general principles of sustainability from a multi-disciplinary team which are based on different policy fields such as urban green, urban climate, buildings, neighbourhood development or urban transformation.
Part 2: Case Study Posters
The 1st edition of the Build4People exhibition focuses on examples from Germany and Europe. This is because the Germany’s building sector has been the most successful policy field in terms of achieving sustainability goals, by far. In comparison to the level of 1990, greenhouse gas emissions in Germany could be reduced by 44% till 2018 in this sector.
Part 3: Introducing DGNB
Europe‘s biggest network for sustainable building
Acknowledgement:
The development of the Build4People exhibition was supported by funds from the German Ministry of Education and Research (BMBF) in the context of the research project “Build4People: Sustainable Buildings for People – Enhancing Urban Quality of Life in Cambodia”. This is part of the BMBF funding programme “Sustainable Development of Urban
Regions”.
Curator of the Build4People Exhibition “Green Buildings and Sustainable Neighbourhoods”:
EMP Eble Messerschmidt Partner
Architects and Urban Planners PartGmbB
Berliner Ring 47a, 72076 Tübingen, Germany
CEO: Rolf Messerschmidt
Curator Team: Oliver Lambrecht, Marcelo R. Leyton,
Petra Messerschmidt
Since 2007, the LUX Prize has been a tangible expression of Parliament's belief in the creativity and talent in Europe's film industry, in its ability to reflect the wealth and diversity of European culture, and its capacity to stimulate reflection and debate on Europe, its values and its future.
It is awarded annually based on voting by MEPs. In the end three films are shortlisted for the award. The winner will receive financial support from the Parliament to subtitle the film into the 23 European Union official languages, including an adaptation for visually or hearing-impaired people and to produce a 35 mm print or a digital cinema package for each Member State.
Previous winners were "Auf der anderen Seite" in 2007, "Le silence de Lorna" in 2008, "Welcome" in 2009, "Die Fremde" in 2010.
This year the three finalists for the 2011 LUX prize were: Greece's "Attenberg" by Athina Rachel Tsangari. France's "Les neiges du Kilimandjaro" by Robert Guédiguian and "Play" by Ruben Östlund - a Swedish, French, Danish production.
Today it has been announced by the European Parliament president Jerzy Buzek the name of the winner: the French director Robert Guédiguian with "Les neiges du Kilimandjaro".
www.europarl.europa.eu/en/headlines/content/20111006FCS28...
© European Union 2011 PE-EP/Pietro Naj-Oleari
Taken at the Garrison district of Gdańsk-Wrzeszcz, Poland.
History:
The preserved and restored historic buildings are a tangible proof of the hundred years of the mysterious history of the area, at which the Garnizon district is located. This, covering almost 30 hectares in Gdansk Wrzeszcz, area for over a century was encircled with a wall hiding objects and military secrets. At the end of the nineteenth century began the implementation of the first barracks for the formation of the 1 and 2 Hussar Regiment of the Privy Guard of the Emperor William II, also known as the Black Hussars. The artistry of the old-time architects and builders can be admired today in the restored buildings at Grunwaldzka Avenue and ul. Słowackiego.
Establishment of the Free City of Gdansk with the Treaty of Versailles had a significant impact on the fate of this land. A demobilized Free Gdansk parted ways in 1925 with the military, and the place of colourful hussars in the barracks was taken by the Schutzpolizei (Protection Police) units of the Free City of Gdansk, which in the vicissitudes of history functioned here until the end of the World War II.
After 1945 the area was nationalized and taken over by the Polish People's Army stationed in various formations for more than 50 years. At the end of the twentieth century, it was decided to liquidate the military units and the garrison in Gdansk Wrzeszcz and the sale of the land. Thus, the objects hosting once the imperial family, princes, dignitaries and important persons of the twentieth century Europe passed into the history of the military and the City of Gdansk.
The new owner of the land in 2005 became the Hossa Investment Group SA, which recognizing the historical and traditional importance of the acquired area has prepared the concept of land for a new multi-functional district under the name of GARNIZON.
In creating this courageous urban vision, thanks to which the previously unavailable areas turn into a modern district, is evidently seen a desire to preserve the characteristic, referring to the former purpose, specific features and items that give the GARNIZON project a unique atmosphere of continuity of tradition and modernity.
Source: www.garnizon.pl/garrison/history.html
Polska wersja: www.garnizon.pl/garnizon/historia.html
Money eternal
Tangible exchange of goods
For slip of paper
1 - Something written in a language other than English (Japanese bearer bond)
2 - An article of clothing (gray sweatshirt)
3 - The colour orange (ink around text)
Always fun to drag out my old Army stuff! I was surprised to find that this bill had a pretty orange ink applied to it, most likely as a security feature.
The Tangible Engine Media Creator is a simple drag and drop application that allows anyone to author state-of-the-art interactive experiences using tangible objects. Developed by Ideum, and designed for Ideum Multitouch Tables, this intuitive application can be used to develop interactive applications such as the beer tasting experience featured in this video. The Tangible Engine Media Creator also comes bundled with a full SDK to create more elaborate experiences through programming. Learn more at tangibleengine.com.
Spatial Tangibility by Luke Zwolsman 2002
Bluey Piva Park, Woorim, Bribie Island, Australia
Harcourt Graite.
Artists Comments,
By removing the material within the mass and capturing the unseen space which is created whithin,I am exploring the intangible things in life, the things which are unseen and offten inexplicable but without which a human existence would not be possable.
Ideum has been a leader in developing new tangible user interfaces that allow users to combine physical and digital exploration on our multitouch tables. With our new Smart Tangible prototypes, we’ve taken another step by creating tangible objects with embedded electronics and added features that expand opportunities for investigation and engagement.
My summer zine is out. Buy it here! 46 pages, perfect bound, 8.25x10.75", $20.
www.magcloud.com/browse/Issue/101668
www.magcloud.com/browse/Issue/101668
www.magcloud.com/browse/Issue/101668
a tangible memory of his day at Tree Frog Trek camp today - he made this flag with a couple of new friends
I am sure this is said about most tangible things of great import, but it’s difficult to believe, standing in front of the tea plant, that for 200 years this was the driving economic force in the Chinese economy and that which, eventually, made global fortunes. I would probably feel the same way standing in front of a marijuana plantation guarded by gun-toting men in Mexico, or if I saw some version of the poppy extract that turns into opium (poppies themselves being attractive enough to impress me, I think, if I saw a big field of them, just for aesthetic value). They’re just things. Things that go inside you, but still just things.
Now, were I to be looking down into a grain elevator full of little white pills that cured cancer, it would be a different story. In that scenario, you’re still dealing with things, but they’re at least things that have a lasting and inarguably positive effect on the quality of your life. Though the negative effects of marijuana and opium consumption are clear, even tea can be addictive, and at any rate I don’t think you can compare the quality of life improvement of tea vs. a cancer-curing pill. (Well, as long as it doesn’t have any particularly foul and widespread side effects.)
Rubbing the leaves, sniffing the plant, squinting at printed pictures of bonified tea plants—even drinking tea to ward off the cold when I returned home from the botanical gardens—didn’t increase my awe of the plant at all. These things only further perplexed me, because again, it’s just a plant. It’s like in high school when I was informed that Jupiter was as large as 260 Earths. I have absolutely no idea what 260 Earths would look, feel, or seem like. Nor do I have any conception of what a life without tea, and then suddenly with tea, would be like.
I think this failure of conception is somewhat inevitable, but it’s something of a hindrance to my being able to adequately appreciate the tea plant. The closest I can come is admiration for the two parties involved: the Chinese, for successfully keeping the identity and productive secrets of the plant secret for such an incredibly long time (it’s as if someone invented the iPod and no one figured out how to replicate it for 200 years…that would be a serious feat of secret-keeping), and the British for puzzling out the plant’s identity in the end, despite the fact that, as the botanical gardens make clear, there are plenty of plants that look, smell and taste (I assume; as a child I was caught stuffing my face with maple leaves in imitation of koalas I saw on TV, and they didn’t taste too bad) good enough to possibly be tea.
These are human accomplishments, which I can understand and admire. But the plant itself fails to evoke that same awe, even though by and large I drink at least a mug of tea per day. Again I think this is a failing more on my part, due mostly to my perspective, than it is of history for overblowing the tea plant or any such thing.
A new application for the Planes of Fame museum in California. Testing the app before a weekend preview. The tangible application runs on an Ideum 65" 4K UHD touch table.
A working example of the Trackmate Tracker communicating with SuperCollider. Starts a sine oscillator in left and right speakers. Left speaker frequency = tag x location, right speaker frequency = tag y location. Very boring.
I compiled the Trackmate Tracker to sent LusidOSC messages to port 57120, not 3333 since SuperCollider will only listen on that port.
The newest version of the Tracker has support for changing the port now, but it is only available as source.
SuperCollider code:
// Super Simple SuperCollider LusidOSC script. (SuperSimpleCollider?)
// First boot the server
(
s = Server.local;
s.boot;
)
(
var id, thetaToFreq, alive;
var xVal = 0;
var yVal = 0;
var theta = 0;
id = "0xBF82C7B4F1DA"; //Hard coded id of one trackmate tag.
alive = false;
// Definition of a synth
// One sine oscillator in each channel
SynthDef("sine", { arg freqX, freqY;
var osc;
osc = SinOsc.ar([freqX,freqY], 0, 0.1);
Out.ar(0, osc);
}).send(s);
// Starts a synth
s.sendMsg("/s_new", "sine", a = s.nextNodeID, 1, 1, "freqX", 440, "freqY", 440);
// The important bit!
// This code listens to OSC messages from the Trackmate Tracker
o = OSCresponderNode.new(NetAddr.new("127.0.0.1", nil), "/lusid/1.0", {
arg time,responder,msg;
(msg[1].asString == "set").if({
(msg[2].asString == id).if({
xVal = 100 + (msg[3]);
yVal = 100 + (msg[4]);
theta = msg[8];
//("Location:" + xVal + yVal + theta).postln; // debug
s.sendMsg("/n_set", a, "freqX", xVal * 16); // set x oscillator
s.sendMsg("/n_set", a, "freqY", yVal * 16); // set y oscillator
// nothing mapped to rotation yet!
});
});
}).add;
)
// Stop the Responder!
(
s.sendMsg("/n_free", a);
o.remove;
)
inFORM is a Dynamic Shape Display that can render 3D content physically, so users can interact with digital information in a tangible way. inFORM can also interact with the physical world around it, for example moving objects on the table’s surface. Remote participants in a video conference can be displayed physically, allowing for a strong sense of presence and the ability to interact physically at a distance. inFORM is a step toward our vision of Radical Atoms
credit: Florian Voggeneder
Since 2007, the LUX Prize has been a tangible expression of Parliament's belief in the creativity and talent in Europe's film industry, in its ability to reflect the wealth and diversity of European culture, and its capacity to stimulate reflection and debate on Europe, its values and its future.
It is awarded annually based on voting by MEPs. In the end three films are shortlisted for the award. The winner will receive financial support from the Parliament to subtitle the film into the 23 European Union official languages, including an adaptation for visually or hearing-impaired people and to produce a 35 mm print or a digital cinema package for each Member State.
Previous winners were "Auf der anderen Seite" in 2007, "Le silence de Lorna" in 2008, "Welcome" in 2009, "Die Fremde" in 2010.
This year the three finalists for the 2011 LUX prize were: Greece's "Attenberg" by Athina Rachel Tsangari. France's "Les neiges du Kilimandjaro" by Robert Guédiguian and "Play" by Ruben Östlund - a Swedish, French, Danish production.
Today it has been announced by the European Parliament president Jerzy Buzek the name of the winner: the French director Robert Guédiguian with "Les neiges du Kilimandjaro".
www.europarl.europa.eu/en/headlines/content/20111006FCS28...
© European Union 2011 PE-EP/Pietro Naj-Oleari
Part of a Set / Slideshow documenting an installation by Claire Simpson.
There is also a YouTube video.
Claire Simpson's Performance & Visual Art (Dance) Degree Show 2012 - Tangible Light - at the University of Brighton. The piece is an installation using the materials of light, colour and theatrical smoke / mist to create the physical and tangible illusion of light. Video projectors were used to project relatively simple geometric moving shapes. This created the illusion of solid cones and planes of light.
This image / video is available under the indicated creative commons licence - subject to the approval of the artist(s) featured - and also subject to any additional conditions that the artist(s) may wish to apply.
This is the one tangible hint as to what all the tubes going all over the place are about. Some places set up a central facility to climate-control buildings campus-wide, and it can kind of look like the tubes here, but this sign suggests otherwise.
At a guess, the tubes must have conveyed the photochemicals (or the compounds used to produce them) on their way to whatever building(s) was actually responsible for producing & packing their instant film.
I like the roadway signage theme they had, with the use of Helvetica as the text face, and the custom-drawn icons that didn't quite match anything I've seen elsewhere, but "kind of" looks like American signage, and "kind of" looks like European signage.
An offering is something tangible, presented to appease the Gods in times of prayer. Philosophically, an offering is a sort of self sacrifice. One spends a significant amount of time and money in making an offering, putting something of oneself into it.
The most common form of offering that is seen everywhere in Bali on a daily basis is known as canang. It placed in temples, shrines and strategic locations of importance with a waft from a stick of incense and sprinkle of holy water. Shop keepers place this kind of flower offering in front of their stall upon opening up for trade and taxi drivers invariably have one on the dashboard of their vehicle.
As all offerings in Bali are made from natural things, canang is formed from a coconut palm leaf square basket filled with a slice of banana or sugar cane, a few grains of rice, a betel quid, vibrant hues of flowers and shredded leaf on top.
Odilon Redon
(1840-1916)
Arbres sur un fond jaune
en 1901
Au-dela des Etoiles - Le Paysage Mystique de Monet a Kandinsky
"Seeking an order beyond physical appearances, going beyond physical realities to come closer to the mysteries of existence, experimenting with the suppression of the self in an indissoluble union with the cosmos… It was the mystical experience above all else that inspired the Symbolist artists of the late 19th century who, reacting against the cult of science and naturalism, chose to evoke emotion and mystery. The landscape, therefore, seemed to these artists to offer the best setting for their quest, the perfect place for contemplation and the expression of inner feelings.
Thus the exhibition, organised in partnership with the Art Gallery of Ontario, Toronto, explores the genre of landscape principally through the works of Paul Gauguin, Maurice Denis, Ferdinand Hodler and Vincent Van Gogh, but also presents North American painters such as Giorgia O'Keeffe and Emily Carr, who are less well known in France. Contemplation, the ordeal of the night or of war, the fusion of the individual with the cosmos, and the experience of the transcendental forces of nature, are stages in a mystical journey the exhibition invites you to take."
Landscape received scant mention in Symbolist circles although the Impressionists had embraced it as a subject and invented a new style of painting focusing on the tangible world.
However, some artists chose to address their spiritual inquiries by depicting landscapes.
Against the backdrop of the rise of Positivism, which prioritised scientific experimentation, and in a world experiencing significant change, artists were pervaded by a form of idealism and began to question their own origins, religious culture and the relationship between man and nature. Nature became the locus for soul-searching, culminating in mystical experiences.
Mysticism was widespread in the late 19th century and this phenomenon is a feature of all religions and beliefs, offering a means of accessing the mysteries of existence through oneness with nature. This exhibition aims to analyse how mysticism influenced landscape painting at the dawn of the 20th century, paving the way for the birth of abstraction.
The sections of the exhibition reveal works by artists from diverse cultures who are exploring the transcendence and immanence of nature. The first section, which is underpinned by Monet’s aesthetic experiments, introduces visitors to the work of art as an aid to contemplation.
However, many artists use the motif of the landscape as a starting point to express their aspiration to mystical experience, including the Nabis, who found the theme of the sacred wood conducive to meditation. The second section explores the notion of the divine in nature in greater depth through works belonging to the Synthesist, Symbolist and Divisionist movements. Their iconography draws on Christian and Pantheist tropes.
In the third section, vivid and original paintings by Canadian artists from the period 1910-1930 tell the story of the North in pictures influenced by the natural world of Scandinavia. Landscape also reflects actual or internalised night in the fourth section, which is luminous in the case of Van Gogh, or melancholic and tragic when evil makes its presence felt.
By contrast, the mystical painter Dulac paves the way for the universal. The final section addresses the forces which transcend man and draw him to the realm of the stars: the cosmos and its interstellar light. This visit aims to reflect what Kandinsky describes as “those seeking for the internal in the external”.
www.musee-orsay.fr/en/events/exhibitions/in-the-musee-dor...
...
THE HISTORY OF PENA ADOBE
Lagoon Valley was settled by two friends, from New Mexico, along with their families. The only tangible reminder of their efforts is the adobe built by Juan Felipe Pena. The two Juans,
Juan Manuel Vaca and Juan Felipe Pena gathered their families and struck out for California in 1841. They left New Mexico, seeking the land of milk and honey. Juan Felipe brought his wife, Isabella Gonsalves and their six children. Juan Manuel had lost his wife in 1839.
The widower was accompanied by their eight children. The intrepid families followed the Old Spanish Trail that terminated at Pueblo de Los Angeles. Their arrival coincided with the visit to the area by Mariano Vallejo. Admiring of Pena’s and Vaca’s pluck, Vallejo told them of the fertile Lagoon Valley. He convinced them to trek a little further, where he would agree to grant them a vast amount of land if they fulfilled his requirement to build homes, plant trees and pasture livestock.
When the two Juans had satisfied Vallejo’s requirements, they were granted ten square leagues of the Rancho de Los Putos. Ten square leagues amounted to 44,384 acres. This huge territory encompassed all of Lagoon Valley and stretched into what is now, Yolo County. During the 1840s, both families engaged in cattle ranching. Hides and tallow were the principal source of trade and income. It has been speculated that they hauled the hides and tallow by ox-cart to landings along the sloughs of Suisun Bay. The families also engaged the few remaining Native Americans to serve as ranch hands, cowboys and servants. The Vaca’s and Pena’s cultivated orchards and gardens near their homes.
Those were tumultuous times in California history. In just five short years, after their arrival, the Bear Flag revolt occurred, in which Vallejo, his brother and their families were taken to Sutter’s Fort from Sonoma, as captives care of General Charles Fremont and Kit Carson. Many of the “Bear Flaggers” objected to the treatment by Fremont of the captives and made sure that the Vallejo families were accorded some protection on their way to John Sutter’s fort. One of the stops along the way was at Pena’s adobe, where they were treated with respect, “quantities of food and liquid refreshment.”
In 1847, Americans Albert Lyon, John Patton Sr. and Jr., along with J.P.Willis and Clay Long arrived in the Vaca Valley. In April 1849, Vaca agreed to sell a half league of land between Alamo and Ulatis creeks for eight thousand dollars to Albert Lyon and the Pattons. On August 21, 1850, Vaca deeded nine square miles to another new arrival, William McDaniel for three thousand dollars to establish the town of Vacaville.
The Vaca adobe “melted” away in the elements long ago. Pena and his family are believed to have hauled, by oxen or mule teams, from Napa, the redwood that was hand hewn for the joists that support the thatched roof and make up the
window and door lintels. The two feet thick adobe blocks were formed on site from our “famous” local clay soil, straw and water. Sometime around the 1880s, the adobe was modernized and enlarged by encasing the entire building in wood sheathing and frame extension.
The restored home and grounds are now a county park located just off of I-80 west of Vacaville, California.
The presence of digital cameras in children’s life is increasing rapidly. Since these devices are cheaper and smaller than their analogue counterparts, children are often allowed to use them. In order to understand these new practices, we have conducted observations during one month with four children aged three to six that use the digital camera of their parents on a regular basis.
We found that the activity of taking photographs is fascinating for them because of one element: the screen. More than producing real pictures or framing reality, the attraction and magic of seeing the world through a screen and being able to freeze time was key in this activity.
Based on this insight and in continuation of our researches on tangible cameras for children, we are developing SketchCam, a camera that is reduced to one element, a screen. Instead of taking pictures by triggering a button, SketchCam allows children to shoot by tracing paths on a tactile screen, combining sketching and photography.
paper draft here insitu.lri.fr/~labrune/sketchcam/SketchCam.pdf