#evgeny landscape photos

[travelbinge]

Plyos City at night by Evgeny Landscape Photos

Plyos, Ivanovo Oblast, Russia

[arrhakis]

The Path Of Doves by Daniel Arrhakis (2020) With the music : Evgeny Grinko - Dusty Room youtu.be/AzYIJdsSDms Using a photo of mine taken in Gameiro Ecological Park in Mora, Portugal. The Orientation was inverted and the tones modified, some other elements added by art collage. * Work made for our Week Theme in Art Week Gallery Group - September 27 to October 3 : *Art Week Gallery Group - Week Theme - CREATIVE LANDSCAPES

[web1995]

Description

The free high-resolution photo of sky, nature, rock, natural landscape, formation, ice, wave, water, sea, geology, landscape, tree, cliff, coast, winter, ocean, cloud, stack, geological phenomenon, horizon, sunset, coastal and oceanic landforms, mountain, freezing, world, evening

@Evgeny Pashkevich, taken with an unknown camera 08/21 2019 The picture taken with

The image is released free of copyrights under Creative Commons CC0.

You may download, modify, distribute, and use them royalty free for anything you like, even in commercial applications. Attribution is not required.

[superclamknighttoad]

A soldier's face before and after the war: 1941 vs. 1945. I received a ton of questions regarding his backstory so here goes: The man in the photo is Evgeny Stepanovich Kobytev. In 1941, he was a young man who had aspirations of becoming an artist as he loved painting portraits and landscapes. He had just graduated from the Kyiv State Institute in Ukraine and was looking to embark on his career as an artist when Germany invaded the Soviet Union. Kobytev had to set his dreams aside to fight in the war. He fought in several fierce battles in Ukraine, but was wounded in September of 1941 and became a prisoner of war. He was locked away in a prison camp called "Khorol pit" (Dulag #160) where approximately 90,000 civilians (including Jews) and POWs died. The camp was built upon what used to be an old brick factory and only had one barrack to provide shelter. Those that managed to get a spot in the barrack were crammed inside like sardines. Inside, the stench was unbearable but it was better than living outside, completely vulnerable to the elements. Kobytev spent two brutal years in the camp, before he finally managed to escape. He then quickly rejoined the army and served out the remainder of the war fighting in battles to liberate German-occupied cities in Ukraine. Source: https://artchive.ru/en/artists/21694~Eugene_Stepanovich_Kobytev (bij Ukraine) https://www.instagram.com/p/CbsN5eAIup4/?utm_medium=tumblr

[xtruss]

Why Do So Many Stupid People Hate Russians? To Better Understand Moscow’s Motives, We Need to Turn Away From Lazy Xenophobia and Promote Genuine Debate

— By Jonny Tickle, a British journalist living in Moscow. Outside of his work for RT, he travels around the country and produces video content for foreigners interested in Russia.

File Photo. © Sputnik / Evgeny Odinokov

When it comes to hatred of Russia, its strongest proponents often defend themselves by claiming they hate the government, not the people. Disagreements with policy are, of course, understandable, but the truth is that many are simply xenophobic.

Debates over a political decision or the competence of a particular figure in Russian politics are a genuine and desirable form of discourse. Criticisms of Russia’s actions in Ukraine, President Vladimir Putin’s broader policies, pension reform or the country’s poor Covid-19 vaccine rollout are totally valid.

The demonization of the Russian people, on the other hand, is not. However, in recent times, many of the country’s most vocal detractors have shown their true colors. They don’t hate the government. They hate Russians.

Front and center, of course, is the well-known Russophobe Toomas Hendrik Ilves, a former Estonian president-turned-Twitter troll.

The American-raised Ilves, who once ran a desk for US state-run RFE/RL, previously mocked the suicides of overstressed Covid-19 doctors and once proposed banning all Russians from entering the EU. He has now turned to dubbing the natives of the world’s largest country “apes.”

In response to a former Latvian MP, Veiko Spolitis, calling Russians “primates,” Ilves quibbled that this would be too advanced a classification because that would put them too genetically close to human beings. “Veiko, you keep writing ‘primates,’ but homo sapiens are also primates. I would go with ‘apes,’” the two-term president wrote. Spolitis agreed, claiming humans have “undergone total retrograde,” effectively suggesting Russians are Untermenschen.

While many people from the Baltic states have legitimate grievances with Moscow, after more than 100 years of bitter history, it is clear the Kremlin is not the target of their Russophobia.

Hatred of Russians is, of course, not limited to politicians from the former Soviet Republics. In 2017, former US Director of National Intelligence James Clapper branded Russians as “genetically driven” to be untrustworthy.

And it’s not just officials. In recent years, the Western press has repeatedly platformed xenophobes who appear to hate every fiber of every Muscovite. In 2019, the New York Times published a particularly distasteful op-ed declaring that “corruption is in Russia’s DNA” and “sharing’s not the Russian way.” Around the same time, a piece in America’s The Atlantic alleged that kleptocracy had been invented by Moscow.

All these statements in their various forms seem to fly under the radar for the Western commentariat, often being challenged only by a handful of insulted Russians, despite a media landscape that is otherwise hawk-eyed for any perceived slights against entire groups of people. For some reason, Russians appear to be the sole exception and the focus of an acceptable form of hatred.

Russophobia isn’t a new thing, either. Initially coined by Russian diplomat Fyodor Tyutchev in the 19th century to describe the stance of pro-Western Russian liberals, the term has been in use ever since, invoked more regularly in recent years.

Defenders of anti-Russian xenophobia often point to Moscow’s tendency to dismiss any foreign criticism of the country as “Russophobia,” suggesting it is not real, or that Moscow invented it as a “weapon” to be wielded. The EU’s European External Action Service has even dubbed it a “myth.”

Of course, not all anti-Russian speech is Russophobia, and disagreements with policy or politicians certainly aren’t, so the reflex to label it as such is simply improper. This was recently highlighted by the US State Department, which claimed that Moscow too often cries “Russophobia” and chooses to employ the term when it “wants to play the victim.”

In recent times, the most obvious example is Russia’s claim that xenophobia is the reason for the lack of World Health Organization certification for its Sputnik V Covid-19 vaccine. While Sputnik V has shown itself to be a very effective jab, the Kremlin itself has admitted that it did not provide “some information that should be submitted for certification,” explaining that there was a misunderstanding about standards and the correct paperwork had not been handed in.

However, hatred peddled by the likes of Ilves and Spolitis, which appears to paint the Russian people as “other,” certainly can be classed as anti-Russian xenophobia.

And the thing is, unfortunately, people seem to get away with it. Blatant hatred of Russians is rewarded with think-tank fellowships, talk-show gigs, and jobs at prestigious universities, with little or no consequence for speech that would be career-canceling if directed at any other nationality.

The likes of Ilves should be shut out from this field for good, and serious debate, without xenophobia or slurs, should be promoted instead. Genuine discussion about the Kremlin and the country's political leaders, and choices, ought to be encouraged, while those seeing to demonize an entire nationality should be shunned.

Russophobia may be the last acceptable form of xenophobia, and it should be constantly and continuously pointed out until those who spew it are finally ostracized.

[architectnews]

Silver Pine House, Moscow

Silver Pine House, Moscow Real Estate Interior, Russian Architecture, Images

Silver Pine House in Moscow

27 May 2021

Silver Pine

Architects: SAOTA

Location: Moscow, Russia

In the Russian Capital of Moscow, this contemporary home Silver Pine, set among the pine woods on an island in the Moskva River, introduces a revolutionary outward-looking approach to the city’s architectural tradition.

Designed by SAOTA, a South African architecture studio known for advancing the possibilities of 20th-century modernism, this home represents the tradition of the terrace, with its emphasis on an outdoor orientation, but in a context and climatic condition vastly different from the origin of the type.

Glazing systems have advanced to a point where they can effectively provide insulation in the Russian winter extremes, which solved the climate challenge. The real challenge was to mediate a dialogue between the two traditions to resolve the new approach harmoniously in the Russian context. The design addresses the urban architectural character of the capital city and the pocket of natural pine forest on the island, something of a rarity this close to the historic centre.

The pinewoods that the site overlooks are thus a significant motivation for the design’s open, outward-facing orientation. This approach allowed SAOTA to explore a new kind of architecture that invites as much natural light as possible during the dark winter months to compensate for the lack of sun and mitigating its absence. It’s a design that makes comfortable spaces to appreciate the external conditions beauty, harsh as they may be.

The architectural premise is one of contrasts: the street frontage’s heavy protective presence speaks to the capital’s monolithic architectural character, built to resist the extremes of heat and cold, which can vary 70 degrees between seasons.

Thus, the public character of the house provides a contemporary interpretation of the city’s architectural character. Surrounding the main entrance is a sculptural buckle. This backlit bronze-clad feature façade not only acts as a visual prompt towards the entrance opening on the otherwise relatively featureless façade but also communicates the promise of the luxury and light interiors in the private spaces beyond the threshold. It heightens the experience of crossing from the public realm to the private domain with its predominant treed landscape.

From the garden, the architecture presents a contrasting façade. Open fragmented glass walls invite views of the pines in, blurring the distinction between what’s inside or outside. The outdoor terraces and the faceted, angular façade create courtyards and external rooms that facilitate an interaction between landscape and architecture that is a departure from the local tradition. During the summer months, it is possible to live outside as you might in South Africa or California. In winter, the interiors, which are nevertheless warm and cosy, can celebrate the beauty of the snowy landscape and pines in an altogether new approach to the harsh conditions. Even in winter, the focus remains on the terrace rather than the hearth.

SAOTA used a silver-grey metal cladding on the exterior that complements and enhances the green of the plants and trees of the surrounding forest, providing an immersive landscape experience. The facade takes on the quality of natural material itself, highlighting a bespoke crafted quality in its detailing that speaks to the unique tailor-made approach to the house’s design and furnishing, especially in the interior design.

The heavy, protective quality of the façade, particularly that of the street, gives way to a warm, lively interior in the way the outer shell of a geode might reveal a warm agate or shimmering crystal interior. It imparts an exquisite, jewel-like quality to the interiors, which have a somewhat whimsical, playful quality in contrast to the exterior.

Inside, natural materials predominate, from exotic marbles, some backlit, to metal and timber surfaces that bring softness and warmth. ARRCC maintains a dialogue with the architecture in their interior design details. The television’s metallic frame resonates with the ledge’s faceted jewel-like form below it and the external brass buckle at the building entrance.

A swirling sculptural staircase contrasts playfully with the angular architectural elements where they converge, resolving them in an organic flourish and signalling a subtle change of character between the more public sociable living space on the ground level and the bedrooms upstairs.

Softer, warmer materials predominate upstairs, where the more open, flowing, and interconnected spatial approach gives way to private spaces with a more relaxed, casual atmosphere.

This project between SAOTA, ARRCC and Max Kasymov is the first completed SAOTA project in Russia. ARRCC, an interior design studio, proposed the concept idea for the interiors, and Max Kasymov, Moscow interior design studio, developed the project further and oversaw its realisation. Supervising and coordinating the contractors and suppliers on the building were carried out by the Moscow studio as well as selecting materials, furniture and lighting.

By designing and manufacturing bespoke furniture in their own workshop, Max Kasymov studio was able to realise all the ideas and solutions proposed by SAOTA and ARRCC.

OKHA also provided some of the villa’s furniture. The Nicci Swivel armchair, the Mesh side table, and the To Be One Lamp can be found in the living area. They are also responsible for the custom-made brass frame around the television. Elsewhere one finds OKHA’s Tofu dining chairs, Frame barstools and Solar mirror.

The villa’s overall experience suggests that SAOTA has mediated a new relationship between Russian domestic architecture and its landscape and climate. The modern villa’s life-enhancing potential, realised in more temperate climates, made possible in this more extreme setting.

Silver Pine House in Moscow, Russia – Building Information

Location: Moscow, Russia Lead Designers: SAOTA SAOTA Project Team: Greg Truen, Roxanne Kaye & Philippe Raffner Interior Architecture: ARRCC Interior Designer: Max Kasymov & ARRCC Project Manager: Troy Advisory LLP. Electrical Engineer: Alexander Boenich Quantity Surveyor: Alexander Stroikov Contractor: Alexander Stroikov Landscaping: Klukva Landscaping Lighting Design: Kseniya Rudkovskaya Bespoke furniture: Max Kasymov & OKHA Interior Styling: Natasha Onufreichuk

Photographer: Sergey Ananiev

Copy by Graham Wood

Silver Pine House, Moscow information / images received 270521

Location: Moscow, Russia

Sberbank Activity Based Working in Moscow Design: Evolution Design photography : Evgeny Luchin and Leonid Somov Sberbank Activity Based Working in Moscow

Location: Moscow, Russia

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Barkli Park Homes, Sovetskoi Armii str 6 Architects: Atrium photograph : Uriy Palmin, Anton Nadtochiy, Ilya Egorkin, Ilya Ivanov, Pavel Iovik Barkli Park Homes in Moscow

Bolshevik Apartment Architects: Cartelle Design Team photograph : Denis Krasikov Bolshevik Apartment

Comments / photos for the Silver Pine House, Moscow Architecture page welcome

Website: Russia

The post Silver Pine House, Moscow appeared first on e-architect.

[scienceblogtumbler]

Artificial intelligence is energy-hungry. New hardware could curb its appetite.

To just solve a puzzle or play a game, artificial intelligence can require software running on thousands of computers. That could be the energy that three nuclear plants produce in one hour.

A team of engineers has created hardware that can learn skills using a type of AI that currently runs on software platforms. Sharing intelligence features between hardware and software would offset the energy needed for using AI in more advanced applications such as self-driving cars or discovering drugs.

“Software is taking on most of the challenges in AI. If you could incorporate intelligence into the circuit components in addition to what is happening in software, you could do things that simply cannot be done today,” said Shriram Ramanathan, a professor of materials engineering at Purdue University.

AI hardware development is still in early research stages. Researchers have demonstrated AI in pieces of potential hardware, but haven’t yet addressed AI’s large energy demand.

As AI penetrates more of daily life, a heavy reliance on software with massive energy needs is not sustainable, Ramanathan said. If hardware and software could share intelligence features, an area of silicon might be able to achieve more with a given input of energy.

Ramanathan’s team is the first to demonstrate artificial “tree-like” memory in a piece of potential hardware at room temperature. Researchers in the past have only been able to observe this kind of memory in hardware at temperatures that are too low for electronic devices.

The results of this study are published in the journal Nature Communications.

The hardware that Ramanathan’s team developed is made of a so-called quantum material. These materials are known for having properties that cannot be explained by classical physics.

A simulation of a quantum material’s properties reveals its ability to learn numbers, a test of artificial intelligence. (Purdue University image/Shakti Wadekar) Download image

Ramanathan’s lab has been working to better understand these materials and how they might be used to solve problems in electronics.

Software uses tree-like memory to organize information into various “branches,” making that information easier to retrieve when learning new skills or tasks.

The strategy is inspired by how the human brain categorizes information and makes decisions.

“Humans memorize things in a tree structure of categories. We memorize ‘apple’ under the category of ‘fruit’ and ‘elephant’ under the category of ‘animal,’ for example,” said Hai-Tian Zhang, a Lillian Gilbreth postdoctoral fellow in Purdue’s College of Engineering. “Mimicking these features in hardware is potentially interesting for brain-inspired computing.”

The team introduced a proton to a quantum material called neodymium nickel oxide. They discovered that applying an electric pulse to the material moves around the proton. Each new position of the proton creates a different resistance state, which creates an information storage site called a memory state. Multiple electric pulses create a branch made up of memory states.

“We can build up many thousands of memory states in the material by taking advantage of quantum mechanical effects. The material stays the same. We are simply shuffling around protons,” Ramanathan said.

Through simulations of the properties discovered in this material, the team showed that the material is capable of learning the numbers 0 through 9. The ability to learn numbers is a baseline test of artificial intelligence.

The demonstration of these trees at room temperature in a material is a step toward showing that hardware could offload tasks from software.

“This discovery opens up new frontiers for AI that have been largely ignored because implementing this kind of intelligence into electronic hardware didn’t exist,” Ramanathan said.

The material might also help create a way for humans to more naturally communicate with AI.

“Protons also are natural information transporters in human beings. A device enabled by proton transport may be a key component for eventually achieving direct communication with organisms, such as through a brain implant,” Zhang said.

Researchers at the University of California, San Diego, studied the quantum material test strips. The team used synchrotron facilities at the U.S. Department of Energy’s Brookhaven and Argonne National Laboratories to demonstrate that an electric pulse can move protons within neodymium nickel oxide. Other collaborating institutions are the University of Illinois, the University of Louisville and the University of Iowa.

The work was supported by the Lillian Gilbreth Fellowship from Purdue University’s College of Engineering, the Air Force Office of Scientific Research, and the U.S. Department of Energy.

About Purdue University

Purdue University is a top public research institution developing practical solutions to today’s toughest challenges. Ranked the No. 6 Most Innovative University in the United States by U.S. News & World Report, Purdue delivers world-changing research and out-of-this-world discovery. Committed to hands-on and online, real-world learning, Purdue offers a transformative education to all. Committed to affordability and accessibility, Purdue has frozen tuition and most fees at 2012-13 levels, enabling more students than ever to graduate debt-free. See how Purdue never stops in the persistent pursuit of the next giant leap at purdue.edu.

Writer: Kayla Wiles, wiles5@purdue.edu. Working remotely, but will provide immediate response.

Sources: Shriram Ramanathan, shriram@purdue.edu

Hai-Tian Zhang, HTZhang@purdue.edu

Note to Journalists: For a copy of the paper, please contact Kayla Wiles, Purdue News Service, at wiles5@purdue.edu. A photo of the artificial intelligence hardware and a GIF of how the hardware uses artificial intelligence to learn numbers are available in a Google Drive folder at https://purdue.university/2WnjNg2.

ABSTRACT

Perovskite Neural Trees

Hai-Tian Zhang1,2,*, Tae Joon Park1,*, Ivan A. Zaluzhnyy3,*, Qi Wang1, Shakti Nagnath Wadekar4, Sukriti Manna5,6, Robert Andrawis4, Peter O. Sprau3, Yifei Sun1, Zhen Zhang1, Chengzi Huang1, Hua Zhou7, Zhan Zhang7, Badri Narayanan8, Gopalakrishnan Srinivasan4, Nelson Hua3, Evgeny Nazaretski9, Xiaojing Huang9, Hanfei Yan9, Mingyuan Ge9, Yong S. Chu9, Mathew J. Cherukara5, Martin V. Holt5, Muthu Krishnamurthy10, Oleg Shpyrko3, Subramanian K.R.S. Sankaranarayanan5,6, Alex Frano3, Kaushik Roy4, and Shriram Ramanathan1,

 1School of Materials Engineering, Purdue University, West Lafayette, IN 47907, USA

2Lillian Gilbreth Fellowship Program, College of Engineering, Purdue University, West Lafayette, IN 47907, USA

3Department of Physics, University of California, San Diego, La Jolla, CA, 92093, USA

4School of Electrical and Computer Engineering, Purdue University, West Lafayette, IN 47907, USA

5Center for nanoscale materials, Argonne National Laboratory, Argonne, IL 60439, USA

6Department of Mechanical and Industrial Engineering, University of Illinois, Chicago, IL 60607, USA

7X-ray Science Division, Advanced Photon Source, Argonne National Laboratory, Lemont, IL 60439, USA

8Department of Mechanical Engineering, University of Louisville, Louisville, KY 40292, USA

9National Synchrotron Light Source II, Brookhaven National Laboratory, Upton, NY 11973, USA

10Department of Mathematics, University of Iowa, Iowa City, IA 52242, USA

*These authors contributed equally to this work

DOI: 10.1038/s41467-020-16105-y

Trees are used by animals, humans and machines to classify information and make decisions. Natural tree structures displayed by synapses of the brain involves potentiation and depression capable of branching and is essential for survival and learning. Demonstration of such features in synthetic matter is challenging due to the need to host a complex energy landscape capable of learning, memory and electrical interrogation. We report experimental realization of tree-like conductance states at room temperature in strongly correlated perovskite nickelates by modulating proton distribution under high speed electric pulses. This demonstration represents physical realization of ultrametric trees, a concept from number theory applied to the study of spin glasses in physics that inspired early neural network theory dating almost forty years ago. We apply the tree-like memory features in spiking neural networks to demonstrate high fidelity object recognition, and in future can open new directions for neuromorphic computing and artificial intelligence.

source https://scienceblog.com/516189/artificial-intelligence-is-energy-hungry-new-hardware-could-curb-its-appetite/

[percentmagazine]

What does culture mean? And some other current cultural happenings, as per our 2020, evidently.

Creative people see the world in various ways, on top of it in this modern day and age things change super fast. That makes ideas and opinions drift all over the place, conflicts drive opposite directions and as it most commonly happens, they all part ways very quickly and evaporate, while replaced by next new big thing ideas. Obviously we are all chasing a positive and optimistic change, but change is a team sport, and it is a good old culture that holds us together.

So what is it? How does culture evolve forward and happen to be?

Welcome to our Omni Culture Club (OCC).

The more I look around and analyse the more I believe in a younger generation. I remember myself all young and all liberal, art student in Paris, France. Now omg, I am a stiff conservative, such a disappointment, I need to loosen up, look around with eyes open wide. I understand that nostalgia is sweet and nice, but the time goes forward, and it is the young people and their ideas that matter and need to be taken into consideration, not my boring conservative dilemmas.

So starting now I genuinely urge myself only to pay attention to what the millennials think or even more younger people care about, what they gravitate towards.

Rebellious Youth

They don't watch TV anymore, TV is dead, nor they read the traditional print magazines, the print is dead (apart from rare editions collections for the few chosen ones). All they absorb now is youtube streaming, blogging and vlogging, social media and instagram. And Twitch, I mean Twitch Seriously? Just kidding Twitch is cool! Embracing it all and shaping the thinking of tomorrow.

Youth is always rebellious, they reject the old inefficient ways and adopt the new. The fight between fathers and sons, almost like a cultural shock when travelling an exotic country, different mindsets.

They care about coffee, and I mean coffee shops are everywhere. They also care about collecting emotions and experiences rather than things and material culture. Hipsters on scooters are all cute and positive, the taste makers of urban street culture seeking out the hype.

They are their own unconventional idols, building out cults out of niche underground cultures with big emphasis on sustainability trends. We see more and more grow local and vegan movements. Fantastic, health and longevity is all that matter in our individual lives.

Futurism

And then the future, how do we predict? It is not an easy task, particularly the future of art and cultural diffusion. However, Hans Ulrich Obrist, the co-director of Serpentine Galleries, decided to try. He asked many artists (as well as scientists, poets, architects, mathematicians, photographers, philosophers and other leaders in their field) to complete the sentence “The future will be….” I am sure the answers are as futurist as futurism can be. In this matters I would always advise to listen to the futurist architect philosopher Jacque Fresco. The education and all awareness is what matters.

New Age Education

Best Schools worldwide, experienced professors, multilingual classmates with entrepreneurial endeavours, the world is the youth’s oyster. These generation next is exposed to facts and information and geography of the world as no generation before urging everyone to be an artist and free spirit, thinking out of the box. Stay hungry stay foolish. The wealth of knowing and experiencing.

Multilingual Society

We just communicate. Fluent knowledge of four languages is a new norm with the demand for more and more exotic language skills such as Mandarin Chinese. A melting pot of cultures, phrases and cross references.

Exotic Worlds

The travel is omni present. The culture of Japan is only one day on a plane away from indigenous latin american tribes. Travelling more than 55 plus countries in before the young professionals even start acknowledging the thought about a family life, all sounds like an obvious life choice to experience the most before settling down.

Gastronomy

To experience all this futuristic world conquering endeavours we tend to focus on and prioritise our health and well-being more and more, the buzzwords such as longevity are surfacing everywhere. Life-Expansion is our individual primary concern, next to happiness. We pay more and more attention to our diet with gastronomy experiments. The food we eat is a subject to so many beautiful imagery as well as health benefits. The water is a new gold imported from every corner of the world and quality wine collections are the new world currencies that get traded over the table dinners.

Time Travel

We are exposed to all periods in time, and all is discussed openly. The best moments of decades and centuries are praised, the worst a ridiculed. There is a lot of inspiration to be taken out of history lessons and books that expose our wholesome pop culture and heritage.

Cultural Evolution

As ruled by the survival of the fittest, and all fields and industries are considered to be creative, all attempts are serious and ruthless. Every single one of us starts their journey somewhere, our inspirations and motivations are based on cultural heritage that eventually find its way in the first job, in ups and downs, and eventually in determination to be the best in our craft and profession. Then our first breaks of success determine who we are and capable of.

Museums of pop culture

The chapels of culture are more popular than ever: dance theatres, opera houses, cinemas, and of course the museums are the new shrines for societies. The Bilbao effect that completely redevelops the landscape of the city and economy. One of my all time favourite cities in the world is tiny Venice that i visit quite frequently, every two years to be exact for the art biennale. The amount of people these cultural bridges touch down deep their overall view on the world.

Technologies

The possibilities of new technologies together with human obsession to constantly shape the environment according to the human liking. The internet changed us, I remember being so fascinated by the possibilities of all free napster downloads in my early teens, the community of people brought together and exchange ideas, we are finally not alone. We build links and systems to facilitate and improve the quality of our every day existence. The horizons are broaden. Coding is a new norm and important language to explore.

The productivity opportunities with voice recognition software makes all typing and writing, as well as brainstorming fast and easy. The photo editors such as adobe photoshop and illustrator are indispensable tools. Self-publishing and self-promotion are at the tips of our fingers, and we can do whatever we want to do as long as we keep our focus on the essentials of our primary goals, the technologies help us achieve them faster.

Creativity

A trait of character that everyone possesses, the main thing is to start using it in everyday life. The impact it leaves on the world with all its out of the box solutions - the creative economy is the new trend for the 21st century and we shall embrace it, the whole brave new world of untapped territories

Self-expression

Generation next expresses themselves in various ways and they are not shy about it, whether it is music or fashion, how they dress up, what they project to the world, their hairdos and their makeup. In 2000s we saw a rise of the gender identity topics. Our next generations are more philosophical in our views and our religions are our inner worlds. We vote with our dollar.

Diversification

We embrace and discuss the importances of diversity, we range from black to grey to white will all flashy and neutral colours of the spectrum. There is an abundance of diversity in choices and ideas  and if we don't find what we are looking for, we are not shy on trying and experimenting, eventually we create it according to our desires. Diversification implies that ultra cheap mass production at scale is no longer of valid interest for thinking public, Individual designer and artisanal products are in favour and on the rise of popularity.

Music and Sounds

The culture of the Rhythm, the culture of gathering together and embracing the community around the fireplace, listening to Shamanistic hypnotising sounds, an evolutionary obsession with seven notes.

The evolution of music from refined classical through jazz and rock, through the 90s MTV, the rave and rap to modern electronic music and techno. The night life and club scene with amazing exotic locations, the infinite quantity of music labels and DJs as the kings, yet another example of religious community experiences.

Conclusion

Though culture is a universal tool of what makes us human, it is still incredibly diverse and mesmerising to explore. It consists of variety of elements and plays an indispensable role in our everyday interaction. Culture manifests in individual as well as in society and it makes a great subject to dig deeper into the depths of questions Why and How. This is something to cultivate within and express outside for the world to experience and be open minded to the new.

Culture combines within the elements of the past and the aspirations of the future, that perhaps one day we will build a community, so wise civilised and tasteful, that the progress will bring only joy and beauty, and utopia is not that far away.

Join our Omni Culture Club (OCC) for more beautiful thoughts and artistic revelations

Find Omni on Instagram

Evgeny is an art director and a global citizen based in Hong Kong and working between Asia and Europe.

Find Evgeny on Instagram

[nordiclndscp-blog]

Linköping, Sweden by Evgeny Ivanov https://www.flickr.com/photos/echoevg/33411376001/ http://www.arrivalguides.com/en/Travelguides/Europe/Sweden/Linkoping #nordiclandscape #nordic #landscape #sweden #sverige #paisajesnordicos #nordico #paisajes #suecia

[thinkaboutnetwork-blog]

20 Unforgettable Photographs That Have Hugely Impressed Us Lately

20 Unforgettable Photographs That Have Hugely Impressed Us Lately

Sometimes, you see a photograph which summons a whole storm of emotions inside. Often this is down to a perfectly chosen angle or a shot taken at just the right moment. Sometimes, it’s a shot of a stunning landscape or an awe-inspiring natural phenomenon. But in other cases, it can be something as simple as the chronicling of our everyday lives from all around the world.

Here, we’ve gathered…

[travelbinge]

Innsbruck at night by Evgeny Landscape Photos

Innsbruck, Tyrol, Austria

[micaramel]

Artists: Evgeny Antufiev, Lucy Bull, Horia Damian, Louise Giovanelli, Rodrigo Hernández, Jill Mulleady, Lin May Saeed

Venue: Air de Paris

Exhibition Title: El oro de los tigres

Curated By: Ana Mendoza Aldana

Date: January 4 – March 14, 2020

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Air de Paris, Paris. Photos by Marc Domage.

Press Release:

The yellow sun pursues its slow course behind the horizon.

The last amber leaves have carpeted the ground, retaining in their belly the echo of a warmish autumn, ahead of the imminent ashen snow.

Other hints of ochre are stirring, in the form of flowers, trees and yellow shrubs with yellow thorns. You could count the thousands of seeds and acid spores till you lose count, till you lose your mind.

When a fire burns out, still further away, the flames revive. The rumbling of the earth lights up the dusk. The sand in the hourglass has formed its pyramid.

In their cage Borges’s golden tigers retrace yet again the path ∞ times taken, obstinately fulfilling their repetitive destiny with frenzied determination.

Maybe their stripes are hiding the divine writing (1) .

Deep in the heart of the threads stretching from grandmother to father, from father to son, the cells multiply their degeneration. The emerald rims of the nebula are already impinging on the retina and the globe is covered with thick fog. Blindness sets in as the pages of the endless library are overlaid with a fine blue dust, and yet the yellow remains, in, scattered constellations.

* In the dark times Will there also be singing? Yes, there will also be singing. About the dark times (2). *

Jorge Luis Borges is famous for the density and brevity of his narratives, peopled with mirrors, labyrinths and his vast love of philology. For him time is a spatio-temporal continuum (3). Between June and August 1977 Borges (1899–1986) gave a series of talks at the Teatro Coliseo in Buenos Aires. La Ceguera (Blindness) was the seventh and last of these talks (4). La Ceguera begins on a personal note: Borges learned very young that he would go blind. In the talk, as in El oro de los tigres (1972)5, the poem written some years earlier, he pays tribute to this blindness, describing it not as a slow descent into darkness (as if someone were little by little putting out the lights), but rather as the gradual loss of colour.

Le Rouge et le Noir, as he says in his talk, are the colours he misses. He is never immersed in total darkness: the world seems to him swathed in a blue and a green that have lost their vividness, and a dirty grey has taken the place of white… Yellow alone has conceded nothing to blindness. Its brightness and sunny radiance remain intact. Thus it becomes a faithful companion, ready to resurface in the writer’s happiest memories: contemplation of wild beasts in the zoo, with the gold of their downy skin teasing his child’s eye.

Long after these talks, over a year ago, yellow suddenly started popping up everywhere for me too: in the demonstrations that shook France in November 2018, and since then in the equivalents that seemed to be rumbling in other parts of the world, like the aftershocks of a single earthquake. In Algeria, Bolivia, Hong Kong, Lebanon, Chile; in feminist writings of more than a century ago (1) ; in the fires consuming chunks of Amazonia, California, Australia; and at the very moment of this writing, in the dead leaves blanketing the footpaths of Paris.

A recurring yellow become embodied, physical hypertext: a revealer of the waves buffeting our reality.

The artists invited to take part in this exhibition have in common a relationship with time going beyond the immediate and the instantaneous. Their work has its roots in the literature and the fables of ancient civilisations, and the archetypal forms they have given rise to. An overlaying of a past and stories converging with our present.

Evgeny Antufiev (1986, Kyzyl, Russia) has an innate practice of art. The Russian artist is particularly interested in eternity and in etiological tales (his work is nourished for example by the legends of the nomads of the Touva region in Siberia where he was born) that he reinterprets in his own manner. Often embellished by semi-precious stones, bones or animal’s teeth that he collects, Antufiev’s sculptures retain the marks of their handmade craft.

Lucy Bull’s (1990, New York) virtuoso paintings call upon the history of painting and abstract art. The works she produces are hallucinated visions that seem to float between dreams and the digital images produced by artificial intelligence. In her paintings, although mainly abstract, we could almost see flowers blossoming, fish swimming, insects swarming, or tigers lurking ready to ambush us — we almost see them move, we almost hear their wings or fins agitating, we almost anticipate the tearing of their claws.

Romanian artist Horia Damian (1922, Bucharest – †2012, Paris) lived and worked most of his life in Paris. His work is mostly interested in simple forms and colors that reflected his interest in cosmic landscapes, stellar architectures and invisible geometries, and the connections between the macro and the microcosmos. The Hill or La Colline is one of his main projects as bear witness the quantity of preparatory sketches drawn. The Hill both a sculpture and a place, a yellow work of obvious spiritual elevation, was installed in front of the Guggenheim in New York in 1976.

Louise Giovanelli’s (1993, London) paintings draw inspiration as much from the cinematographic culture than from Renaissance paintings. From canvas to canvas, the same image might appear with some small variations: sometimes the surface of the painting has been scratched, the color altered, almost as if each painting was a different print of one single photograph or if each canvas was a projection of a movie whose film had been damaged by the passing of time. On a single painting can then coexist the snapshot of Elizabeth Taylor’s tracheotomy scar and a devotional image of a martyr’s beheading.

Rodrigo Hernández’s (1983, Mexico DF) sculptures, volumes and paintings function as a compendium of meaning. A same idea, a word (its definition, the way it is written) or an image, is explored simultaneously from different angles. The simplest forms can thus embody a plethora of of mental associations. Hernández’s pieces can be apprehended as a work-word-image-porte-manteau…

Times are dark in Jill Mulleady’s paintings (1980, Montevideo), where different time periods coexist (their architectures, their characters fashionably dressed, their food, their excesses, their domestic or wild fauna) always in a disturbing manner. In Fight-Or-Flight a giant rat rides a horse over a random city: maybe the Four Horsemen of the Apocalypse have a different face than the one we were expecting.

Lin May Saeed (1973, Würzburg), addresses the human-animal relationship and the animal liberation movement. Her works often crafted in Styrofoam — a material that because of its very slow decay will persist longer than wood, iron, marble, and most noble materials generally used in classical sculpture — borrow their aesthetics and vocabulary from ancient civilizations and thousands of years old mythologies, imagining a future where animals and humans now coexist in peace.

  1  In The Writing of the God, a god of a pre-Columbian civilization has hidden a sacred phrase capable of staving off all the wrongs of the end of the world in the spots of a jaguar. Jorge Luis Borges, La escritura del dios, in El Aleph, ed. Emecé, 1949

2  Bertolt Brecht, Motto, in Svendborgdigte, section II, 1939

3  Time is a river which sweeps me along, but I am the river; it is a tiger which destroys me, but I am the tiger; it is a fire which consumes me, but I am the fire. The world, unfortunately, is real; I, unfortunately, am Borges.” Jorge Luis Borges, Obras completas, Emecé, Buenos Aires, 1996. 816 p

4  The conference can be watched in its entirety on Youtube : https://www.youtube.com/watch?v=LLjd2eo62II

5  El oro de los tigres, ed. Emecé, 1972, 168 p

Link: Group show at Air de Paris

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from Contemporary Art Daily http://bit.ly/2vXBgCM

[thepoeplesgame]

This project considers landscapes that have been significantly transformed by human activities. The new technologies used to produce these images allow us to imagine how the landscape of the future might look. In the first part, I compared images from Google Earth with my “herbarium” photos. Google’s photos of mines or deforestation were produced by a robot. This automatic eye treats the entire surface of the Earth equally. I created the herbarium photos carefully and individually, using infrared photography. But both images, of the Earth and the plants, become very personal and emotional when viewed through human eyes. The second series pairs Google images with photos found on Instagram. On the one side, Google’s images are the undiscerning scanner of human life, showing it in all its aspects and manifestations. On the other, are the daily snaps of human existence. The third series pairs Google images of the earth with NASA images of the surface of Mars. One can imagine an extinct civilization on Mars, its waste dumps and mining excavations covered by eons of planetary evolutionary dust, decay, slow absorption and change. The series invites its viewers to examine global interconnectedness and reflect on our strong, yet ultimately fragile home. —Evgeny Molodtsov

[wigmund]

From Smithsonian Photo of the Day; May 21, 2018:

Just Fly

One of a series of abstract minimalist landscapes about a form in nature and its communication with people. Taken in Russia

Photographer: Evgeny Andreev; Moscow , Russia

[sashaburenkov]

“Shiryaevo Biennale. Central Russian Zen” 31/08/17–08/10/17

Media preview with exhibition curators: 31/08, 5 p. m. Exhibition opening: 31/08, 6.30 p. m.

On August 31, 2017, “Shiryaevo Biennale. Central Russian Zen” exhibition will be opened in the National Centre for Contemporary Arts, part of ROSIZO. The project of Samara branch will be the third one on the regional project site of the NCCA in Moscow. The exhibition is a metaphorical reflection on the experience of the oldest active international biennale of contemporary art in Russia, which has been held since 1999 in the ancient Russian village of Shiryaevo on the Volga bank, one of the most beautiful places of the Samara bend surrounded by the Zhiguli Nature Reserve on all sides. The Shiryaevo Biennale was intended and carried out as an international experimental project by famous Russian curators Nelya Korzhova and Roman Korzhov, the founders of the Samara Regional Public Charity Foundation “The Centre for Contemporary Art” with active contribution from Hanns-Michael Rupprechter and the Stuttgart Union of Artists from Germany as well as a group of artists from Kazakhstan headed by Rustam Khalfin.

The exposition will be based on the archive of the biennale; photos, videos, objects and installations from the personal collection of Nelya Korzhova and Roman Korzhov. However, at the same time, the exhibition goes beyond the traditional retrospective and creates an idea of the biennale’s authentic image for the widest audience. The conceptual solution of the exhibition is a large-scale video chronicle of the project, as well as the exhibition hall covered in river sand and stands from quarry stone mined in Shiryaevo for the last 200 years — it is a total installation representing a kind of mental map of Shiryaevo. The exposition gives an opportunity to feel the unique atmosphere of the biennale, reflects the ideas of contemplative and performative nature of the event and becomes a starting point for a conversation about the history of its creation.

The strategy of the Shiryaevo Biennale is aimed at finding new forms of contemporary art communication in social environment. The form of the main biennale project, “creative laboratory” and “nomadic show”, is Nelya Korzhova’s original idea uniting the Eastern concept of nomadism, referring to free movement, wandering, and the Western concept of a “show”, a public presentation. The space for creation display during the “nomadic show” is the entire village of Shiryaevo with the surrounding landscape: the Volga, mountains, mines, lake shore, village houses and streets. As an artistic phenomenon, the “nomadic show” stands closest to mystery play evolving in time and space and changing the experience of those who participate in it. It makes visitors follow a unique route and experience the meditative qualities of the Central Volga landscapes, a kind of “Central Russian Zen” reflecting the biennale’s setting for contemplation, intangibility, emptiness, and absence of any tracks left behind.

The Shiryaevo Biennale offers not only an alternative to the traditional functioning of art within the framework of the “white cube” concept, but also a strategy of independence from the vertical of power in art. Created by “artists for artists” the biennale turned out to be resistant to shocks and succeeded in surviving as a special experience of international co-creation. The condition of artists’ living in the houses of local residents is seen as a way of creating a perfect environment for artistic expression. The main idea of this experiment is to give an artist a chance to start working from scratch without feeling the pressure from his or her established image and the art market technologies.

Today the Shiryaevo Biennale is the best internationally known contemporary art event in the Samara Region. Throughout the years the biennale has hosted artists and curators of special programs from Russia, Kazakhstan, Germany, France, Great Britain, Sweden, Austria, Italy, Lithuania, Estonia, Armenia, Denmark, the USA, the Netherlands, Singapore and Norway.

The exhibition will be accompanied by an educational and performative program both in the building of the Moscow branch of the NCCA and in the city space.


Artists Hanns-Michael Rupprechter, Ulli Berg, Andreas Bar, Juergen Kierspel, Regis Pinault, Marlene Perronet, Rustam Khalfin, Sergey Maslov, Georgy Tryakin-Bukharov, Zauresh Madanova, Galim Madanov, Nelya Korzhova, Roman Korzhov, Oksana Stogova, Francisco Infante, Nonna Goryunova, Angela Arsinkey, Vanessa Henn, Viktor Vorobyov, Vito Pace, German Vinogradov, Tutti Frutti group, Evgeny Ryabushko, Elena Vorobyova, Erbolsyn Meldibekov, Jonas Valatkevicius, Martin Rogers, Nata Morozova, Vladimir Logutov, Andrey Syaylev, Kira Subbotin, Natalya Syzgantseva, Nikita Volchenkov, Vito Pace, Ilya Polyakov, Natalya Elmanova, Sergey Krivchikov, Alexey Zaytsev, Stephan Koeperl, Sylvia Winkler, Ellen Rein, Natalya Fomicheva, Alexandr Ovchinnikov, Elena Morozova, Peter Haury, Elke Hammelstein, Iris Hellriegel, Anatoly Osmolovsky, Vazgen Rakhlavuri-Tadevosyan, Gerd Viedmajer, Viktoria Lomasko, Diana Machulina, Diego Sarramon, Natalya Samkova, Anna Orekhova, Alexandr Korneyev, Alexey Kallima, Arpine Tokmajan, Sergey Balandin, Artem Ivashkin, Ignat Daniltsev, Vitaly Stadnikov, Oleg Lyuboslavsky, Svetlana Subbotina, Joe Lee, Yulia Zhdanova, Ruediger Schestag, Yuri Albert, Anna Brochet, Bertrand Vallet, Gero Goetze, Marie-Helene Dubreuil, Yulia Zhdanova, Romain Gibert, Mari Kartau, Alexey Kostroma, Gert Mezger, Sabine Pfisterer, Emmanuel Rodoreda, Krishna Subramania, Mare Tralla, Anfim Khanykov, Matthias Holland-Moritz, Alexander Schikowski, Jochen Gerbert Schloder, Zvetofor group, “Escape” program, Georg Zaiss, Anna Korzhova, Andrey Kuzkin, Emilie Pischedda and Valentin Souquet, Haim Sokol, Oksana Stogova, Manfred Unterwerger, Wolfgang Spaeth, Greta Weibull, Klas Eriksson, Ingela Ihrman, Kalle Brolin and Kristina Muentzing, Elena Dendiberya and Anatoly Haiduk, Janno Bergman, Andrus Joonas, Martina Geiger-Gerlach, Kathrin Sohn, Barbara Karsch-Chaïeb, Rosa Ruecker, Ivan Lungin, Pia Maria Martin, Susanna Messerschmidt, Astrid Nylander, Calle Holck, Johanna Karlin, Swetlana Heger, Katrin Hornek, Martial Verdier, Gabriel Feracci, Lewden Martin, Sybille Neeve, Ciro Vitale, Alexandr Zaytsev, Mikhail Lezin, Ivanhoe, Vladimir Arkhipov, Serious Collision Investigation Unit Coalition group (Felix Gmelin, Alan Armstrong, Joakim Forsgren, Mikael Goralski, Amanda Hårsmar, Ronak Moshtaghi, Kjersti Austdal), Paulo Paes, Radesign group (Anton Rakov, Yulia Ratieva), Darya Emelyanova, Dmitry Kadyntsev, GKP group (Vitaly Cherepanov, Anna Mineeva), Dominika Skutnik, Marek Frankowski, Antibody Corporation (Adam Rose, April Pollard), Eryka Dellenbach, Merzedes Sturm-Lie, André Talborn, Alexey Trubetskov, Olga Kiselyova, Alisa Nikolaeva, Nicolas Courgeon, S’ilTePlait group (Bernard Touzet, Théophile Péju, Pierre-Loup Pivoin, Raphaël Saillard), Club Fortuna group (Kurdwin Ayub, Xenia Lesnievski, Julia Rublov, Sarah Sternat, Maarten Heijkamp, Nana Mandl, Thomas C. Chung), U/n Multitude group (Nikita Spiridonov, Elena Zubtsova, Ilya Fomin), YUNRUBIN group (Joanne Pang Rui Yun, Jonas Rubin), Maria Kryuchkova, Ilya Samorukov. Films by Hanns-Michael Rupprechter “Multivitamin Cocktail”, 1999, and YUNRUBIN group (Joanne Pang Rui Yun and Jonas Rubin), Singapore/Denmark, “Dollar Hauler on the Volga”

Venue: National Centre for Contemporary Arts (13/2 Zoologicheskaya Street) Curators: Nelya Korzhova, Roman Korzhov Co-curator: Alexandr Burenkov Architects: “NOVOE” Architectural Bureau

http://www.ncca.ru/articles.text?filial=9&id=349 http://www.ncca.ru/events.text?filial=2&id=4252 http://www.colta.ru/articles/art/16875 https://syg.ma/@knowitall/shiriaievskaia-biiennalie-sriednierusskii-dzien