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Programação visual para o combo de produtores musicais do RN e PB (criada há um ano) que congrega atividades de música autoral, produção, DJ Set focado em música dançante com beats eletrônicos, rap e fusões regionais.
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Conceito Visual: Anderson Foca e Caio Vitoriano.
Design: Caio Vitoriano.
Video: Larinha Dantas e Caio Vitoriano.
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Filmes e Fotos CRISTIANO BORGES @cristianoborgesphoto @agenciafotonoticia
Celular: (62) 99682-8281 WhatsApp
E-mail: cristianoborgesgyn@gmail.com Ousadia e criatividade são as qualidades mais notórias deste fotojornalista. Premiado ao longo de seus 22 anos de experiência profissional, ganhou prêmios como duas edições do Prêmio New Holland de fotojornalismo Internacional , menção honrosa do Wladmir Herzog, Top Etanol Nacional de Fotojornalismo, Prêmio Fieg, Prêmio Comigo, Prêmio Fecomercio de fotojornalismo Prêmio MPGO de fotojornalismo e Prêmio Celg de Artes Visuaise outros .
Por causa de sua visão única, já contribuiu com as mais importantes agências de fotografia do Brasil e do mundo, como a Agência Estado e Folha de São Paulo, Reuters e Associated Press (AP), com fotos publicadas em veículos como Época, Globo Rural e Los Angeles Times.
Boldness and creativity are the most notable qualities of this photojournalist. Awarded throughout his 16 years of professional experience, he has won awards like two editions of the New Holland prize for photojournalism, honorable mention of the Wladmir Herzog, Top Ethanol Photojournalism Award and Celg for Visual Arts
Matadero Madrid y el centro colombiano FLORA ars+natura colaboran en el desarrollo de un programa internacional de residencias. Así, desde el 27 de febrero y tras seis semanas de trabajo a puerta cerrada, los artistas y creadores de esta edición de El Ranchito exponen sus proyectos en la Nave 16 de Matadero Madrid.
En esta edición, los artistas participantes en el intercambio, cuatro colombianos y cuatro españoles, seleccionados por convocatoria pública por los comisarios Jaime Cerón, María Wills, José Roca y Manuela Villa, son: Jorge Fuembuena, Carlos Irijalba, Asunción Molinos y Jorge Perianes (españoles) y Liliana Angulo, Catalina Jaramillo, Ana María Millán y John Mario Ortiz (colombianos).
El punto de partida y nexo común entre los distintos proyectos expositivos es una revisión crítica del legado de José Celestino Mutis y de lo que su expedición supuso para los contextos hispano-colombianos. Con un vínculo directo entre el Real Jardín Botánico de Madrid, donde se conservan las láminas originales; y la región de Honda, donde tendrán lugar las segundas residencias y donde se desarrolló la expedición de Mutis.
Los proyectos son: Jorge Fuembuena PLANCTUM, ensayo visual que recurre a la idea de expedición para ir a buscar y documentar las plantas en algunos lugares concretos donde habitan, nacen o son identificadas, para acentuar e interrogar esos espacios que contienen o que destellan una cierta especificidad; Catalina Jaramillo UN FLORILEGIO CURIOSO, instalación de motivos florales a partir de un diseño propio inspirado en los facsímiles de Mutis; Carlos Irijalba DROMOSFERA, vídeo, paisaje en movimiento; Liliana Angulo Cortés UN CASO DE REPARACION, investigación que revela el rol de la mano de obra esclavizada en la empresa científica colonial; Jorge Perianes (sin nombre) mira procesos entrópicos y construye realidades improbables a partir de fragmentos inconexos; Asunción Molinos EL CONOCIMIENTO NO VULGAR, a través de un vídeo la artista recurre al saber tradicional para intentar subvertir simbólicamente el saber científico recuperando la práctica popular de la radiestesia zahorí como herramienta de deconstrucción; Ana María Millán SUGAR LOVERS, instalación con vídeo en clave de humor basado en dos especies estudiadas por Mutis: la hormiga obrera y la planta Borrachero o Floripondio; y John Mario Ortiz NIVELACIONES – SIEMBRAS NOCTURNAS, instalación basada en los mapas de Caldas hallados en los archivos del Real Jardín Botánico y el SGE (Servicio Geográfico del Ejército de Madrid).
En noviembre, y gracias a la colaboración de AECID, los artistas españoles viajarán a Flora Ars & Natura en Bogotá, Colombia y continuarán allí con el trabajo iniciado durante sus semanas de residencia en Madrid.
Esta nueva edición de El Ranchito se trata de una producción de Matadero Madrid, AECID y FLORA ars+natura, con la colaboración de la Embajada de Colombia, el Real Jardín Botánico CSIC y ARCO. El programa de residencias El Ranchito ofrece espacios de trabajo y residencia a artistas, arquitectos, comisarios, pensadores y otros productores culturales. Durante el periodo de residencia, artistas de diversas disciplinas y nacionalidades compaginan su trabajo individual con la creación de una comunidad artística en el espacio abierto y compartido de la Nave 16 de Matadero Madrid. Las residencias se estructuran en tres períodos definidos que varían entre seis semanas y tres meses de residencia común; seguido de una presentación pública de los resultados de dicha convivencia.
Las convocatorias tienen vocación internacional y facilitan que los creadores locales e internacionales, además de disfrutar de espacios de trabajo, se interconecten entre ellos, favoreciendo la movilidad e internacionalización de los creadores locales. Gracias a AECID, los creadores locales no sólo trabajan con artistas internacionales en el seno de Matadero Madrid, sino que tienen la oportunidad de disfrutar de programas de residencias artísticas en otros centros internacionales.
Desde su nacimiento en 2011, El Ranchito ha recibido a más de 100 creadores de países como Japón, Turquía, Francia, Reino Unido, EEUU, Argentina, Perú, México o Brasil.
This is the first challenge in a while that I actually took time to sketch out some ideas for. Most of mine were visual puns and this was the easiest one so I did it first.
One of them I actually laughed out loud while I was sketching it out. I hope it turns out as funny as I think it is :-D
Pages done for Decorated Page Workshop, Lesson 4 Cutouts and Addons plus Patterns and Motifs, also Lesson 3 stamped background.
My big Roman numeral ten is both a cutout and an add on. I got to use my new embossing gun here. The silver was done with a rubber stamp that I made by just cutting an eraser with a serrated knife.
The X's/Roman numeral 10 serve as both motif and pattern. The hand carved stamp that I stamped with my new Versamark inkpad is also patterning. I love the Versamark! I'm going to get a lot of use out of that one.
Aboriginal memorial poles
by Wukun Wanambi
This contemporary art installation by Aboriginal Australian artist Wukun Wanambi addresses a series of important ideas about ancestral power, the significance of land and the search for meaning.
Aboriginal Australian memorial poles – known as larrakitj – are hollow coffins created to hold the bones of the dead in secondary burial. Placed in groups on significant sites and painted with clan symbols, they are left to deteriorate with wind and weather. Contemporary artist Wukun Wanambi (b. 1962) belongs to the Yolngu people of northern Arnhem Land and has worked innovatively with this longstanding art form for over a decade. Art is used by the Yolngu people in ceremonial performances, but also as legal documents and as a way to map the landscape and the relationships between people.
Wukun’s work is an exploration into traditional forms with deep connections to clan, territory and ancestral stories. However, he rejects the polished Yolngu model of a perfectly cylindrical, blemish-free memorial pole, instead allowing the tree’s natural form and flaws to remain visible, with painted fish swimming around and over the surface variations.
The display in Room 3 is a large sculptural work featuring three finished poles alongside three poles revealing the tree beneath. Starting from a raw, unpainted log, this visual progression unveils the sculptural elements beneath the painted clan designs, and references complex religious and philosophical ideas at the core of Wukun’s work.
[British Museum website]
FR: le menu et la carte de calories pour une fête de fin d'année d'une entreprise.
PT: cardápio e tabela de calorias para festa de fim de ano de uma empresa. Material produzido à empresa Sem Fronteiras Tecnologia Educacional Ltda., à qual cabem os direitos intelectuais/autorais do mesmo, na forma da Lei n° 9.279/96. Proibida a reprodução.
God of Wings
Description: Urbanus is a genus of butterflies in the order Lepidoptera, subdivision Bombycina, superfamily Papilionoidea (still being called Hesperioidea by some entities), family Hesperiidae and subfamily Eudaminae. They possess a wingspan of approximately 38-48mm, averaging at, seemingly mostly, 46mm. The subject portrayed is SEEMINGLY a male, but there are no guarantees on this information as it is based on very tiny visual details and I might be mistaken.
Synonyms to this taxon include:
Goniurus procne (Plötz, 1880)
Teleus procne.
The larvae are polyphytophagous.
According to Cesar of Insetologia, the identification is suggested as U. procne because:
"All should occur in the Ceará state (www.biotaneotropica.org.br/v11n4/pt/fullpaper?bn019110420...), I can't discard anything from here;
U. simplicius' (www.butterfliesofamerica.com/L/urbanus_simplicius_live1.htm) highlight seem to be due to the patterns on the second pair of wings;
In BugGuide (bugguide.net/node/view/1379402/bgimage), someone comments about a clearer mark beneath the club of U. teleus (www.butterfliesofamerica.com/L/urbanus_teleus_live1.htm), differentiating them from U. procne (www.butterfliesofamerica.com/L/urbanus_procne_live3.htm), which in your specimen seems absent;
I could also note the same trait of U. teleus in U. tanna (www.butterfliesofamerica.com/L/urbanus_tanna_live.htm), not being, however, evident in all specimens;
In U. tanna, the fringe of the second pair of wings is more highlighted, more clear, which merges with the previous characteristic indicating this is a U. procne." - www.insetologia.com.br/2018/09/borboleta-urbanus-no-ceara...
They are located from Argentina, North through Central America and Mexico to Southern Texias. Strays can be rarely found up to Southern New Mexico, Southern Arizona and Southern California. They have a very wide distribution in Brazil, South America.
U. procne possess brown wings. The forewings possess two thin, longitudinal white stripes, the one distal from the body being shorter. Scent scales on the costal fold on the leading edge of the forewings are characteristic to the males. The brown spot close to the costa is separated from the inner stripe on the underside of the hindwings. Adults are tailed. Eggs are laid by the female on the host plants; when born, the larvae will feed on the leaves. When young, the larvae will live in a nest made of a folded leaf. Larvae are green with a reddish "neck" and a large dark head, varying in a darker coloring throughout instars and can reach around 35mm by the last instar. When older, the larvae are red-brown with a finely stippled white and broken white mid-dorsal line. The head is large with a constricted "neck" and narrow pronotum. They will hide during the day on the base of the plant and will feed during night. The pupa is made inside a loose cocoon, hidden and camouflaged in leaf litter. (books.google.com.br/books?id=qMwOAQAAIAAJ&pg=PA32&...)
The pupa is dark brown and can be found here:
www.thedauphins.net/brown_longtail_life_cycle_study.html
Eggs are rounded and whitish-yellow. The egg-adult process takes around 40 days.
In Southern Texas there are three broods throughout the year. Host plants include Cynodon dactylon ((L.) Pers., 1805) (Poaceae: Chloridoideae: Cynodonteae) ("Bermuda grass"), Sorghum halepense ((L.) Pers.) (Poaceae: Panicoideae: Andropogogoneae: Sorghinae) ("Johnsongrass") and most of the Gramineae family.
Their habitats include grassy openings in tropical and subtropical primary or secondary forests. The species is suffering decline in the lower Rio Grande Valley, requiring security, monitoring and conservation. Seemingly, they are not under threat due to their very wide distribution, but they are rare in some of those areas like and, especially, the periphery.
Further sources:
en.wikipedia.org/wiki/Urbanus_procne
Identified by Cesar of Insetologia, the link was posted along this post.
PROJECT NOAH (Português): www.projectnoah.org/spottings/1757255752
The need to facilitate orientation and communication through visual organization principles, was the starting point for the design of the uniforms of official personnel during the Olympic Games.
A contest judge had to look different from a ticket controller, a health worker from a technician. All told 88 groups of persons needed special uniforms. To make this multitude clearly understandable the personnel was categorized in superordinate groups under the aspect of related functions:
Personnel of the Organizing Committee
Contest judges
Technical services
Hostesses
Doctors and health personnel
Security guards
Sport site personnel
Cleaning personnel