#parallax exhibition

[searchsystem]

Irobe Yoshiaki / Nippon Design Center (NDC) / Ichihara Lakeside Museum / Carsten Nicolai: Parallax Exhibition / Catalogue / 2017

[crazycatsiren]

All other planetary bodies in the Solar System also appear to periodically switch direction as they cross Earth's sky. Though all stars and planets appear to move from east to west on a nightly basis in response to the rotation of Earth, the outer planets generally drift slowly eastward relative to the stars. Asteroids and Kuiper Belt objects (including Pluto) exhibit apparent retrogradation. This motion is normal for the planets, and so is considered direct motion. However, since Earth completes its orbit in a shorter period of time than the planets outside its orbit, it periodically overtakes them, like a faster car on a multi-lane highway. When this occurs, the planet being passed will first appear to stop its eastward drift, and then drift back toward the west. Then, as Earth swings past the planet in its orbit, it appears to resume its normal motion west to east. Inner planets Venus and Mercury appear to move in retrograde in a similar mechanism, but as they can never be in opposition to the Sun as seen from Earth, their retrograde cycles are tied to their inferior conjunctions with the Sun. They are unobservable in the Sun's glare and in their "new" phase, with mostly their dark sides toward Earth; they occur in the transition from evening star to morning star.

The more distant planets retrograde more frequently, as they do not move as much in their orbits while Earth completes an orbit itself. The retrogradation of a hypothetical extremely distant (and nearly non-moving) planet would take place during a half-year, with the planet's apparent yearly motion being reduced to a parallax ellipse.

Carrol, Bradley and Ostlie, Dale, An Introduction to Modern Astrophysics, Second Edition, Addison-Wesley, San Francisco, 2007.

[buffintruder]

5 & 6 for the fanfic asks?

Thank you for the ask!

5. Which WIP is first on your list to complete this year? Will you post a snippet?

Technically my Blade soul nemesis au probably? But that's already mostly finished, I just need to do the last round of edits + post it for chapters 4-13. I do have a side fic in that series that I'll hopefully post soon afterwards though, plus it's a Drive so it will be something you know (this doesn't have any Blade spoilers besides something super vague that I'm sure you've already picked up). Also this is the exact bit that was inspired by a Drive fic called Parallax

After a bit, the Amane and Haruka went off to the food table to drink champagne and eat the hors d'oeuvres, and Hajime found himself making another circuit, taking the opportunity to look closer some of the other works by himself.  "I see you’re not a fan of these photos?" came a voice from just to his side, and Hajime realized that he had been frowning at the exhibit in front of him. It wasn't that he didn't like them, though there was something about them that tugged discomfort from some deep core part of him. They were just puzzling. The pictures from this artist weren’t too dissimilar in subject from his, mostly rural and urban landscapes rather than people or individual objects, but none of them were taken how he would have taken them. Which wasn't necessarily a problem, since Hajime had his own style and this artist had theirs, but there was still something off about them, almost as if— "Something’s missing," Hajime said.  A sharp inhale brought his gaze from the pictures to the speaker, a young man with brown hair, looking about as comfortable in his suit as Hajime felt in his. His eyes were open wide, but they quickly flattened out into a smile. "I think you're the first person to get it so quickly." Now that Hajime's theory had been confirmed by presumably the photographer himself, he could see how it was done, a subtle shift in focus and positioning as if the main subject of each picture was something invisible, an empty part of the scenery. The effect should have come across as sloppy or amateurish, but somehow it didn't. "Impressive," Hajime said. "Thanks," said the other photographer—Shijima Gou, according to the plaque. "It's—you're close. It's not something that's missing, it's someone." "I see," Hajime said, because he could, now that it was pointed out. All those roads and fields and empty rooms, they all had space for someone to stand there at the focus of it. Hajime could guess why. He had also worked his grief into his photography—made a whole book of it in fact, on the off chance that the person he could never see again would get the message he would never be able to say to him himself.

(6 has already been answered here)

[lifechanyuan]

For a long time, people were puzzled by this phenomenon, but it was later understood that the human body exhibits extraordinary wisdom and technique in this regard. The process involves simultaneously sending the flat images captured by both eyes to a central nervous system for comparative analysis. This analysis uses the slight difference in viewing angles between the two eyes, due to their different positions, to determine the distance of objects, creating a sense of depth and forming a three-dimensional image. This is why humans need two eyes to have complete vision. This understanding led to the creation of 3D movies. However, this description only covers the external process of vision formation, and much remains unknown about the internal workings of the visual center. We must acknowledge that the complexities of the human body's structure and functions are far beyond human wisdom.

Using the parallax between the two eyes to judge distance is essentially a precise and automatic form of triangulation. To perform accurate measurement, two prerequisites are necessary: (1) Both eyes must simultaneously focus on the same target; otherwise, double vision will occur, where one object is seen as two. To prevent this, the eyes are equipped with a highly developed neuromuscular system, making them the most agile and precise organs in terms of movement. The ciliary muscles within the eyes can adjust the lens's refractive index as needed to focus on the target, creating the sharpest image. (2) The retinas of both eyes must correspond precisely to each other; otherwise, the images from the two eyes cannot be compared. Additionally, these corresponding images must be transmitted simultaneously to the same visual center for comparative analysis.

The brain's visual centers are located on the left and right sides, each responsible for processing the respective halves of the visual field. Objects in the left side of the visual field are projected through the pupils onto the right sides of the retinas in both eyes. These corresponding images are then transmitted simultaneously via the optic nerves to the right visual center of the brain. Conversely, objects in the right side of the visual field are reflected onto the left sides of the retinas, and these corresponding images are also transmitted simultaneously via the optic nerves to the left visual center of the brain. The visual centers compare the corresponding images from both eyes simultaneously, thus creating a three-dimensional effect of the entire visual field.

In the human body, the lateral organs on each side correspond to each other, such as the symmetry of the feet. However, the retinas correspond in a homolateral manner—left with left and right with right. This is because light is directed straight, and if the retinas did not correspond in this way, the visual centers would not receive matching images and thus could not produce coordinated vision. Moreover, the structural correspondence between the retinas of the two eyes must be extremely precise, with no margin for error; otherwise, the corresponding images from the two eyes will not align properly, resulting in blurred vision.

Furthermore, to ensure that the corresponding images from both eyes are transmitted to a single visual center, the optic nerves must have a special structure to achieve the crossing of images, known as the "optic chiasm." This is unique to the optic nerves, as no other cranial or spinal nerves handle images and spatial information. If we were to simulate the human visual process using computers and cameras, the computer's input network would also require a similar type of crossing; no other design would suffice. In summary, it is evident that all the structures and functions of the human body's organs demonstrate an extraordinarily sophisticated pattern of intelligence, each with its necessary and well-reasoned design.

Some people believe that there are organs in the human body that seem to be useless, such as the thymus, appendix, tonsils, and coccyx, suggesting that the body's structure may not be entirely rational. It was once thought that these organs had little purpose and were more likely to cause diseases like appendicitis and tonsillitis. Removing these organs appeared to have little impact on the body. In the past, even the spleen and other organs were included in this category. Historically, the list of so-called "useless organs" was once shockingly long, with more than a hundred items. However, this lengthy list was not due to the organs being useless, but rather due to a lack of knowledge. As understanding of the human body has advanced, most of these organs have been removed from the list, leaving very few remaining.

[syo-yoshihama]

[release] Untitled (Music for Okinawa 03 SKY)

7月末から8月頭まで那覇Luft Shopにて開催していた岡本尚文さんの新作写真展「沖縄 03 SKY」。会場BGMを制作し、その音源をリリースしました。 2012年から2024年にかけて沖縄で録った音を使用しています。 Composed for the exhibition, Naobumi Okamoto, photographer "Okinawa 03 SKY". The sound sources were recorded by Syo Yoshihama on the Okinawa Island from 2012 to 2024.

視聴、直接購入はこちら。

bandcamp （視聴可能） ・カ���ット：￥2,200+送料（日本国内¥220） ・音源データのみ：¥1,200 支払い方法▶︎Paypal、クレジットカード

square ・カセット：¥2,200+送料（日本国内¥200） 支払い方法▶︎クレジットカード

直接振込等も可能ですので、お気軽にご相談ください。

以下ショップにも卸しておりますので、お近くの方は立ち寄った際にご購入いただけると嬉しいです。 Parallax Recordsさん（京都）

OTOOTOさん（東京）

ほか、置いていただけるお店があればうれしいです。

[skylarmoon71]

Lance Sweets (Bones) - Crossover AU - Chapter 8

“A cousin?”

“Yes, his name is Hal Jordan. We’re not biologically related, but he’s always been around. My parents were pretty old when they adopted me. So they were always trying to get me to know all the relatives. Hal’s a bit of a smartass, but he’s kind. He just tries to cover it up sometimes.”

“Are you sure I should be here? It sounds like a family meeting. I feel like I’m intruding.”

“You’re not. You’re my friend. Also he’s bringing his girlfriend so I sort of wanted another pair of eyes so we can feel her out. He’s not the best judge when it comes to relationships.”

“I’m an archaeological scientist, unless she’s an ancient bowl or exhibit I don’t think I’d be much help feeling anything out.”

“Just bear with me.”

When he invited you for dinner randomly you should have suspected something. He was overly enthusiastic about it when he made the proposition. You just assumed he wanted to discuss more about the meteors. But it’s clear that you’d walked into a trap.

His doorbell rings and he springs to his feet.

“I’ll get it!”

“You are the owner of the house.”

Your sarcastic remark causes him to send a look as he heads for the door. You just sit on the couch, waiting for this to unravel because of Sweets insistence on meddling.

“Hal, it’s been so long.”

You hear the greetings at the door and laughter from who you assume to be Hal Jordan and his girlfriend.

Sweets guide them into the living room and you stand.

“Oh, who is this, a girlfriend?”

Sweets laughs.

“No, she's my friend. She works at the Jeffersonian. Dr. (L/N).”

They both send you smiles as they introduce themselves.

“Carol Ferris, nice to meet you.”

“Likewise, and you must be Hal Jordan. Sweets is very fond of you. It’s why he set up this dinner to interrogate your girlfriend because he claims you have poor judgment.”

“(Y/N)!!”

Hal laughs and so does Carol. Sweets looks flustered, maybe a bit guilty.

“I’m sorry.”

Hal shakes his head.

“No worries, I appreciate it. I like her.” 

Hal holds out his hand for you to shake, and you reach for it, but the ring catches your attention. You freeze, the smile dropping from your face.

“Lantern..”

Sweets tilts his head.

“What?

Your face turns stone cold as you push Sweets behind you.

“Where did you get that ring!!”

Hal does the same with Carol when he notices the hostility.

“(Y/N) calm down, why are you getting so mad?”

“He has a green lantern ring. But it’s impossible. He must have stolen it!”

“I didn’t steal anything, how do you know about the lanterns?”

You clench your jaw, raising your fist.

It’s almost instinct, his suit seems to appear and Sweets takes a step back at the emerald glow that fills the room. You’re in awe. Because he should not be able to draw its power.

“Impossible…y-you’re human…”

You’re still trying to grasp what’s going on.

Hal looks just as unnerved as you.

“How do you know about the lanterns?”

“Because I’m an alien.”

“(Y/N)!!!”

“What, we all saw him summon the suit. What is the use of hiding it? He’s a green lantern. This is amazing.”

You look more awed than battle ready and Hal retracts the suit, taking a deep breath.

“We should probably get a drink, this is going to take a while.”

That is surely an understatement.

~~

“So you got the ring from an alien?”

“Yep, a purple one. He was dying. Then this evil fear sucking head tried to kill everyone. It was a whole thing. We got rid of him though, his body got sucked into the sun.”

Carol smacked his arm.

“What? That’s what happened.”

“I’m sure there was a better way of putting that.” She snarks.

“You defeated Parallax?”

“Oh yeah, that was his name.”

You can’t believe it. He’s talking about it as if he carried a dog for a walk or took out the trash.

“You’re amazing..”

Your expression makes Hal grin and he sends a look to Sweets.

“You hear that cuz, I’m amazing. Better watch out. Your girl might fall for me.”

“Not my girlfriend. Right (Y/N)?”

From your dazed expression it’s clear you haven’t heard a thing he just said.

Hal smirks.

“She has a thing for lanterns. It’ll wear off.” Sweets advises.

Carol can’t help but smile. If they were expecting anything tonight, it wasn’t this.

The rest of the night is much more casual. Despite what Sweets has just learned, he seems closer to his cousin. They're both in the living room fooling around. Sweets keeps asking him to create random objects, and of course like the boys they are, he complies. You’re in the kitchen getting rid of your dishes and grabbing a snack. Carol joins you. Offering a smile.

“So an alien huh.”

“Yes. Fully alien.”

“It’s crazy, you look so normal. I always imagined the traditional beady eyes, round head.”

“Humans aren’t exactly known for their accuracy when it comes to history or science.”

“You’re right, a few decades ago people thought the earth was flat.”

“People still think that.” You comment.

“Point proven.”

She giggles.

“I think it’s amazing that you’ve managed to have a life here. To find someone you trust. A secret like that can’t be easy living with. Everyday I look at Hal and I wonder how he does it.”

You can understand that.

“He is extraordinary. He’s the first human that I’ve heard about becoming a lantern. Humans truly are amazing beings.”

She smiles.

“Is there a particular one you think that is a little more than amazing?” She nudges your arm.

“Someone in particular..”

Your thoughts stray to Sweets, and you find yourself smiling.

“I suppose so.”

You don’t state who it is.

Carol doesn't need you to confirm, she already knows. 

[makers-muse]

What is Arduino?

https://makersmuse.in/wp-content/uploads/2024/04/Arduino-un-scaled.jpg

Arduino is an open-source electronics platform based on easy-to-use hardware and software. Arduino boards can read inputs – light on a sensor, a finger on a button, or a Twitter message – and turn it into an output – activating a motor, turning on an LED, publishing something online. You can tell your board what to do by sending a set of instructions to the microcontroller on the board. To do so you use the Arduino programming language (based on Wiring), and the Arduino Software (IDE), based on Processing. 

Over the years Arduino has been the brain of thousands of projects, from everyday objects to complex scientific instruments. A worldwide community of makers – students, hobbyists, artists, programmers, and professionals – has gathered around this open-source platform, their contributions have added up to an incredible amount of accessible knowledge that can be of great help to novices and experts alike.  

Why Arduino? 

Arduino has been used in thousands of different projects and applications. The Arduino software is easy-to-use for beginners, yet flexible enough for advanced users. It runs on Mac, Windows, and Linux. Teachers and students use it to build low-cost scientific instruments, to prove chemistry and physics principles, or to get started with programming and robotics. Designers and architects build interactive prototypes, musicians and artists use it for installations and to experiment with new musical instruments. Makers, of course, use it to build many of the projects exhibited at the Maker Faire, for example. Arduino is a key tool to learn new things. Anyone – children, hobbyists, artists, programmers – can start tinkering just following the step-by-step instructions of a kit or sharing ideas online with other members of the Arduino community. 

There are many other microcontrollers and microcontroller platforms available for physical computing. Parallax Basic Stamp, Netmedia’s BX-24, Phidgets, MIT’s Handyboard, and many others offer similar functionality. All these tools take the messy details of microcontroller programming and wrap it up in an easy-to-use package. Arduino also simplifies the process of working with microcontrollers, but it offers some advantage for teachers, students, and interested amateurs over other systems: 

Inexpensive – Arduino boards are relatively inexpensive compared to other microcontroller platforms. The least expensive version of the Arduino module can be assembled by hand, and even the pre-assembled Arduino modules cost less than \$50 

Cross-platform – The Arduino Software (IDE) runs on Windows, Macintosh OSX, and Linux operating systems. Most microcontroller systems are limited to Windows. 

Simple, clear programming environment – The Arduino Software (IDE) is easy-to-use for beginners, yet flexible enough for advanced users to take advantage of as well. For teachers, it’s conveniently based on the Processing programming environment, so students learning to program in that environment will be familiar with how the Arduino IDE works. 

Open source and extensible software – The Arduino software is published as open-source tools, available for extension by experienced programmers. The language can be expanded through C++ libraries, and people wanting to understand the technical details can make the leap from Arduino to the AVR C programming language on which it’s based. Similarly, you can add AVR-C code directly into your Arduino programs if you want to. 

Open source and extensible hardware – The plans of the Arduino boards are published under a Creative Commons license, so experienced circuit designers can make their own version of the module, extending it and improving it. Even relatively inexperienced users can build the breadboard version of the module to understand how it works and save money. 

Do you have questions regarding our STEM program?

Contact us anytime.

Take your first step into the magical world of coding for kids

Do you have questions regarding our STEM program?

Contact us anytime.

Take your first step into the magical world of coding for kids

[stylisticstudio]

Animation and Motion Graphics Services Bring Your Vision to Life

It may be an app-explanatory video for your startup. Or an animated ad for your new product line. Whatever the idea, make it vivid and exciting. Quality animation requires considerable expertise. Thank goodness you don't have to learn after effects. You can realize your vision with the proper animation and motion graphics services. This post will discuss finding the ideal creative team and the process. It will also exhibit fantastic animation and motion graphics to inspire you. If you want your next project to shine, keep reading.

Animation and Motion Graphics Bring Your Vision to Life

Enhance Your Message

Motion graphics and animation enhance your message and engage your audience. Add movement to static content to create dynamic storytelling. Animation is great for explaining complex concepts, showing how goods work, conveying brand stories, and sharing experiences.

Describe Complex Ideas

Animation simplifies complex ideas and processes well. Animated visuals, characters, and visual metaphors help simplify abstract concepts. To demonstrate cell division, animate cell splitting and replication.

Connect Emotionally

Animated stories bring people and locations to life. Build suspense, engage your audience, and touch their hearts. Animation humanizes your brand, products, and services, building customer loyalty and brand affinity.

Engaging and Interactive

Animation engages inactive viewers. When screen items change, the brain becomes active and attentive. Joy and amazement are also added by animation. Interfaces are enjoyable, with lively transitions, parallax scrolling, and amusing character animations.

Realize Your Vision

Animation and motion graphics may bring your creative ideas to life for product presentations, brand storytelling, educational content, and interactive experiences. Working with skilled animators and designers lets you create captivating animations that get results.

Conclusion

A competent animation and motion graphics servicescan make any creative vision come alive. Their creative designers and technologists can create animated explainer videos, kinetic brand reveals, and custom motion graphics for your next marketing campaign. Unleash your ideas from the paper and turn them into vivid colors. Fantastic animation and motion graphics provide unlimited options.

[mars2lh-f]

The science behind holograms

Holography is a fascinating scientific technique that enables the creation of three-dimensional images through the principles of interference and diffraction. The foundation of holography lies in the coherence of light, specifically laser light, which exhibits a consistent phase relationship among its waves. This coherence is crucial for generating the interference patterns necessary for holographic imaging.

To create a hologram, a laser beam is split into two components: the object beam and the reference beam. The object beam is directed onto the subject, and the light scattered off the object combines with the reference beam. The resulting interference pattern, containing both amplitude and phase information, is recorded on a photosensitive medium such as a holographic plate or film.

Unlike traditional photographs that only capture intensity information, holography preserves the wavefront information of light, allowing for the recreation of a 3D image. When the hologram is later illuminated with a coherent light source, such as the same laser used during recording, the interference pattern is reconstructed. This reconstruction results in the perception of a lifelike 3D image, complete with parallax, enabling viewers to observe the holographic object from different angles.

Holography has found diverse applications, ranging from art and security to data storage and medical imaging. The ability to create realistic 3D images with parallax has made holography an invaluable tool in various fields, continually advancing as technology evolves.

[mezzo-mezzo-man]

College is a bitch, but I can't say that I'm any less of one. I tried to draft a post in the week leading up to my departure from home about missing the familiar splotches of green mixed in with gray geometry of cost effective city planning. How I would long for the same parallax as streets and alleys rolled by, and the ever present hum of the interstate two hundred yards from my house in the small hours of the morning.

What I've found myself missing the most is Ruby. We had been together for just under two years, and just under two weeks out from the severance of our official romantic relationship I realize that the geographical cocoon that spawned me will remain ever-present and my relationship to her will not.

I spent a regretful amount of time in our intersected lives feeling lukewarm to the idea of loving her back. I hate how long it took me to really mean it. I hate how narcissistic I was. I hate how long I felt so little for her. I of course, had issues—still do—and though I don't want them to be an excuse, I saw aging out of childhood in capitalist America as like being on vacation with a gun to your head, and it made me crazy. I am an odd flavor of legitimately caring (albeit in reserve) and skilled enough at manipulation to convince people that I care more than I do, and though I think that anyone in my situation would be just as megalomaniacal with their small bit of influence, she deserved so so much better. And if there is one thing in life I'm sorry for, it's not being better to someone who clearly loved me so much.

Ruby is everything you would want someone who loves you to be. She is funny, and though she lives a lot of her life in flux between her humor being muted and summoning the social wherewithal to vocalize it, she has always been absurdly funny; even on the nearly silent days. She is brave—and not in that she does any more dangerous things than idiots such as myself, but in that she lives her life farther outside of her comfort zone for longer periods of time in the name of fun and growth and beauty than any other person I've ever met. She lives in a better more well-kept house than me, and she knows how to be happy. She distinguishes and decides, and admittedly needs encouragement to act but she is wonderfully skilled at recognizing her feelings towards everything. She is a feminist; she exhibits feminine fashion and indulges in the culture and vernacular while exuding strength and fortitude. She is not toxic, she uses her support system and doesn't put up with my bullshit when I throw it her way. Ruby is gorgeous. Some people say she is not conventionally gorgeous. I don't. She has a beauty separate from her virtue, she is Venus.

I will admit that I had a mixed experience before her. I have had toxic exes and I have been the toxic ex. I did not want to repeat shitty patterns of unhealthy young love. Save for the major deception of the true depth of my feelings—which I thought would develop more quickly—I think that my experience and resulting paranoia regarding codependency led me to handle the administration of our relationship on the day to day fairly well. I encouraged her not to isolate herself from her friends—as tends to happen when you are newly enamored with someone—and made time for our own support networks and hobbies and established friendly relationships with each others' parents, and addressed issues and generally did everything I could to make our relationship a healthy one.

There is however a but.

I, in my jaded 'realist' wisdom, made the observation that relationships kind of just... don't last. Fucking brilliant epiphany I know, but I'll elaborate. Half of marriages end in divorce, and most long distance relationships result in emotional dissatisfaction or someone cheating (or both), and the not insignificant sample size of young relationships I have witnessed have mostly eroded—save for a few statistical anomalies—most commonly because one of the parties involved wanted to experience relationships with other people. I had seen teens get bored of the routine of their partners, or housewives wishing they had lived their twenties before marrying some dude named Cody and resorting to lifelong monogamy. I felt that I, alongside most others, would eventually get bored enough in one relationship to either cheat or mentally check-out.

I looked at the prospect of my graduating a year ahead of Ruby as an opportunity for us to get some space. Not because we needed it, but because the space would be there regardless and relationships ware thin. I didn't want that for us. Shitty making an executive decision like that I know, but neither of us were looking forward to long distance. Neither of us quite enjoy our predicament now.

It was a sad sequence of events, but she rode into the sunset with tears in her eye from my abrupt anchorage in this college town, and her obligation to go back home. I wouldn't say that it was the wrong choice, but I regret not loving her longer. We still talk on the phone about maybe getting back together if our lives synch up again, but those are far off days and that's no good to us now. I wake up in a sober daze, traipse into my theory classes and wave to nameless new characters. I'm sure she sits in front of her vanity mirror and does her makeup after dressing in clothes laid out the night before. We live our lives separately now. There is no resolution.

9/21/23

[clarestrand]

NEXT/PREVIOUS

The Gerald Moore Gallery 2nd-30th September.

The Gerald Moore Gallery is pleased to present Next: Previous, a curated by Steven Scott that brings together works from eight artists with practices established in diverse fields. Artists include Andy Bannister, Frederick Bell, Andrew Bick, Peter Downsbrough, Susan Morris, Nicola Rae, Steven Scott, and Clare Strand.

The Gerald Moore Gallery is pleased to present Next:Previous, a group exhibition curated by Steven Scott that brings together works from eight artists with practices established in diverse fields to offer correlations between form and reference, concurrency and possibility. The exhibition will run from 2nd to 30th September 2023 and includes pieces by Andy Bannister, Frederick Bell, Andrew Bick, Peter Downsbrough, Susan Morris, Nicola Rae, Steven Scott, and Clare Strand.

The private view will be on Friday 1st September 5 - 8pm.

The selection of works for this exhibition began from structural concerns around dual and multiple images and interrelationships between the temporal sequence and the spatial array. It is hoped that alignments perceived as a result of bringing these different works together will allow for new relationships and perceived concurrencies to be revealed.

The exhibited works include a dual painting by Andrew Bick titled OGVGGT [double echo], and a double tapestry by Susan Morris, Binary Tapestry & Binary Tapestry (Reversal). These pieces have been described in relation to notions of ventriloquism and the channeling of one aspect of the work through its other in asymmetrical circuits. Viewed this way these works incorporate doubling modes of translation that play out in alternating shifts between concurrent states and references to spatialised time and the marking of lived events.

Clare Strand’s Spaceland/Flatland consists of darkroom generated images and sculptural objects that form spatial sequences and shape-shifting arrays. The work references Edwin Abbot’s 1884 novella Flatland with its satirical use of hierarchies of form and dimension,

Binary Tapestry & Binary Tapestry (Reversal)

by Susan Morris

alongside Eastman’s patenting of photographic film and the subsequent increase in viewing the world as 2D images. Notions of translation between dimensions also inform the dual projection piece by Nicolas Rae, Remote Sensing Sonification: Jupiter Aurorae, in which she transposes digital recordings of Jupiter’s auroral data between image and sound.

Fredrick Bell’s paintings of sequenced forms in The Conversation, Diagram Painting Number One describe both directional flows and mapped positions as overlapping events across four panels, and the print Delay/Delay by Peter Downsbrough reminds us how repetition and mirroring can slow the immediacy of language, here rendering it concrete in the collapsing of form and content.

Andy Bannister adopts pictorial and schematic forms in a dual drawing titled Container/Contained/Sellafield ’16 to allude to nuclear half-life, extended duration and an unknowable future, and the light and photogram works from the series Sequence and Stereograph by Steven Scott attempt to frame perceptions of phasing and parallax shifts as a visual experience that maintains a potential for future concurrencies.

The exhibition is open every Saturday 10am to 4pm until 30th September 2023 or by appointment for other days.

Andy Bannister lives and works in London. Since graduating from Chelsea College of Art in 1992 he has made and exhibited works which employ a range of media including sculpture, drawing, video and sound. Most recently, his work was included in the 2018 and 2022 Trinity Buoy Wharf Drawing Prize exhibitions. His current practice investigates the impact of science and technology on culture and society from the mid- twentieth century to the present. Since 2017 he has created a number of drawings which involve the meticulous transcription of archival photographs and documents that relate to the history of the atomic age; in doing this he aims to reveal the latent meanings that these images hold and to explore the connections between them.

Frederick Bell worked for several years as a medical lab technician in the NHS before going on to Art College. This had some Influence on his conceptual approach, using mainly painting and photography in a symbiotic relationship. He first exhibited in The Young Contemporaries at The Whitworth, Manchester and shortly after graduating moved to Brussels. He has exhibited widely across Europe including at Fotogalerie Vienna, Royal Museum of Fine Arts and FOMU Antwerp, J&J Donguy Paris.

Whilst exhibiting regularly at Galerie Ruimte Morguen in Antwerp his work began a dialogue with the exhibition space itself. His work became about ‘the work of art’ and its varied relationships to place, context and audience.

Andrew Bick’s works consist of combinations of oil paint, marker pen, wax, acrylic paint and Perspex. He utilises elements of flat colour, depth and surface, revealing the process of painting as a series of strategies or components that call into question false opposites, and contrast hard geometric or graphic forms with uncertain or dashed-out strokes. His work is based on the belief that disruption within a system helps us relearn the process of paying attention.

Bick has an MA in painting from the Chelsea School of Art (1988) and has since shown extensively in Europe and the U.S. He is represented by Hales Gallery, London and Von Bartha, Basel. He lives and works in London.

Peter Downsbrough was born in the USA and lives and works in Brussels. Associated with Conceptual and Minimalist art since the 1960s his practice includes sculpture, installation, photography, film and artists’ books. His various works bring together text as both a visual and semantic signifier, composing this within geometric forms,

graphic lines and structures that delineate space and the subjective encounter. He uses these elements as a basis to examine place and the urban landscape, spatial relationships, reflexivity and concrete poetry in a complex array of interrelated works.

Downsbrough publishes and exhibits internationally and is represented by Galerie Thomas Zander, Cologne; Krakow Witkin Gallery, Boston; Angels Barcelona; Michèle Didier, Brussels, Gilles Drouault, Paris and Loom, New York.

Susan Morris is an artist who also writes. Her work engages with periodicity and the involuntary mark, either through a form of diaristic writing, or by diagrammatic works generated from data recorded by devices worn on the body and, more recently, from ambient light and sound recordings.

Morris has an MA from Goldsmiths, University of London, and a PhD from CSM UAL. She lives in London and is represented by Bartha Contemporary, London.

Nicola Rae’s interdisciplinary practice engages with scientific processes and phenomena, and collectively initiating and co-curating exhibitions is an important part of her working process. She studied BA Fine Art at Canterbury, MA Art & Design in Education, Institute of Education and an MA in Contemporary Art Theory at Goldsmiths, and has exhibited internationally including during Venice Biennales 2013 and 2017, Cyberfest: Patterns of the Mind at the State Hermitage Museum, St Petersburg, 2015 and at Partial Presence: Testing Ground, Zabludowicz Collection, London 2015. She is based at the APT Studios & Gallery in SE London.

Steven Scott is a London based artist and curator working with installation, photographic processes, moving image and print. He utilises methods of mirroring, extended duration and the presentation of interference patterns formed from the interplay of repeating parts. His recent work frames alternations and phasing between points in time and positions in space, intending that this simple matrix frames a liminal threshold at which visual perception gives way to protention. He has recently completed a PhD in Fine Art at the Royal College of Art, London.

Some recent exhibitions include: Galerie Ruimte Morguen, Antwerp; APT Gallery, London; Focal Point Gallery, Southend, and the Dyson Gallery, RCA, London. He has co-curated shows at Centro Cultural CEEE, Porto Alegre, Brazil and Contemporary Art Platform, Kuwait City.

Clare Strand is a British artist working both with and against the photographic medium. For over 25 years she has produced work with found imagery, kinetic machinery, web programmes, fairground attractions and more recently, large-scale paintings and chamber music. She often rejects the default settings of photography and instead, and without apology, welcomes a subtle, slow-burn approach. Her practice is situated somewhere between control and a wilful acceptance of chance.

She exhibits internationally, including at The Museum Folkwang; The Center Pompidou; Tate Britain; Salzburg Museum of Modern Art and the Victoria and Albert Museum.

She is based in Brighton, UK, and is represented by Parrotta Contemporary, Cologne/Bonn.

The Gerald Moore Gallery is a young centre for modern and contemporary art with learning at its heart. Opened in April 2012, in Mottingham, the gallery is uniquely set within the grounds of Eltham College and is a valuable resource for the students and the local community. The gallery has gained momentum hosting some exciting exhibitions including works by Matisse, Louise Bourgeois and Cornelia Parker, whilst supporting emerging local artists. In unison with the exhibitions, the gallery's outreach programme works with local community groups, teachers and schools, creating lasting relationships with our locality. Gerald Moore Gallery was made possible with the foresight and generosity of Old Elthamian, Dr Gerald Moore, many of whose works are archived at the gallery and who has a permanent exhibition on display.

[theneonmuseum]

The Neon Museum

The Neon Museum, located in Las Vegas, Nevada, is a unique and fascinating museum dedicated to preserving and showcasing the iconic neon signs that once adorned the city's famous resorts, businesses, and attractions. Often referred to as the "Neon Boneyard," the museum serves as a nostalgic tribute to the rich history of Las Vegas and its vibrant neon heritage.

The Neon Museum was established in 1996 as a nonprofit organization with the mission of collecting, preserving, and restoring historic neon signs that played a significant role in shaping the visual landscape of Las Vegas. The outdoor exhibition space features over 200 vintage neon signs dating back to the mid-20th century, including signs from legendary casinos like the Stardust, Moulin Rouge, and the Desert Inn.

Guided tours led by knowledgeable guides take visitors through the Neon Museum, providing insights into the stories and history behind each sign. These signs are more than just remnants of the past; they represent the ever-changing identity of Las Vegas and its transformation into the world's entertainment capital.

In addition to the main Neon Boneyard, the museum also features the "Brilliant!" light and sound show, which projects dazzling light displays onto some of the restored signs, creating a spectacular and immersive visual experience.

The Neon Museum is a cultural and historical gem and an exceptional photographic opportunity, attracting photography enthusiasts, artists, and tourists eager to capture the essence of Las Vegas's colorful past.

By preserving and showcasing these iconic neon signs, the Neon Museum pays homage to Las Vegas's roots and the bright lights that have defined its identity for generations, ensuring that the city's neon heritage continues to shine brightly for years.

Please visit the business of one of our regular supporters.

Google Maps: https://goo.gl/maps/yW4rzDPqFuHMEVP69

Parallax Automotive Address: 3013 N Rancho Dr #105, Las Vegas, NV 89130

Be sure to check out this attraction too!

[alexkiessling]

From motion to #Parallax calculation and effects was a short way. But the journey just started there... Shift Nina / Acrylic on canvas /170x140cm /2014 #contemporaryart #painting #acrylicpainting #exhibition #soloshow #museum #collector #contemporaryart #austria #art #kunst #malerei #fineart #figurativeart #abstractart #shift #shifts #pic #la #ny #japan #inspired #drawing #zeichnung (hier: Europe/Vienna) https://www.instagram.com/p/B2oUsOBInDp/?igshid=129r8f3fk9fx4

[scotianostra]

City Observatory.

Edinburgh's City Observatory, also known as the Playfair Observatory was designed by William Henry Playfair in 1818 and takes inspiration from the Greek temple of the Four Winds.

The first Astronomer Royal to work in this building was Professor Thomas Henderson, appointed 1834, who had discovered how to measure parallax and the distance to a star while in his previous job in South Africa.

Working with The City of Edinburgh Council, Collective redeveloped the City Observatory site as a new home for contemporary art: conserving and reinstating the original Playfair designs and constructing a new exhibition space and panoramic restaurant. 

The site is now fully to the public for the first time in its history, which I took advantage of on Thursday although I was stopped from checking out the Restaurant by a guy with his head up his arse quoting “covid restrictions”  I could see clearly the place was all but empty and if I had asked for a table to dine would no doubt have been welcomed in.

[notesby19]

Boo!

The boy looked lost as he changed intended direction three times, rapidly. Most things here seemed unhinged. En route, now, to the next stand, the Keva Plank array.  Toppling clinks of thin wooden frequency - barely in resonance above the ruckus from the slime stand. Children throttled and bulging to engulf a canvassed exhibit orchestrated by two goggled graduate students pouring baking soda, glue and glitter together, in generous portions, into translucent tubs - now crawling with little fingers. “Boo!” the plosive sent directly into 19′s ear - he gazed past the stations and heaving thrums, deadened to notice anything but their excitement. 

Re science: intrigue by the masses of the sights and wonders as magic tricks and careless and blasé to actual explanation - amazed by demonstrations of pop-sci, fad-sci and pseudo-sci. A collected pulse with a parallax view.

Stood there, stuck in commotion, again, but not apart and ignoring his “friend.” Boo! in his ear and brain; scared of what we’ve become.

[moniteurphilips4k368]

Completing Criteria in House Movie Theater TVs

UHD resolution describes an upscale, high-definition resolution of concerning 4,000 pixels as the market standard. Digital television makes use of numerous different 4K resolutions, with some using a method called modern improvement. In customer media as well as residence movie theater, 3840 x 2 160 is the most prominent 4K criterion, while the flick viewing industry uses 4096 x 2 160. HD (Hd) broadcasts have a various format than normal television broadcasts, making use of a stacked collection of digital images that are each divided by a low-resolution 'grain'. These photos are after that super-glued together making use of a really tough product, such as plasma or plastic. Because HD networks utilize really little signal loss, they frequently exhibit a much bigger color range than their SD equivalents do.

The next step up in the HDTV family is the ultra-HD (also known as "hd-v") spec, which is additionally referred to as "high definition" TV. Ultra HD offers a series of improvement over the conventional definition tv experience, including greater display resolution (thanks to the enhancement of sub-pixels), the capability to focus on certain parts of the images, and also the lack of the "grainy" impact that can show up when using a reduced quality compression format. The difference in between UHD and also SD is that the former offers a complete series of upgradeable features, such as hd display screen, digital video clip recording, and the ability to enjoy media straight from a hard disk or electronic video clip camcorder. The latter can not.

HD ready televisions, as a result of their dramatically higher pixel density, give the very best overall photo quality in HD. They are taking on LCD televisions, which are a lot smaller sized, lighter, and also more energy-efficient, however both offer good comparison proportions and also good color making abilities. The popularity of HD ready collections means that customers can anticipate superb picture top quality for a budget friendly price - something that is absolutely an advantage for purchasers. If you are in the market for a new television, make sure to take a look at the offered HD options, and also if you're still not sure, then get in touch with a regional sales representative to review your choices.

HDTV - What is it and also Why Should You Acquisition One?

4K resolution TV's deal several advantages to audiences, specifically when seeing hd (HD) videos. HDTV provides many more pixels per structure than conventional definition television, which enables greater information and also dynamic colors. 4K resolution likewise enables high definition video formats such as HDTV and also typical interpretation television to be compressed into more moniteur 27 pouces 4k - flash-xbox-360.com densely packed frameworks. With an increase in the number of pixels per structure, the top quality of the picture will be much better than with conventional definition. Because of these differences in the high quality of the pictures, it is commonly suggested that consumers update from their existing tv to a new one with a much better or advanced display.

One more way in which HDTV and its competitors contrast to typical interpretation TV remains in the element distribution. There are 2 facet ratios presently used for HDTV, particularly 16:9 as well as 4:3. The ratio is the variety of pixels per inch (PIP) and is gauged in percentage of the complete TV display. A lot of the current flat panel TVs utilize this aspect ratio for the seeing experience, nevertheless some older Televisions might not.

A facet ratio comparison for HDTV would certainly look like this: widescreen (horizontally) = 160 lines; taller = overflow, indicating there are no added lines over the top of the screen; and all-time low = scaled, suggesting that the complete screen is scaled down to load the available space on the HDTV display. You will require to update to the appropriate format if your current HDTV does not make use of an aspect ration that is suggested for streaming video. One option is to purchase a new HDTV and afterwards change to a different one with the very same screen. Another option is to get a HDTV with a higher pixel resolution, such as the one found in high-end plasma TVs. The last choice offers the most effective quality as well as offers you one of the most seamless experience, yet it will additionally be the largest expenditure, running as much as five or 6 times the rate of a conventional HDTV.

What's Various With HDTV and Blu-Ray?

HDTV, or high definition TV, describes an ultra-high resolution tv screen of up to 1080 lines of resolution. High definition tv makes use of a variety of components such as electronic networks, multiple-frame refresh prices, and also raised color deepness. Basically, HDTV is better than regular interpretation television in terms of top quality. It is additionally typically referred to as "RT" or "Hd Television."

4k resolution describes a full-HD tv screen resolution of concerning 4,000 pixels per inch. Digital television as well as computer system graphics typically take advantage of a variety of various 4K resolutions, such as 3840 x 2 160. In consumer electronics and also computer system media, the most typical hd resolution is 4096 x 2 160, while the movie industry utilizes 3840 x 2 160. The term "resolution" actually describes the dimension of the picture, rather than its quality. As defined, "resolution" is always equal to the overall variety of pixels, which suggests that if a photo has even more pixels than an additional picture, the former will certainly be called "super-resolution.".

Not all HDTV collections are able to sustain the high-def resolution. One of the significant limitations of HDTV as well as Hd TV is the lack of an aspect called pixel action. Essentially, pixel response indicates just how rapidly a pixel can alter from red to eco-friendly as well as vice versa. A superb element of hd television is the level of smoothness of its action, which is what adds to the sensation of movement within the images. The level of smoothness is present in all HDTVs, but the trouble develops when particular features, such as the parallax result, create the pixels to switch over colors, leading to an "artefact," known as edge erosion. This is a really small downside of high meaning TV; it is not likely to influence most customers.