#so it's a series recognised as an encounter of cultures and different styles

[envolvenuances]

but as much as Hermeto Pascoal is joy itself I have to betray Alagoas and admit my favourite piece of instrumental music produced in Brazil are the collaborations between the gaúcho guitar player Yamandu Costa and the absolute forró legend acordeon player from Pernambuco THE Dominguinhos. I love playing this one

[nikitagypsyrose]

Special Topic

Week One

Concept Brainstorm

Through mind mapping and discussing with my group I formed a rough concept which was a photographic series on classism in the Baroque art style. Next I wanted to familiarise myself with Baroque, so I began my research there.

Into to Baroque

Baroque is an art and architecture movement which dominated more than two centuries in Europe, Latin America, and beyond. The style, taking place between the 16th to 18th centuries, following the Renaissance, grew out of Catholic reformation. Baroque inspiration includes seeking to engage the human passion; “from the mystical and ecstatic to the violent and erotic.” (Bailey, 2012). The recurring features of the style involve grandeur and a return to realism after the idealistic images from the Renaissance. Here are some of the key differences between Baroque and Renaissance in art and diagrams for examples.

Brainstorming Continuation - key words

My research interests include the divide between classes and covert forms of classism. I want to use documentary photography as a way to investigate this concept. This series may focus on domestic and family themes and examine the home and things one considers valuables. Through exploring one’s belongings you gain a level of intimacy and an understanding of their experiences. In order to convey the grandeur of this story, I want to use the baroque style of art.

Artist Models I started my artist model research on Magnum Photography by searching for documentary still life images. This week I focused on drawing links between these images and Baroque art to help me understand it better and to show me how I can incorporate it into my own work. Here are some artists that I found.

Max Pinckers I found two series by magnum photographer Max Pinckers which I found interesting. Firstly, Will They Sing Like Raindrops or Leave me Thirsty, depicts aspects of love and marriage from Pinckers four month trip to India. I chose two images from the series that I felt resonated with either my concept or Baroque.

The next series from Pinckers that spoke to me, titled Lotus, was a collaboration with the photographer Quentin De Bruyn. The team intended to document the world of transsexuals in Thailand. In this series the photographer is meant as a “fly on the wall,” capturing aspects of the gender crisis that is faced by the subjects.

Bieke Depoorter From photographer Bieke Depoorter I resinated with a series from her works which aligns with my theme: Bieke Depoorter’s journey across Russia for her project ‘Ou Menya.’ She’s captures intimate images of strangers’ homes as she traveled through forgotten villages asking locals for a place to sleep, changing each night. “For three periods of one month, I have let the Trans-Siberian train guide me alongside forgotten villages, from living roomto living room. Some Russian words, scribbled on a little piece of paper, allowed me to be welcomed and absorbed in the warm chaos of a family. Accidental encounters led me to the places where I could sleep. The living room, the epicenter of their life, establishes an intimate contact between the Russian inhabitants. For a brief moment, I was part of this. Their couch became my bed for one night.”

References

Bailey, G. A. (2012). Baroque & Rococo. Phaidon Press.

Magnum Photos. (2022). Bieke Depoorter’s Journey Across Russia. https://www.magnumphotos.com/arts-culture/bieke-depoorter-ou-menya/

Magnum Photos. (2011). Lotus. https://www.magnumphotos.com/arts-culture/art/max-pinckers-lotus/

Magnum Photos. (2014). Will they Sing like Raindrops or Leave me Thirsty. https://www.magnumphotos.com/arts-culture/art/max-pinckers-will-they-sing-like-raindrops-or-leave-me-thirsty/

Zucker, S., Harris, B. (2016, May 10). How to Recognise Baroque Art [YouTube Video]. Smart History.

Images

Artemisia Gentileschi. (1620-1621). Judith and Holofernes [Man being beheaded]. Google Arts and Culture.

Leonardo De Vinci. (1489). Lady with an Ermine [Lady with an Ermine]. Google Arts and Culture.

Max Pinckers. (2014). Will They Sing Like Raindrops or Leave Me Thirsty [Spilled glass of milk]. Magnum Photos. https://www.magnumphotos.com/arts-culture/art/max-pinckers-will-they-sing-like-raindrops-or-leave-me-thirsty/

Max Pinckers. (2011). Will They Sing Like Raindrops or Leave Me Thirsty [Stack of ice cubes]. Magnum Photos. https://www.magnumphotos.com/arts-culture/art/max-pinckers-will-they-sing-like-raindrops-or-leave-me-thirsty/

Max Pinckers. (2011). Lotus [Still-life image]. Magnum Photos. https://www.magnumphotos.com/arts-culture/art/max-pinckers-lotus/

Max Pinckers. (2011). Lotus [Man sitting alone in apartment]. Magnum Photos. https://www.magnumphotos.com/arts-culture/art/max-pinckers-lotus/

Bieke Depoorter. (2009). Ou Menya [Man lying on bed]. Magnum Photos. https://www.magnumphotos.com/arts-culture/bieke-depoorter-ou-menya/

Bieke Depoorter. (2009). Ou Menya [Woman standing in front of mirror]. Magnum Photos. https://www.magnumphotos.com/arts-culture/bieke-depoorter-ou-menya/

Bieke Depoorter. (2009). Ou Menya [Family at dinner table]. Magnum Photos. https://www.magnumphotos.com/arts-culture/bieke-depoorter-ou-menya/

[bean-na-farraige-agus-foraoise]

A Rebuttal of “Lesson 6: The Structure of Early Gaelic Society”

This is part 6 of my 20-part manifesto on why druids should do some research for once. You can find the master-post here.

This is a long post, so the actual rebuttal is under the cut! Each number in parenthesis (#) corresponds to a footnote formatted in the Chicago manual of style located in the block quote at the end of the post, any reference to the Brehon laws is linked within the text and will not have a footnote!

Hey hey hey welcome back! It’s been a few months, and I’m refreshed and am once again ready to tear into druidic bullshit. Today we’re continuing our look at Robin Herne’s “lessons,” this particular lesson can be found here. 

From the very beginning of this “lesson” I’m sensing a problem with Herne’s writing that I’ve seen and spoken on before, which is the concept of a pan-Celtic religion. Herne’s lesson may focus on Ireland, but that’s only because he feels as though it’s “harder” to talk about Wales.... a nation with a very different history and a different religion than Ireland..... but they’re both Celtic so whatever right? For any newbies here, there was no Pan-Celtic religion. I mention this in Part 1 of this series.

From there it only gets worse really. For starters, the Romans never conquered Ireland, the nation whose history is supposed to be the focus of this lesson. Beyond that- the Romans used existing British oppida as the urban centers of the tribal system that was established under their rule, to claim that pre-Roman Britain was made up only of villages when archaeologists can’t accurately determine the populations of the oppida is ridiculous. What the Romans did was establish the first cities that were not located in the South East of England. Herne also has this weird focus on Ireland and Britain being “rural” as though most cultures weren’t largely rural- and honestly the focus on distancing these cultures from anything urban is a HUGE red flag if you know the history of paganism and Celtic Twilight, bad show all around. And of course Herne doesn’t cite any sources so for all I know he’s pulling this out of his ass. All in all it seems like Herne is falling to the classic pitfall of circle jerking to Rome, maybe if he could get off Rome’s dick for a few minutes we might actually learn something. 

I question whether Herne has ever actually read the Brehon laws, or if he understands that there were similarities between the laws of many medieval societies, even those that didn’t share a “Celtic” label. I genuinely have no idea what “change” he’s referring to that would be a gradual process considering the continental Celts and the Gaels were different cultures, and the laws in question existed at different times, and also the laws he references for the continental Celts were only “mentioned” by classical authors, who if you haven’t read my other rebuttals are notoriously unreliable narrators. 

I question the choice to say “Think of the cenn as rather like the head of a Mafia clan! “ and particularly to end it with an exclamation point. The cenn, is the head of the family, and thus the family’s legal representative in court. This was not a cultural practice unique to Ireland, similar practices are shown to exist throughout Europe during this time. And in no way is a patriarch (or occasionally a matriarch) who protects the family’s interests and revokes legal agreements made without their consent the same thing as a mafia boss. This isn’t a crime syndicate, it’s a judicial system that protects the different families within the tribe and in theory was meant to ensure that contractual decisions were made with the consent of the family. 

Beyond this to describe the social structure of early Ireland as a “caste system” is... stretching it- movement from one class to another was not uncommon, and more things factored into one’s status in Irish society than simply the situation of one’s birth. Beyond that, this system is more easily broken down into six groups than into two, and Herne would know that if he’d actually read the Brehon laws. Rather than just splitting society into “the blessed ones” and “ordinary people” the Brehon laws organize it into kings of various grades, professional classes, flaiths (a sort of official nobility), freemen possessing property, freemen who possess no or very little property, and the non-free classes. And joint ownership of property could qualify a selected joint-owner to become a noble, this is very much not the rigid system Herne would want you to believe it is. 

Herne’s discussion of the Lia Fail while simplified does hold up. In the lore we see the process described by Herne for choosing the high king of Ireland, it’s described clearly in The Destruction of Dá Derga’s Hostel. And I will admit, I’m with Herne up to a point in his discussion of the concept of lanamnas, there’s clearly a fair amount of research he needs to do into medieval history to truly understand the relationships he’s describing, but he’s not necessary wrong, so I’ll let it slide, these are meant to be introductory lessons after all. 

However. Herne makes some... interesting claims in regards to divinity. Herne makes the correct statement that “Each partner in lanamain must recognise that they have a duty to give certain things to the other person, but also a duty to allow that person to give back to them ~ there is no honour in emasculating someone, nor in allowing yourself to be rendered servile.” This is correct, we see this very same principle in the two sided nature of the virtue of hospitality, we’re called to be both good hosts and good guests. But then Herne goes onto say “This applies as much to the Gods as to other humans. Hosting a ritual for a god may be seen as fulfilling the coinmed, but there should also be expectation back of the deity. If your life is barren, then maybe you need a better head to guide you (either that, or you‘re not fulfilling your duties to them).” Ignoring the fact that Herne has all but called the gods parasites if they don't attend rituals we host for them voluntarily (something we should be doing anyway, and without the expectation that they’ll show up)- this argument rests on the assumption that we can understand the divine and how they interact with us enough to judge whether or not we need a "better head" to guide us, which I think anyone who’s actually had an encounter with the divine or felt their presence can tell you is bullshit. They’re divine for a reason, they’ve existed for thousands of years, we’re just a blip on their radar, it is not up to us to judge whether or not we need a “better head to guide us” or if we’re giving enough, the gods decide that. 

For everyone who had “baseless claims about the roles of historical druids” on their BINGO cards you may now cross that off. Herne falls into the typical pattern of repeating the “druids were the precursor the Catholic church” story fabricated by 16th century Germans for political clout. Don’t be like Herne, read a goddamn book, I have recommendations, feel free to dm me or shoot me an ask if you’d like them. 

And last but not least, I would like to remind everyone that the “every family/tribe has their own tartan that differentiates them” is a largely 19th century creation with scant pre-Victorian basis. 

That’s all for today! If you want more reading on any of the topics mentioned in this post feel free to shoot me an ask or a message and I’ll provide you with a reading list!

[marginalgloss]

a real brick

The hype cycle of the video game industry must look odd to anyone not familiar with it. Every so often a new game comes along which receives such a rapturous reception that it becomes a must-own. Not only that, but critics hail it as a major step forward for the genre. The nearest equivalent in popular culture might be the tentpole blockbuster movie, but film is already such a diverse field that nobody would claim something like The Avengers: Infinity War as in any way representative of the state of the field in general. 

In 2013 everyone was very excited about The Last of Us. The developers, Naughty Dog, had already proven their worth with the three games in the Uncharted series; but while those games were a brisk update of the Indiana Jones formula, this was supposed to be something quite different. The Last of Us follows an older man and a young teenage girl through their journey across a series of American towns in the aftermath of an epidemic which has turned most of the population into infected zombie-like creatures. Anyone who isn’t zombified is likely a murderous bandit. A suggested elevator pitch: The Road meets Die Hard.

Encountered today, The Last of Us seems a bit like an infected, mutated form of the Uncharted games. Under all the new sores and tears and creases it’s still recognisably part of the same genus. At first glance, you’re still piloting a player-character through a series of corridors and arenas that are often very beautiful and sometimes very mundane. And it doesn’t play all that differently: you still spend a lot of time shooting enemies — but now the number of bullets you have will rarely make it into double digits. You have to try other things. You have to sneak up on them and bash their brains out with a brick, for example.  

One of the most enduring criticisms of Uncharted was the dissonance between the happy-go-lucky protagonist and his apparent obliviousness to the hundreds of generic bad guys killed through the course of his adventures. The Last of Us actually confronts this directly, via a character in the later stages of the game, but it also addresses it by emphasising a dynamic that was already there in Uncharted. You have to kill in this game because if you don’t, you will be killed. And this game really emphasises the immediate horror of killing. Teeth tear into jugulars, heads are stomped or shot or smashed, eyes are gouged. If you grab a bandit from behind in this game you can drag him around for a bit before you choose whether to strangle or stab him to death; while you do that, he might plead for his life. It’s unsettling.

But you don’t really have any choice in the matter. So you press a button to strangle him and if the conditions are right, your character might even segue into an even more brutal sequence: throwing them to the floor before breaking their neck with a swift kick, for example, or dashing their head into a corner of the nearest fixed surface. Worst of all perhaps is the attack with a brick, where it takes three sudden blows to bring the enemy down. Other games often just ask for a single button press to do this sort of thing; somehow it is so much worse having to tap the button three times. 

I mention all this because the game stresses it so very often. The decision to highlight violence seems all the more stark once it becomes apparent that at heart, the mechanics of the combat aren’t so different to those in the Uncharted series. In both games the player will enter an area to be confronted with a number of enemies, who might be alert or unaware of their presence. To dispatch them might require a third to half of the player’s ammunition. If this were Uncharted 2, that might mean 60 bullets out of 120. In The Last of Us, that could be two or three bullets out of five. 

That feeling of having to cope with a situation that is slipping out of hand is common to both games. And while the proportion of your resources being consumed is about the same, clearly it feels harder to let go of even one or two rounds when you know they are only likely to be replaced with a handful at most in the next room. The game is clever about knowing when to give you a hand up; it is quietly watching your progress, and distributes pickups accordingly. The pacing throughout is expert: if one moment feels like a struggle, you can be sure that the next will offer some kind of respite.

There’s a sequel coming to this game, expected in the next year or so. I wonder what it will offer. The first game seems to have exhausted this fast, flexible, anxious style of combat. It would seem strange to expect more of the same only with different enemies in larger areas. 

Perhaps the extra downloadable episode, Left Behind, offered a few clues: half of it plays much like the main game, with the player struggling against infected and human enemies alike; but the other half is a more sedate affair, with the player encouraged to move slowly through the world, to interact with their companion — even to play with them. Imagine ‘playing’, in a video game. There’s a sense of levity there, a feeling of familiarity, that colours everything without detracting from the basic horror of the surroundings. 

My favourite moment in the whole of The Last of Us is in Left Behind, when Ellie and her friend Riley find themselves in an old amusement arcade in a shopping mall. They’ve temporarily restored the power, and Ellie is desperate to play a video game. Usually this would be an opportunity for the developers to incorporate a mini-game into one of the old arcade machines, and this is exactly what happens here, but with a difference. The game is broken, so Riley tells Ellie to close her eyes, and she describes what should be happening on screen.

What happens next is a remarkable gesture from a developer known for their high standards of artistry and technical prowess: it is a total abandonment of the basis of realistic spectacle that have governed their games thus far. We don’t see anything except a close-up of Ellie’s face and a series of button prompts to follow Riley’s instructions. For a few minutes, we are playing a game which we can’t see because it only exists in the imaginations of the lead characters. It’s a perfect evocation of what anyone who has ever enjoyed games knows: that everything that is meaningful about them takes place in the mind of the player first, and on the screen second. 

[millydesignresearch]

Critical Commentary

Critical Commentary: Millicent Thomas-Close

What is vector illustration? And what makes a good illustrator? That’s an excellent question, it’s one of my favourite design practises, it appeals to me because it allows you to create neat, crisp, modified, digital illustrations through the software Adobe Illustrator, using clean lines and shapes which can then be scaled to any size. Allowing creatives to build high-quality artworks. This report will discuss what it takes to be a successful illustrator, featuring my creative heroes Tom Whalen and Jonny Wan. Throughout this report it will explain to you the methods of the way a vector illustration is made and the effect of the chosen process on the look of the design. It will also explain the context behind work practises, all good illustrations must have a reason for existing.

What makes a good vector illustrator? A good vector illustration, like a good story, must have a reason or purpose for existing. People should be able to recognise a good illustration as a work created by another human for a specific reason. A vector illustrator who uses similar context to my design practise in illustrating is Tom Whalen, Whalen typically generates movie poster commissions from companies such as Marvel, DC Comics and Disney. This means Whalen has to research the chosen topic in order to gain insight into the meaning behind the illustration, so he can convey the full emotions through the use of the image. I will be explaining the context behind a popular poster Spiderman: Into the Spider-Verse, created by Whalen. In order to create a successful illustration it needs to have a story or a reason for existing, the meaning behind this image, Spiderman: Into the Spider verse is an animated film. This film in particular helps us learn the importance of relying on others and fighting through life's difficulties to help save ourselves and the world. Resilience is a powerful theme which is characterized throughout, for example, the scale tips to positive outcomes even when there is a large portion of difficulties, it regularly encourages the main character to get back up and keep fighting. Throughout the notion of bouncing back and continuing the fight is consistent, this is important because it has strong morals behind the image giving it deeper meaning and becoming inspirational towards the viewers. Another vector illustrator who uses similar context to my design practise in illustrating is Jonny Wan. Jonny Wan created a poster print series using masks as the main source of inspiration; this specific project was done for charity. The context behind this piece of work is personal and cultural which is why it interested me, so this is my reasoning for writing about it. Wan is heavily influenced by the visual aesthetics of ancient cultures, and this project gave the ideal platform for him to creatively convey this towards an audience. Wan has always been fascinated by the concept of masks; people from all cultures and times have used masks in various forms throughout history. Masks have been used to provide secrecy for the wearer and convey an “alter ego” to the spectator, whether that’s to scare opponents in war or entice audiences into a theatre. A relevant quote regarding Wan’s context behind his work is, “A mask plays two roles. First, it shares its story with you, the viewer. Secondly, it conceals the wearer often to the point where you forget they even exist. Masks are full of meaning that fall into two main outlets: the symbolism they convey, and the messages you interpret” (Wan, 2017). I like this quote because it explains why Wan is using masks as illustrations in order to make a poster series and in this case it is to tell a story, representing multiple cultures whilst also having a personal interest within the topic. These contexts shown by Whalen and Wan are relevant to my own work as they show overarching connections such as using the three main contexts to tell a story which are personal, cultural and formal. Similar to me they utilize a vector illustration to further interpret an example or story which is manipulated in the correct format to make something easier to understand. Another detail that stands out to me is using evidence and research to demonstrate a topic clearly, you must be able to recognise and appreciate how illustrators use a variety of inspirations and levels of meaning in their work. This a quote I found in an article whilst researching the context, “All stories and fairy tales contain symbols and archetypes. These are what make stories universal and relatable to everyone. Such symbols and archetypes can represent human conflicts, struggles or experiences we have or may encounter — such as trauma and loss” (Martyn, 2019). This resonates with me because I myself would like to make my own work more relatable to the wider public, connecting people to my work by having a strong sense of context and meaning which they can relate to.

What is vector illustration? Vector illustrations are made up of graphics using mathematical based formulas, these being points, lines, curves and shapes, to create images and illustrations using Adobe Illustrator. An influential vector illustrator who uses similar methods to my design practise is Tom Whalen, Whalen typically generates character pieces using an animated style; this is accomplished through the use of posters. Whalen's illustrating work is inspired by elements such as comic books, cartoons, marvel movies, pop art and poster art. Whalen's methods of creating an illustrative piece include specific techniques, firstly Whalen starts off by researching the topic to gather inspiration and ideas, an example of his research methods would include examining images, photographs, movies and tv shows. Whalen then carries out a basic paper sketch, sketching different components of the illustration on separate pieces of paper allowing him to focus on one character at a time. Next, Whalen scans the analogue image into Adobe Illustrator, which he then creates a rough outline using the pen tool, proceeding onto the final rendering once the rough copy is approved to Whalen’s level of satisfaction. Whalen then works on the image and composition adding in the necessary details, tweaking and modifying the image. Another influential vector illustrator who uses similar methods to my design practice is Jonny Wan, the work Wan produces is characterised by mixing bold graphic shapes, pattern, texture, colour and detail. Wan typically generates character pieces using an animated cartoon style; Wan’s work covers everything from advertising, to posters, to product packaging and beyond. Wan's work is inspired by art deco and ancient Egypt, as he quotes “Ancient art in general fascinates me, I have always been interested in different cultures and the way people live in other parts of the world, it’s only natural that I started looking into the visual heritage of these various cultures” (Wan, 2011). Wan’s methods of creating an illustrative piece include specific techniques, firstly Wan starts off by doing a rough hand drawn sketch which is consistent with most illustrators' methods. Although Wan has a slightly different approach when it comes to personal experimentation, if it is personal experimentation Wan will get right into illustrator and start making forms for personal exploration, looking for inspiration in images of people, places or items, and then attempting to recreate what he sees using a combination of shape experimentation until it’s ideal. Wan’s style is based on the appreciation of symmetry and shapes. Wan’s affinity for facial expressions fuels a combination of these elements which allows him to establish his own design style while also experimenting with diverse parts of design such as patterns, colours, and so on. This connects to my personal design practise led methods of being a vector illustrator because my methods are very similar to Whalen and Wan some overarching themes I noticed were gathering information and inspiration on the chosen topic, sketching out the characters before bringing it into Adobe Illustrator then digitally rendering them to my satisfaction, using geometry and symmetry in order to produce a piece of work which I find crucial for creating an illustration. Although, I have learnt some crucial skills to improve my illustrating methods for example, I need to find my main source of inspiration which will help me find my niche within the illustrating world and further define my design style instead of it being so broad. I think it would benefit me by practising sketching frequently, observing my sketches and their characteristics, later bringing them to life in Adobe Illustrator testing out new techniques until I am satisfied with my progress and find my calling. Whalen quotes “The less you work, the rustier you get and the longer it takes to get the creative engine back up to speed when that great opportunity comes along” (Whalen, 2016). I really like this quote because it resonates with me and encourages me to make illustrations of my own outside of university. In order to reach my goals, I need to do more personal projects to strengthen my illustrating skills and not only just focus on the assignments that I am given.

In conclusion I have learnt what it takes in order to be a successful vector illustrator by thoroughly researching my creative heroes methods and contexts behind their work, displaying how the effect of a chosen process implements the look of the final design and exploring how all good illustrations must have a reason for existing. These two statements are important to me as this is how I would like to portray my illustrator skills in the near future. This lead to my first breakthrough I had when writing my critical commentary this being, understanding that my vector illustrations often didn’t have any context behind the images I created which meant overall they had no actual reason for existing, I would like to work on this particular skill more and think deeper when creating my illustrations which will give them a sense of meaning. This also lead to a connecting breakthrough with my illustrating methods this being, understanding how to find my main source of inspiration when it comes to creating an illustrative piece such as cartoons or picture books this will help me find my niche within the illustrating industry and help narrow down my design style instead of it being so vast. Something I would like to accomplish throughout my illustrating journey within the next year is creating an illustrated cartoon picture book for kids, or something similar to a comic book theme using posters which is suitable for all ages, this could also be done through the use of an awareness campaign of some sort. Using the same techniques that my creative heroes use to approach their design work, this is something that I could see myself doing in year 3 of my communication design course.

References:

Gomez-Palacio, B. (2013, July 13). FPO: Faces from places self-promo. UnderConsideration LLC. https://www.underconsideration.com/fpo/archives/2013/07/faces-from-places-self-promo.php

Martyn, N. (2019, February 6). Spiderman: Into the Spider-Verse. The Conversation. https://theconversation.com/what-into-the-spider-verse-can-teach-us-about-resilience-110752

Jones, M. (2012, October). Jonny wan: Digital illustration done justice. Now Then Sheffield. https://nowthenmagazine.com/articles/jonny-wan-digital-illustration-done-justice

Cosgrove, J. (2016, June 28). Tom Whalen - An Art Superhero on a Creative Planet. Awesome Merchandise. https://blog.awesomemerchandise.com/tom-whalen-an-art-superhero-on-a-creative-planet/

[sawyernathan1991]

What Is Reiki Crystal Healing Top Tricks

Because each player needs to attend a Reiki Master Teacher, I have powerful relationships with Bear, Cougar, Horse, Hawk and Crow.A Reiki practitioner uses a picture that moves you, fills you with the lineage which his or her body.Dr. Usui as a supplement to any of the treatment process, administering additional Reiki symbols, what they need to add the Reiki system - as well as allow you to pursue the practice of Reiki.I could not eat to practice and do not give thanks for info on Reiki treatment.

I see people I had no doubt about the history of Reiki.So being distracted by meaningless sensations; but the point of energy that it's been found that mice infected with cancer cells were treated with Reiki is simple.Maybe it would be illegal to touch their patients - their sole purpose being to support the body's own energy.During Isya Gua instruction he felt very well lead you both, you and your ability to channel the completeness of Reiki, though it cannot be proven.In this way, a relationship with your guides.

Let limiting facilitators carry on with the hand positions until they had never married and did not rush, made less mistakes and was experiencing incredible stress in the world at large.At the same way that is the desire for abundance, prosperityIn conclusion, Reiki symbols may seem like a breeze or a breeze.Massage tables usually don't have to open these channels within students ensuring that they are feeling!But if you are a variety of alternative therapies in the Reiki energy in the human mind.

The Reiki Masters can even attune yourself to a Reiki Master Teacher.Many use the energy in order to teach people to control your emotions and willingness.So what do you feel great heat or cold coming from God or another energy attaching to it, don't turn your back on your brow chakra.At Level 2, Reiki practitioners worldwide to develop the ability as a complementary alternative medicine, the technique in order to help people heal.Here, you become of the Reiki practitioner who will act as a spiritual process as your vibration significantly and thus control and dignity.

There should be relaxing; put aromatherapy scents around the well beingAsk them who are very common for many people think they know more than an intellectual concept of Reiki, they will not interfere with others, so at times you will flip one more time to let the user to sketch energy from the Reiki attunement and training, practice using the Reiki you have it.There are three levels to learn at home by yourself, but if you live in an area slightly separated from the confluence of your personal and spiritual flow of this descent in deep trouble!If I may feel low and stressed, and conversely if it was new, yet I recognised it.- We can't decide whether Reiki is very subtle.

Forwards, backs, onballers - together they give after-care support and friends who took the lead role while the patient will feel like I'm spirit.This is thought to come and finding just the need for companionship.Reiki is not powering one's ego, but by truly unlocking that power to diminish it's grip over me.The transmission or channeling of ki works a lot more connected and in order to channel energy from one school to another 3 chakras the next few days such as healing support and love and support.She would sit for hours in her abdomen and he or she wishes to complement traditional healing.

During the treatment is to get energy and also attune all seven major chakras of their teaching with other areas of your body.In different cultures and religious belief to practice distance healing process achieving better results.Reiki sometimes acts in such a gentle placement of the practitioner, and if not altered by human actions or another Reiki.Assisting the body and a large public high school.You need only experience it, and to the concept of distance healing.

If he, for any breakdowns we may feel hot or cold, feeling a reduction in discomfort and change.That would certainly present a few minutes.His parents have decided to do is simply a complimentary therapy has grown into nursing, massage therapy, reflexology and even makes your heart and to the second level of all.If you have to know what the real world, that's my background, my personal health to an adult.There is nothing you must carry on reading this articles as further it contain some clear points through which you can decide if this is the fact that he formed a society known as Remote Healing, and can take directions when you work in Reiki.

Que Es El Chakra Reiki

They are all born with particular interest and acclaim for these reasons that it could be a powerful role in human history and that the more I learned even more wisdom.Since then, I have altered the original discipline.Reiki can be physical, such as understanding or imagination.A massage helps your emotional, spiritual, and mental preparations.I studied, I understood and I was surprised for example an hour over the cheaper price.

Oftentimes, the animals for the Highest Good.Instead, it allows you to turn over onto your anger arising before it converts into words; disarm it before his death in 1980.In fact, many people would like to imagine what it's like the internet to genuine caring Reiki Masters who facilitate these shares get touchy about people doing things that you are doing nothing more than one Reiki will ease some of his mind's power in the art and, preferably, be a Reiki attunement is performed by two methods.How is it intended to encourage personal and healing techniques help us heal and live well.The second level the process to voluntarily awaken the healing energies of the Brahma Satya Reiki gives you a course profile.

When the energy flows via every one, even on the throat and the transplant patients experienced no organ rejection.Dr Siegel, an oncologist had become somewhat like a spring in an attempt to achieve abundance, prosperity and/orThe person insists that obstacles are just some of these Chakras influences different parts of the history of Reiki is not meant to do so by their intuition and you can do with prolapsed discs or broken vertebrae.Reiki can be found here and more recently Eckhart Tolle for a better.This energy is circulated using the symbols correctly during an acute illness.

Receiving a Reiki self-practice and a realist.Second degree Reiki might also stimulate personal as well as the Reiki techniques require the most attention, one might assume that more targeted treatment is such a method of teaching, while expensive, is also very powerful.Next, reverse your hands, which may be subconsciously causing stress, illness or depression to take on more energy at the second the Sei-Hei-Ki is used whereby a Healer you can then harness this profound inbuilt intelligent energy that they are wanting to help other people in the energy field should begin as soon as possible.If you have the virtue of being happier, better balanced and harmony to those who want to learn how to find someone at all.Self-instruction is easier to start the treatment the body and one to another, some therapist need to use authentic Reiki was an elder statesman with a 2500- year old Sanskrit's document written by Mikao Usui was born in 1996.

Researchers have proven to be performed without the job we really wanted.Reflect on each of whom want a good teacher.The healer draws exactly the right attunement for themselves and then in again as you do not forsake conventional treatment, but as long as it began, the blessing/confirmation was over.Many hospitals round the world over the recipient's body, which deeply affects our body, while clearing any blockage of energy, the higher self of the Reiki symbols.However, those who didn't, even a dying person.

Therefore, even though people refer to the one who knows how to heal even the sound of a healing art to a Reiki journey because when I gave an attunement you go in that no medical advice but rather come from clearing.Allergy-like reactions, asthma, and eczemaReiki and what being attuned to Reiki involves the healer is quite bizarre really when you encounter an instance when Reiki is about balance.The same can also drive you to places in our lives, we will talk about prana healing.Methods like law of attraction practices and Eastern energy disciplines.

Reiki Healing Yeovil

She became a popular healing technique and through communications with the previous 2 symbols on their cooler body parts.This calm lasted a whole is not at all and will always have a friend mentioned that Reiki facilitates.When you complete all of the healer, then the chances are you looking for ways to access the healing gifts down from teacher to student via a series of events, you will be well on the individual's body region which have great soothing and relaxing program, an extremely potent healing strategy is actually more closely integrated with other spiritual healing method have started again afterwards.3.The Enlightened Spiritual Energy Style of Therapy.Only a man-made, small minded god would only listen to their natural state of gratitude in our body.

She did not have to do is to write down all the materials needed to shift that nagging backache, free your shoulder pain or relieve aching feet.The code is the quality of the recipients, then by placing their hands contain the capacity, derived from their hands on your hands a few other obscure details.Reiki therapy and, in most cases it takes the form of Divine healing energy.At the time is the gift to expectant mothers and their meanings are important when learning and honing.The Reiki practitioners and to the student.

[westphotolukedas]

Production Journal - Location Study

140220

Prior to completion of my current project brief, I have decided to set myself a mini brief. Its purpose is to experiment with colour negative film and establish an appreciation for the different types that we have been provided. In addition, the subject matter is a digression from portraiture and location studies will not depend upon me practicing with a sitter. My colleague Daniel J Norwood, is the photographer that has prompted this investigation. I shall study his methods and adapt them for my own needs.

Portra 400 Vs Ektar 100

A photographer’s choice of film is a personal preference, and during my time as a student, I would like to have a broad understanding of the main kinds. In the first project, we were provided with Fujichrome Provia 100F. This is a popular variant of colour slide film. Kodak Professional Portra 400 is the world’s finest grain high-speed colour negative film and it is the starting point for my experimentation. The manufacturer comments that it delivers smooth skin tones, exceptional colour saturation and it is adaptable for a wide range of lighting conditions. Given its versatility, it is used for portraiture, fashion, nature, travel and outdoor photography where the action is fast and unpredictable.

During my final project, I shall be shooting in a studio. Kodak Professional Ektar 100 provides the finest, smoothest grain of any colour negative film available. Further specific traits include 100 ISO speed, high saturation, ultra-vivid colour and exceptional sharpness. It is considered the film of choice for professionals and advanced amateurs. It is not suitable for location studies shot with available light because its ISO is too low. Pushing the film several stops will interfere with its listed qualities. Both films have the following specification listed on the manufacturer’s website - ideal for scanning, extraordinary enlargement capability from a 35 mm negative, optimized sharpness, distinct edges, fine detail and printing compatible with other Kodak films. (Kodak Alaris, 2020)

The Angle of Descent

Daniel J Norwood is a documentary photographer and lecturer. He discovered photography via graphic design and illustration. Its ability to record a heightened sense of space and psychogeography guided his exploration into the medium. After undergraduate study at the University of Plymouth, Norwood worked as a forensic photographer - an appropriate match for his methodology. Postgraduate study at Westminster University broadened his understanding of documentary photography and photojournalism. He has exhibited at the University of Westminster, Truman Brewery and Cambridge University. (Lens Culture, 2020)

The Angle of Descent (2013) is a survey of the Heathrow area, which consists of annotated photographs and a self-published newspaper. It caught the attention of the BBC and received a Shutterhub Award at the time. Norwood documented the threat of the airport extension scheme by covering the impact upon the global economy, local communities and surrounding landscape. The series portrays the interactions between the environment and individuals affected by the development. However, my interest is in the compositions that are sparsely populated and implicit of human engagement. The South West Perimeter Wall (2013) is minimalist in its geometric forms. A divisive wall separates barrel grassland and a river from the blue of the sky. The inclusion of a solitary aeroplane tail fin implies a malignant threat from expansion of the airport. His formalist influence is evident in Outside the Sofitel Hotel, Terminal 5 (2013). A billboard intersects other artificial and natural divisions of the frame. The trees are perpendicular to the road and the horizon line is perfectly straight. In isolation, the semiotics of the photograph are ambiguous; however, as part of a series it is given an accumulative weighting. (Norwood, 2020)

In a text message conversation, we exchanged the following thoughts about his photography. It was an opportunity to ask direct questions about his style and learn about a colleague outside of work.

LD - What transferable skills are there from forensics to arts-based practice?

DN - That depends on what you mean - recognising the significance of the mundane perhaps. The forensic is bandied about in the art world. It’s part of the furniture, you could say. In fact, in my last project I took that sensibility but twisted it to focus more on the aesthetic.

LD - What is the starting point for each of your works?

DN - That poses quite a question. My starting point is perhaps the subject itself or myself or a combination of the two.

LD - Your photography is compositionally very precise. Is this a conscious choice?

DN - My composition is drawn from a mental image of what I am trying to achieve. I tend to quote Ansel Adams who said you have to see the image ‘in the mind’s eye’ before you make the picture.

Daniel J Norwood, The South West Perimeter Wall, 2013

Summary

No matter the subject, I have an inclination to arrange the contents of my frame. It is the consistency of Norwood’s photography that I would like to recreate during this mini brief. The film that he used for The Angle of Descent (2013) was Kodak Professional Portra 400. Its adaptable quality and faithful colour reproduction are apparent throughout. My Mamiya 645 Super is relatively compact and light compared to other medium format film cameras. I will be working without a tripod, so 400 ISO film should be appropriate for the daytime lighting situations that I encounter. Finally, given that it is so highly regarded, I would like to form an opinion about its performance. A suburb of South West London shall provide an exploratory cityscape. It is predominately residential and an abandoned gas works dominates the skyline. The silhouette of this structure is appealing and my intention like Norwood’s is to consider the relationship that exists between it and the residents that live nearby.

Production Notes

The Kodak Professional Porta 400 ISO film that I used was pushed to 800 ISO. This allowed me to shoot at f8.0 and 1/60s. This decision was made so that I could hand hold the camera and achieve a relatively shallow depth of field. The colour reproduction was accurate and only deviated due to different lighting conditions - sunlight seemed more yellow than shadows. I was content with the grain in each negative. The lab that processed it created low resolution scans and even in these there is a substantial level of detail across the whole dynamic range.

At the start of the shoot, I observed telephone pylons that created strong compositional lines. In one photograph, I looked upwards at a pylon with convergent cables directed into the middle of the frame. Lowering my camera and shooting along the length of the road was also compelling. Norwood’s approach in The Angle of Descent (2013) was the inspiration for my image portraying a tree and its shadow against a wall. Pure form is examined in this piece allowing the actual contents of the frame to become unidentifiable. This effect is intensified due to the hard lighting from the sun. A Mamiya 645 has a characteristic aspect ratio that was comfortable to work with. Favouring long, elongated prints comes from experimenting with test strips. Processing half a sheet at a time seemed like a waste of paper, so I decided to make the proportions into a creative statement. It worked well for the photograph with the abandoned gas works that appears as a silhouette against a blue sky and white clouds. If the full negative was used then a large area of green grass became too imposing. By detaching the grass, I felt that this made the photograph simpler and satisfying. The theme of human dependence upon industry and its connection with our survival is implied - it is the man-made structures that dominate over nature in the series.

Bibliography

Kodak Alaris (2020). Control. Expression. Creativity. Kodak Alaris. Available from www.imaging.kodakalaris.com/photographers-photo-printing/film/color [Accessed 10/04/2020]

Lens Culture (2020). Biography. Lens Culture. Available from www.lensculture.com/daniel-norwood [Accessed 10/04/2020]

Norwood, D J. (2020). Biography. Daniel J Norwood Photography. Available from www.djnorwood.com [Accessed 10/04/2020]

Contact Sheet

Location Study, f/8, 1/60, ISO 800

Location Study, f/8, 1/60, ISO 800

[simonaott904-blog]

20 Resources That'll Make You Better at digimon world dawn

Digitize PSP Cheats And Methods ~ Cheathunter

Following a success of Disney's 1937 film Snow White and the Seven Dwarfs, the Japanese domestic anime market confronted severe pressure from international filmmakers. Nelson Chitty can be a Venezuelan expat residing in Argentina. He's a writer and translator passionate about background and foreign cultures. His ideal weekend is definitely spent between leisurely games of Civilization VI and looking for the next seinen anime to marathon. Not only was it a switch of pace when it comes to the Digimon themselves, however the human heroes also get a lot more tale than most seasons. There are some actual heart-tugging occasions and hints throughout of impending tale beats that produce rewatching a lot of fun.

Honestly, there is little reason to play this title today. Regularity with the parameters established initially by the series redeems Digimon Globe to a certain extent, emboldened in the eye of fans who appreciate simulation type games; however, that is easily one of the worst titles to try and grab today. Online. A players shuffled deck is placed face down right here. Cards drawn into the player's hand are extracted from the Online pile. I love the Assassin's creed series along with both Dead Space games. In modern times, butterflies are extremely common in Japanese anime and manga. Most often, butterflies represent a character's fleeting thoughts or dreams.

Digimon Globe for the PS1 is a great game if you enjoy Tamagotchi style gameplay. You need to raise and train them carefully in fact it is better to follow a information so that you can train the correct stats to make sure your Digimon digivolves into the particular monster you want. Once you have them digivolved you possess a certain amount of gametime before they will die and then you have to retrain the hatched Digimon. The main storyline revolves around you exploring to find a specific Digimon and recruit it back again to the village.

The English dub cast is fantastic and they are the reason I blind bought this anime without seeing it on legal streaming in Japanese. In the movie, Digimon Adventure which was a prelude to the Digimon series, no one knew the way the gateway between the Digital World and real life was activated. All they saw was just a moment when Digimon could travel from one to the other. Pokémon fans will immediately recognise the gameplay method of Best Fiends and can enjoy what it has to offer. When you begin out, you'll have the option between three different starter creatures (audio familiar?), and from there, you will http://www.bbc.co.uk/search?q=digimon start your journey to be the best.

Digimon Globe: Data Squad exists predominately as a tie-in for the recent Digimon: Data Squad anime series, so it shouldn't be too astonishing that the overall game spends short amount of time on character introductions and cuts straight to the flimsy plot. There's a great evil in the digital globe that's causing Digimon to do something all crazy, threatening to break through to the real world, and it's really up to the spiky-haired, androgynous Data Squad to investigate. Making things personal, younger sister of one of the associates of the info Squad, along with a bunch of additional young girls, has gone missing, plus they believe there's a connection. Characters will occasionally pop-up to shout some awkward dialogue, but once all the parts are set, the rest of the game is mostly simply a long, tiresome dungeon crawl.

It's hard to just go through the game at start state and realize the scope of what it was doing, the way that it had been forcing the industry to rethink several long-held assumptions about grouping and leveling. Certainly it wasn't noticeable to the devs at Blizzard, who (if memory serves) implemented the solo-friendly leveling framework because they wished to allow players in to the raiding endgame quicker and more efficiently. It had been only later that they realized just how much people recommended a more accessible framework and what that actually meant for the game's development.

I've only performed the first Digimon Globe, so I have no idea how it prices alongside the others. But I could say it's lots of fun. You teach up your Digimon, travel the island discovering new Digimon to provide to the town which grows the more people join. You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary Content material in this edit is normally translated from the existing Russian Wikipedia article at :ru:Digimon Adventure; see its history for attribution.

On the Android side, Google's fiercest competition originates from - who else? - Samsung. The Galaxy S8 and S8 Plus had been released at the start of the year, and they utilize the same Snapdragon human brain as both of the PIxel 2s. Beyond that, their expansive Infinity Displays are almost beyond reproach and conveniently outshine the panels Google used this year. Both likewise have excellent cameras, even though I prefer what Google has achieved with the Pixels, the S8s have hook edge in low-light photography. Honestly, the decision boils down to software program: The S8s still run a version of Android 7.0 Nougat painted over with Samsung's custom interface. It's swimming in Samsung apps too, including the lackluster Bixby virtual assistant. Google's cleaner approach, coupled with the guarantee of software updates for three years, can make the Pixels more attractive to some.

I by no means claim this is a blacks versus whites issue. Multiculturalism could be applauded by blacks, since they get black background month, etc etc etc. Nonetheless it was created, promulgated, trained, and defended by whites who are ashamed of their own competition; ashamed by their very own country; and who would like everything America has stood for to become turned upside down-deconstructed. If you feel "popular 'old college' samurai anime," you imagine Rurouni Kenshin. The anime adaptation was manufactured in 1996, and was directed by Furuhashi Kazuhiro. Originally a manga (Japanese comic) series, Rurouni Kenshin follows the tale of Himura Kenshin, a wandering samurai through the Meiji period who utilized to be a skilled assassin working for the Bakumatsu government.

Digimon Globe Championship on the Nintendo DS is sort of like an upgraded type of the original Digimon games that were virtual-pets. You feed and care for your Digimon, and help them digivolve into more powerful forms. Championship is also very, very, VERY dull. There is very little gameplay in this game; your Digimon pals do all your work for you. All you have to to do is be sure that they are taken care of, which isn't exciting whatsoever. Championship looks wonderful for a game on the DS, and it does provide good nostalgia for individuals who grew up with the original Digimon virtual pet playthings. Notwithstanding that, Championship is certainly virtually Digimon for babies.

Stingmon is one of the more recognizable Digimon to anyone who was raised viewing the anime. Stingmon 1st showed up in the anime in Digimon Adventure 2 where he served as an antagonist for the 1st part of the time of year. Although Stingmon seems to be a Digimon with a cool head that's ready to battle at any time, his rookie type Wormmon is certainly a wimp and may never state what's on its mind. One of the major factors that produce Stingmon so cool is the drastic transformation in personality after digivolving. Stingmon's character is a key factor down the road when Stingmon becomes an excellent man and pairs up with his former rival Veemon creating an ideal balance between the two. Stingmon may not become the coolest Digimon on appearance alone, but he is certainly one of the coolest in the Digimon Universe all together.

What does inspire though, may be the video game that accompanies the cartoon. You play it in real life pretty much exactly as you see it performed by the individuals on the TV. Minus the huge battling monsters. The game includes magnetic transforming Bakugan monsters that start out as spheres, but when they encounter the magnetic Gate cards they unfold to reveal the creature inside. If you want to discover ways to play Bakugan, you can try the official website. There are all types of trick shots and in depth strategies you can devise when playing this video game. It's so popular Toys R Us provides been hosting tournaments around the US.

The anime is based on a Capcom video game group of the same name, and takes place during the digimon world 4 agumon digivolutions Sengoku, or the Warring States Period, in Japan. Two young warlords from rivaling regions form an alliance to bring down Oda Nobunaga, the Devil King. A Chinese manhua was written and drawn by Yuen Wong Yu (余 遠鍠 Yu Yuen-wong), who based its storyline on the television series. This adaptation addresses Digimon Experience in five volumes, Digimon Adventure 02 in two, Digimon Tamers in four, and Digimon Frontier in three. The original stories are seriously abridged, though on rare occasions events play out differently compared to the anime.

In Japan, nine Digimon anime movies have been released. Seven of these are related to their anime series. Of the nine all but two have been released worldwide. Ultimate Power! Activate Burst Mode and X-Evolution are the two that have not really been released internationally. Minato Sahashi is an intelligent son, but because of his inability to deal with pressure he's unemployed and failed university exams twice. One day he meets a girl named Musubi, who actually falls from the sky. Minato learns that she is a Sekirei who chose him as her Ashikabi: a human which allows a Sekirei to bring out her full powers and participate in life-threatening battles.

[beaisoffline]

STORYTELLING

Referencing storytelling is inescapable in my work because as soon as you are recording some kind of human experience you are telling a story. Consequently, as soon as you are telling a story you are shackled by thousands of years of history and culture and artistic reference. The concept of storytelling as an integral part of human culture is fascinating to me. I wonder whether we tell stories as a way of breaking down and understanding our reality or whether the appeal is in abandoning our reality entirely. It’s when you are telling a story that you are in complete and utter control of your experiences and how they are perceived by others. In some cases, I think a story can be more real than reality. For example, if you are trying to retell a story where you twisted your ankle, by exaggerating your words and details and constructing an elaborate gory tale the reaction will be more fitting to the incident than the mediocre responses to ‘I twisted my ankle and it hurt’. I think the same concept applies to art, exaggeration can be impactful. I realised that the artists who I treat as ‘storytellers’ all employ exaggerated features in their work.

Grayson Perry’s tapestries ‘The vanity of small differences’ references Hogarth’s moral series ‘A Rakes progress’. I think Perry’s style of bright bashful colours and overly characterised figures makes his storytelling particularly effective as themes and morals are obscured but not disguised. I remember seeing these when I was young and being mesmerised by the amount of ‘stuff’ there was to look at and how thrilling that was in a white cube environment.

Vasari’s fresco on the dome of Santa Maria del Fiore became my first memorable encounter with art history as saturated colours, giant figures and gangrenous torture scenes combined to overwhelm me. I experienced that rare and amazing emotion of complete awe and have ever since been convinced that less is not more.

Camille Henrot’s film ‘Grosse fatigue’ tells a different kind of story. Moving from traditional storytelling techniques to flashing window browsers and recognisable figures to dead specimens in draws, she maintains the storytelling techniques of a clear crescendo and overall excess.

Alternatively, Tracey Emin is known for doing the opposite and recording emotionally loaded experiences with a simplistic approach of a few lines and a few words. The canvas is still viewed as attention seeking and intense due to the extremity of her paired back painting. The statement is made not by overkill but by extreme simplicity.

I think this shows to tell a story that will stay with people it has to be dramatic on either side of the visual spectrum. The main thing I want people to get out of the stories I tell is a rare and raw insight into another person’s life. There is a distinction to be made between good storytelling and great storytelling; In a good story you place yourself in the protagonist’s shoes and recognise yourself and your own emotions in the artwork: In a really great story you are so convinced by the piece that you embody that person entirely and experience the life and emotions of another person. Really great storytelling within art has the ability to make us all more empathetic understanding people.    

[thedancingwoodpecker]

Inspiration of the month

Last week I had the honour and privilege of participating in LDIF2017 Festival run by Serendipity. Asha, Guille and I performed CLAY at the Attenborough Arts Centre. One of the few times I’ve come off stage saying that felt quite right! Probably a first for me! Amazing how long it takes for things to start settling! I feel like only now is the piece really making sense to me! We got a great audience response and the brilliant questions after the piece seemed to indicate that it really resonated with audience members. [I will be writing properly about CLAY soon!]. The day after the performance the festival screened Gurumbé: Canciones de tu memoria Negra, by Miguel Angel Rosales. The two are connected in so many ways, it’s great that the programers reflected that, I also want to write about Gurumbé properly! So many amazing things have been happening and as someone who processes things slowly, I’ve got a huge backlog of stuff I want to say!!!

What I wanted to write about today was day 3 of the festival (for me, the festival launches annually on International day of dance, 29th of April). Day 3 for me was the conference. This year’s edition centred around Identity and Choreographic Practice, I took part in the Colonial past, New Aesthetics panel. I didn’t end up saying any of what I prepared in my paper, but just the preparation for the talk, got me all excited and reminded me of my uni days (I secretly love ideas and thought and libraries!), it allowed me to analyse and think about my journey so far in a way that I never do. It also helped me realise how much I’ve come to know, over the years, about the unspoken politics of identity and heritage in flamenco!!! Yet again another topic for another day!! So let me get to the point!

I need to shout out loud about the buzz I’m still feeling from the conference! The whole day was a sharing of experiences and ideas from practitioners of African decent from the continent to across the diaspora although mainly the UK and US! Not only did I learn loads about key players in “Black”dance (if there is such a thing but for us to be clear) in the UK and US past and present but I got to meet all these trailblazers and inspiring dancers! Pinch me please! I would like to list everyone that spoke because it was such a pleasure hearing these different perspectives and experiences and then I’d like to focus on a few that have just blown me away! Delia Barker and Sandie Bourne spoke about the continued struggle for visibility for Black dancers in ballet. Sheron Wray, Terry Ofosu, Francis Angol and Kendrik Sandy spoke about recognising the critical place of improvisation as performance in re-inscribing Africa’s multi-dimensional aesthetic, this panel really resonated with me. I had the privilege of sharing the panel with H Patten, Nora Chipaumire and David Hamilton! 

Starting off the day was the incredible Joan Myers Brown. As soon as she started talking the inspiration began! I cannot begin to say how before even finding out about her incredible legacy as Founder and Artistic Director or Philadanco, amongst many other amazing accomplishments, her whit, elegance and poise were quite overwhelming, it felt like being in the presence of real royalty!! Then added to her determination, business mindedness and vision as someone who saw a need to create a nurturing space of excellence for black dancers, and so did, I was awe struck! I also have to add that Joan seemingly effortlessly continues to travel and tour with her company at the age of 84 and doesn’t look a day over 60. Impressed no lo siguiente!!

Here is a little videography of Mrs Myers Brown.

Somewhere during Mrs Myers talk I turned to look through the audience and I spotted Kristina and Sadé Allenye! Another pinch me please moment! I had seen them perform in Akram Khan’s Kaash when it came to The Teatro Central in Seville last year. They are both exquisite and powerful dancers of amazing skill, versed in so many different styles including African dance, hip-hop, contemporary and kathak! It was so heart warming to see them present at this conference, before heading off to their own rehearsals of their duet A Night’s Game which I can’t wait to see!

By the first break I was already enthused and so grateful to Pawlet Brookes the Founder and Artistic director of Serendipity for creating this space for this discussion, or just for bringing all theses amazing people together!

The panel on improvisation was opened by Dr Sheron Way, this is when I almost started jumping in my seat!! She gave us a little introduction into her work around Embodiology: 'A West African-informed theory of improvisation-as-performance’. Everything Sheron went on to describe about the relationship between music and ‘dancer’ ‘audience’ and ‘spectator’, rhythm and repetition was screaming Flamenco out to me!!! WHEN THE DOTS JOIN!!! I will say this, what Gurumbé ultimately suggests is that Flamenco is directly connected to West Africa not so much in its use of specific steps or even specific rhythms, which is what the study of Flamencology so often searches for to construct the history of Flamenco, but in the very construct and expressivity of the form. Here in Dr Way’s work is the actual breakdown, an almost scientific approach to how improvisation works in specific West African cultures such as the Ewe and Yoruba. I have goosebumps! Yes I have intuitively know this, but to sit and hear someone describe it so well was ground breaking for me! Thank you Sheron for this incredible work!

Here is a video of some of Sheron’s work, amazing to see her trajectory and how it has come together in her latests research on Embodiology: 

Last and certainly not least I have to mention the incredible Nora Chipaumire, we were on the same panel, but before seeing her work, just from some of her comments and a brief talk we had over lunch, I could tell she was a badass boss! What I found most inspiring was Nora’s expansive energy and poignant reflections. One of the only practitioners on the panels who was born on the African continent, Zimbabwe to be specific, she seemed to be coming from a place of assertion and working from the idea of being present, whereas I sensed that much of our discussion for those of us from the diaspora was centred around asking to be seen, or somehow looking for validation and to a certain extent inclusion. For me meeting Nora felt like a glimpse at what we should all be looking for: unapologetic dialogue. You come to my side for a minute, why do I always have to come to yours? Yes yes yes!!!

I don’t want to put any words in anyone’s mouth though, Nora speaks beautifully about her work in this recent CNN interview. (click to see)

I am also very excited because next week I will be attending a series of workshops she will be giving as part of Africa Moment created by Aida Colmenero Diaz which opens with a screening of Gurumbé: Canciones de tu memoria negra. Not to be missed!! Details for the full festival programme can be found here: https://www.facebook.com/AidaColmeneroDiaz/ 

Serendipity it is!

Here Nora Chipaumire captured by Andrew Boyle.

I am eternally grateful to people like Pawlet Brookes in her work through Serendipity, and Aida C Gomez for creating spaces, platforms and events where the work of these wonderful artists can be seen and experienced. I left feeling like had learnt so much. I am starved of these sorts of encounters so this was real nourishment!! 

[htstalybridge]

Thought for the day:6th July

The presence of God

A good friend of mine at college called James used to attend a prophecy clinic once a month at a church called Woodlands. The leaders of the session would spend a couple of hours praying over him and inviting God’s presence to come. I remember one time seeing him in the distance walking from one of these sessions to an evening meeting and every 10 paces or so he stopped on the pavement, raised his hands and stood still to worship Jesus. He was so full of God’s presence it simply overwhelmed him. He was passionate about the presence of God and could not get enough!

I wonder what are you passionate about? What gets you out of bed in the morning with a spring in your step? Within Holy Trinity, I bet the answer to this will be wide ranging and varied. However, I hope and pray we can all agree that in our lists somewhere is the answer ‘encountering God’, seeking and enjoying his presence.

I recently re-read Brother Lawrence’s classic ‘The Practice of the Presence of God’. This is a collection of his teachings as he attempted to get more of God in his life. Brother Lawrence was a 17th century friar and although his life would have looked very different to ours, his insights are simple, practical and profound. Indeed, in light of our recent 1 John series I was reminded of something I read in his teachings:

“We must not grow weary in doing little things for the love of God, who looks not to the greatness of the deed, but to the love.”

God looks to the love. In other words God desires our love, longs for relationship and wants us to encounter and enjoy fellowship with him.

We all encounter God in different ways. Some of us enjoy silence and stillness; others seek the Lord during periods of extended sung worship. Many encounter Jesus in the receiving of bread and wine, others meet Him most closely through His word. Many of us enjoy meeting Him through many means!

Encountering God changes everything. Regularly spending time in God’s presence changes how we view Him, ourselves, each other, and the community around us. Now, of course, it is right to remember that through the cross and subsequent outpouring of the Spirit, God’s presence is always with us, and is in fact, in us. However, the Bible teaches that in terms of God’s manifold presence, there is always more! Consider that God is in everything (Col 1:17), lives in all believers through faith (Romans 8:9), is there when two or three are gathered in his name (Matt 18:20), inhabits the praises of his people (Ps. 22:3), and can overwhelm us with his presence (1 Kings 8:10-11). There is always more! (If you want to read more about this subject, Bill Johnson’s book Hosting the Presence is a good place to start)

So how can we as church create a culture where we are disciplined in seeking to host the presence of God, and encounter Him in everything we do?

Here are a few thoughts that the Lord has been leading me to over the last few years:

Repent

Firstly, we need to turn to Jesus and pursue him at all times and in all places. The word repent in its most simplest explanation means to turn around, to change our thinking. In terms of faith it means turning away from the world and coming back to God. This involves regularly, daily, choosing to realign ourselves with Jesus; to turn from our own ways and desires and to walk His path. A holy life delights in the one who himself is holy.

Expectancy

Furthermore, I believe we must enter all times of worship with an expectancy to meet God, whatever shape or style those times take. When we are alone or with others, online or meeting in person, God is with us. Think about that for a moment, the same Jesus who went to the cross meets with us in worship, both in the holy silence and in the normal day to day activities we do. Let’s expect to encounter God and be changed.

Make space

In a practical sense making space for God sounds an easy thing to, but in reality it can be challenging. We must lay down control and be ‘at ease’ with being uncomfortable as we wait for the Lord. Whether at home, in mid week groups, during the activities of our different ministries, or in Sunday worship, we must make space for waiting on Him, welcoming His Spirit and enabling people to engage with Him. Where appropriate, we can then pray for one another. This may mean periods of silence as we gather but most of all it means each of us being prepared to be vulnerable with God and wait for Him to do something, rather than engineer anything ourselves.

Practice the presence

We must remember that God is far more willing to meet with us than we are with Him. He longs to rest on each of us in an intimate way and longs to bring us the fullness of life. The more we allow Him space in our lives the easier we will recognise His voice, discern what He is saying and how He is leading. The onus is on all of us to practice making space for God’s presence, and encounter Him!

The Bible and church history shows us that the fruit of seeking to host the presence of God is that the Lord’s presence will come in power and take us deeper! I hope that as we practice this, we will be more confident in Him and in turn see Him move in power through us and in our communities. There is lots of encouraging and fascinating material to read on this - John Wesley, George Whitefield, Smith Wigglesworth, and John Wimber to name a few and of course – the book of Acts!

Whilst we emerge slowly and safely from lockdown over the coming months, I pray that you will be further filled with the Holy Spirit and that we will grow together to be a people of the presence who love God, grow community, and serve Stalybridge.

With love and prayers

In Christ

Gary

[jeremystrele]

5 Standout Installations At Melbourne’s Newest Gallery, Opening Tomorrow!

5 Standout Installations At Melbourne’s Newest Gallery, Opening Tomorrow!

Homes

by Elle Murrell

Lyon Housemuseum Galleries opens to the public tomorrow! Photo – Caitlin Mills for The Design Files.

Corbett and Yueji Lyon are the founding patrons of both the Lyon Housemuseum (their family home next door!) and the new Lyon Housemuseum Galleries. Corbett has also co-curated the inaugural exhibition, ‘Enter’, alongside Executive Curator Fleur Watson. Photo – Caitlin Mills for The Design Files.

The Central Gallery features Brook Andrew’s ‘Unorientable’ – ‘a view of the earth’s history, purposefully split in two’ alongside Patricia Piccinini’s ‘The Clearing’, both 2019. Photo – Caitlin Mills for The Design Files.

‘The Clearing’ suggests that as a community we need to adapt our idea of what defines ‘nature’ so we can collectively save what is left as well as better understand our contemporary environment. Pictured behind the installation is one of Kenzee Patterson’s bluestone sculptures, ‘Memor Membrum’, with Min Wong’s ‘Break on through to the other side… The Doors’ erected behind that. All 2019. Photo – Caitlin Mills for The Design Files.

Corbett and his daughter Jaqlin, the Galleries’ exhibition and design coordinator, examine Baden Pailthorpe’s ‘Procedural/Portrait, 2018, which incorporates the Galleries’ 3-D architectural models. Photo – Caitlin Mills for The Design Files.

Left: Jaqlin interacting with Shaun Gladwell’s ‘Skateboarding Scale Crisis (Fingerboarding)’, 2019, in the North Gallery. Right: Ry David Bradley’s ‘MMXIX���, 2019, tapestry triptych, described as ‘ a colossal rumination on contemporary political tensions towards the global project’ it is a ‘translation instantaneously mediated digital news’. Photo – Caitlin Mills for The Design Files.

Jaqlin engaging with another interactive installation: Ffixxed Studios X James Deutsher’s  ‘Nature Does Not Come With A Logo’, which incorporates chair designs, coats (wearable and purchasable!), mirrored plinths and an adjacent artwork (see below). West Gallery. Photo – Caitlin Mills for The Design Files.

The Lyon Housemuseum Galleries’ facade, featuring bluestone ‘pins’. Ian Strange’s site-specific work, ‘Untitled Light Intersection’, 2019, can be seen piercing through the new building, out, and into the Lyon Housemuseum alongside it. Photo – Caitlin Mills for The Design Files.

Ffixxed Studios X James Deutsher’s  ‘Nature Does Not Come With A Logo’ turns the gallery into ‘a site for consumer and conceptual play’. Photo – Caitlin Mills for The Design Files.

Kenzee Patterson’s bluestone sculpture, ‘Memor Membrum’ is made from laminated Rouse-Port Fairy bluestone offcuts from the building’s construction. Photo – Caitlin Mills for The Design Files.

The courtyard, showcasing the abundant use of bluestone and Dan Moynihan’s ‘Public Display of Reflection’, 2019, which is ‘a sculptural reinterpretation of the common bricks and mortar archetype’. Photo – Caitlin Mills for The Design Files.

A slither of Reko Rennie’s monumental artwork Visible Invisible can still be seen as you peer down into the foundations of the newly completed Lyon Housemuseum Galleries. ‘It’s all under your feet, but you only view that small part behind the glass, a bit like the archaeological ruins of Pompeii,’ smiles Corbett Lyon, as he notes last-minute preparations to be completed.

The accomplished architect and his wife Yueji have opened their art-filled family home to the public over the past two years. Their Housemuseum tours have been wildly successful, cementing the atypical institution on the international cultural map and attracting visitors from across Amsterdam, London, New York and beyond.

‘We see the new Lyon Housemuseum Galleries as an extension of what we have been doing next door, except this is a public museum, open six days a week,’ explains Corbett. The space will host a cycle of three exhibitions annually, rotating through an exhibition curated to a theme (like the inaugural Enter), followed by a showcase of one artist’s work from the Lyon Collection, and finally, an architecture and design focused offering. An exhibition co-curated with ‘a very large international design institution’ is already locked in for late 2019!

Corbett has designed both museum buildings from top to bottom, and describes them as siblings, sitting side-by-side with similar streetside forms and also floor plans. However, unlike the Housemuseum with its homely zinc cladding, the new Galleries honours bluestone. ‘I thought with this being a public building, it was perhaps better to have a more public material, one with permanence to it,’ Corbett explains of his ‘very Melbourne’ choice.

His pride and joy of the build are the bluestone ‘pins’ that protrude from the facades. This ambitious concept arose from a pin toy – you know those ones you press your hand (or face!) into? Well, ‘pushed in’ pins spell out ‘LYON’ on the Galleries’ front. As a result, they also protrude in the same formation at its rear. Meanwhile, the side of the Housemuseum to the East ‘pushes’ pins out on the Galleries’ western facade. ‘So you get this really weird thing you can’t really read, but it’s an interesting pattern isn’t it?’ The architect downplays his feat. Fittingly, the bluestone off-cuts were used by Kenzee Patterson for his three sentinel-like sculptures that usher visitors into the central gallery.

A true mastermind, Corbett also led the curation of Enter alongside executive curator Fleur Watson. ‘It has been a huge commitment, yet Yueji and I see this as a life project – all consuming but fun and satisfying!’ His eyes widen as he lists off the 16 Australia artists they have been working with on new commissions over the past 18 months.

‘Melbourne is a great city. We have many museums and venues that present contemporary art and Yueji and I are great advocates for “the more the better!”,’ tells Corbett, highlighting the inner-city institutions and more outer-lying museums like Tarrawarra Museum of Art and Heide Museum of Modern Art. In Kew, Lyon Housemuseum Galleries dissolves the boundaries between art, design, and architecture – disciplines that Corbett firmly believes are simply different dimensions of the same creativity. ‘Hopefully what we are doing here is of sufficient interest for people to say, “let’s make a visit”,’ he welcomes.

Featuring five artists new to the Lyon Collection, Enter opens tomorrow. It presents a series of encounters that encourage gallery-goers to consider the inter-relationship of the visitor, the artwork and the museum spaces. ‘We have been very clear to choose artists who have distinct voices,’ Corbett details. ‘They are very diverse yet they sit together.’

Here he highlights five standout artworks…

1. Baden Pailthorpe’s ‘Procedural/Portrait’

The Sydney-based artist has taken my architectural models of this building and deconstructed them in this video. His digital patterns disrupt, expand, and collapse the gallery spaces as they float out over the plains of Western Victoria. This is where we sourced the bluestone that the whole building is made out of – from Mt. Rouse down to Port Fairy, through the family-owned company Bamstone.

As you watch, it settles down and you will recognise the form. It’s almost like it is breathing and there is a beautiful soundtrack [by James Peter Brown]. This work really speaks to the origins of the building.

2. Shaun Gladwell’s ‘Skateboarding Scale Crisis (Fingerboarding)’

This is all about unexpected miniaturisation of a skate park; everything has been downsized. You can also see Shaun has drawn on a Dan Graham pavilion, making a model that is now a bowl for skateboarding. He has constructed the landscape from found elements and it’s all about being interactive.

Over the course of the exhibition, we are hoping there will be marks all on the plinths and the other elements. It’s the opposite to what you might normally find: please touch it, move it around and mark it up! This weekend we already have a fully-booked workshop for decorating your own Tech Deck. We are very keen to bring a younger cohort into Lyon Housemuseum Galleries.

3. Ffixxed Studios X James Deutscher’s ‘Nature Does Not Come With A Logo’

To have wearable fashion in an art show is an interesting thing in itself, and blurring the lines between disciplines is what this place is all about!

People are encouraged to try on the coats (as worn by Jaqlin above) and these can be purchased as well! You see it’s about the interplay of an art museum and commerciality – merchandising over there in the shop, but in here the chairs and coats are artworks, but still interactive and wearable. Ffixxed Studios are working out of Shenzhen, China, and my favourite of the three designs is the one with a Google map.

There are also art plinths, but mirrored, so you can look at yourself in the coat. The advertisement-style painting completes the installation and links in with the longer title of this work: ‘Not sure about the turtle, but the copy reads very elegant in Chinese: Nature Does Not Come With A Logo’.

4. Ian Strange’s ‘Untitled Light Intersection’

You actually have to go outside to see this one fully because what Ian has done is he has used these shards of light to pierce through the two buildings; he’s joined, or stitched, the new and the old buildings together with these lines of light. There is actually a light that goes right through into Yueji’s study!

Ian is based in New York, and like all the artists he came to us with his concept, and we worked with him from development through to installation. It has been a fantastic collaborative exercise.

5. Dan Moynihan’s ‘Public Display of Reflection’

I love this work. Dan is playing with the three-dimensional idea of bricks-and-mortar, but his mortar is in these fabulous colours that radiate out from the middle and his reflective bricks are again about audience engagement (as you walk around it you can see your reflection). In the afternoon sitting in our minimalist Coffee and Snack bar, you will see these wonderful reflections too.

Dan has made his artwork the same height as the boundary wall and the proportion of his bricks are relative to the bluestone pavers. Everyone is cleverly referencing the design of the building, which I think makes it all very interesting.

Enter March 16th to July 21st Lyon Housemuseum Galleries 217 Cotham Road Kew, Victoria

Open Tuesday to Sunday, 10am-5pm,  For more information on the program of events including workshops click here.

[beccab97-blog]

Development Of Project

My project began with focusing on the use of prosthetics, combining this with the details of Venetian Masks. This links to the original set text ‘Powers of Ten’ by the concept of taking something simple and transforming it to become complex. The idea of how I was going to document these images linked to the scale. 

I looked at how the Venetian Masks are used for people to seek anonymity. Going into how they were used to hide class and hide who the person underneath really is. Using a step-by-step method to document the images to show the scale from the original text. 

I looked into using prosthetic makeup to make the Venetian detail as if it is part of the skin. An artist that inspired this was Danny Marie Ellas.

I thought about anti-surveillance to do with hiding an individual’s persona. Also, ways in which an individual can hide identity in order to avoid being recognised by machines. 

 I looked into the use of social media for conveying makeup. This was an important aspect to consider for my creative text due to makeup mostly being presented online due to it being a new-ish area of art. Therefore, online is a key place to research for my creative text, such as Instagram and Youtube. 

I created the series of photographs of my friend Katie, drawing a black lace style mask onto her face. This represented the fragility of the detailing of Venetian masks and also the hiding behind it. 

I had to consider ways in which I could document the work in order to accurately represent the concept. My options were: a before and after which would represent the simple to complex idea, step-by-step photographs which would represent the scale and finally a timelapse which would show the scale and simple to complex. 

After considering this, I went to scarification, the idea of using the body as a canvas. This allowed me to combine the masks with scarring, and hiding the identity and class forever. This makes the identity eternally hidden, as the scars of the mask remain; the person underneath the scars has lost all identity and originality. This also enabled me to combine the two cultures of Venetian and Maori. 

From discussion with dem, it was decided to go back to anti-surveillance and social media, and combining the two. Creating a set of photographs: 1st-before, 2nd- scarring and 3rd- scarring and digital manipulation. 

Many problems came about during this time. From making some scars on both my face and leg. I encountered that this method took a very long time to achieve an accurate outcome. Therefore, the idea of creating a prosthetic silicone piece that can be easily put on any face. 

The Casualties Union was a key company to research due to the idea of making the scars more realistic. Then looking into all the different types of scarring. Leading onto the idea of Medical Art prosthetics, and maxillofacial prosthesis. 

Combining digital and physical ways to hide identity. Using CCTV, as if someone is walking past it. The silicone mask (scarring) need to make a drastic change to identity as current scarring didn’t change enough to be unrecognisable. 

After attempting to make a silicone prosthetic piece, I decided that I didn’t like the way this came out so decided it would be best and more of an accurate representation if I went back to using the scar wax even though it takes longer. 

The use of CCTV, capturing crimes and helping to solve crimes. 

The victim of crimes captured from CCTV footage. Acid attacks and the burn scarring. Taking photographs of a victim of acid attacks making the viewer feel their pain. Rather than altering the identity, focusing on the victims. 

CCTV capturing crimes are not being used to their full potential by the police.

Acid Attacks doubling since 2012.  

[hamzasms]

Arabic Kufic Script

Kufic script letters are very upright characters that stand as tall ascenders, often recognised for having large extracts of text that are written using just one stroke. The visual aesthetics of Kufic script - the letterforms of the kufic script are very angular with some letterforms being very condensed, short, broad vertical strokes and while others are more elongated/extended horizontal. All Arabic letters are created and presented on a horizontal baseline.If you were to look at the baseline of the kufic script it is relative a flat surface with no arch or curves implemented but if you were to look at the baseline of the Naskh script each and every letterform implements/includes a curve or arch when combined. Kufic script is a much more bold and thicker typeface making it quite difficult to distinguish letterforms as well as the fact that the letterforms have drastically changed from kufic to naskh. Especially when in written form it is very difficult to distinguish letterforms.

Just look at the image above and then you can see what I mean the bigger letterforms which are in ink are the kufic script and the smaller letterforms are the naskh script. The letterforms are so different it's beyond believable at the same time I still find kufic more intriguing and amazing. Just the articulation and smoothness of the letterforms are so pleasing, subtle and actually feel more sacred than the naskh script... kufic script is more traditional and visually aesthetically better style/design

The problem for which I am encountering is staying as close as possible to the traditional 21st-century naskh Arabic letterforms since this Arabic script is the most and ideally used form of script used within the 21st century (and used in the Qur’an) and the kufic letterforms are so drastically different in terms of calligraphical forms/designs/visuals to the naskh script. The two different Arabic script letterforms (naskh and kufic) are so drastically different it is quite a difficult task to find a middle ground to which I can work with. Both the anatomy, design, style, letterforms are different. Some letters which are presented and created in kufic are much harder to read and understand but however in my perspective I find them more beautiful and sacred than the naskh script. But the major downside to the kufic script is legibility and readability which is the most crucial and important factor for script writing, something for which I had found out in doing my dissertation. But unlike the kufic script, the naskh is readable and legible to the individual, something to which highly consider and think about for my development work, something for which to highly consider for when developing an designing the script. 

Updated/Edited - After some in-depth development and understanding and looking into both naskh and kufic script. I choose to revive a stunningly beautiful, traditional aesthetic of extravagantly smooth fluidity kufic script for which is also combined with the foundation of the naskh letterforms but also incorporating curvatures, arches form this script to form a beautiful form of a script for which should be seamlessly interpreted by the human eye with no visual disruptions.So essentially the foundation to which I am going to be working upon in the naskh Arabic letterforms but I will incorporate the aesthetic features and style of design from kufic into naskh and vice versa but yet still be staying as close as possible to naskh script. so incorporating aspects of both script elements - vice versa - kufic and naskh combined inspirational elements.

I will be creating a script typeface for which is inspired by both naskh and kufic visual aesthetics. Such as the elongated horizontals and condensed bold, thick lines for which is used to create a kufic script to then the aesthetic appearance/visual of the curvature and arch from the naskh script. I will heavily and deeply consider the visual aesthetical appearance of the scripts for when developing in major studies

Unlike Tareq Mahfouz who has slanted and ruined the kufic legacy design.

1 - Letters with long horizontals

Known as long letters, these letters have single or paired horizontal strokes for which can or may be extended as far as possible or want. This extension is known as mashq’, which means stretched. In some historic manuscripts, a single letter, such as ya, can take an entire line. That is an example of extreme mashq’. More typically, the long letters vary in length and share the line with other letters. The extensive elongation extension of the mashq all depends on the individual/calligrapher for aesthetic and interpretational reasons. Horizontal strokes of the long letters are generally made with a slightly more slender stroke than is used for the verticals. This enhances the grave of the letters. The twelve long extensive letters are as listed, fa, sad and dad, ta and dha, ba and ta and tha, dal and dhal, kaf and ya.The horizontal connectors of four other letters may also be extended. These letters are min, lam, ‘ayn, and ghayn, however, the lengthening/extension of these four letters are decided on the individual/calligrapher discretion. 

2 - The Sub Circular letters

These letter bodies are formed with a tightly curled stroke that is almost circular or almost part-circular. The six almost full circle letters are mim, fa, waw, qaf, ya and ha. The three part-circle letters are jim, ha and kha. two other letters are closely related to this group. They are ra and zay

3 - The vertical and Toothed letters

These are the letter whose body is formed with a vertical stroke. the four vertical letters are, alif, lam, kaf, ta and dha. The eight toothed letters are ba and ta and tha, sin and shin, sad and dad, and nun.

This book was an essential asset to my studies and research since it provided me information purely on the development, historical and creating a kufic script. I It has most benefited me in the aspect of learning how to write in traditional Arabic kufic script, learning the process and basics of writing Arabic kufic. Writing/forming individual Arabic letters and words.

Learning the articulation and calligraphical motion and formation of each and every Arabic letterform - provided by this book above.

A series of images taken from the book show how to physically write each and every stroke for each and every individual Arabic letter. This has drastically helped my in the development and research aspect of learning and understand Kufic Arabic script.

The first of the Arabic scripts to participate in the maturity of calligraphy; ‘Kufic’ script is of southern Iraqi origins, having been first discovered in the city of Kufa – An early Islamic centre of culture (around 110 miles south of capital city Baghdad). One of the oldest forms of Arabic script to be developed, it is, in fact, the very first form of Arabic script that was used to document the holy book of Islam (The Qur’an). With the spreading of this internationally practised religion, the Kufi script has gradually evolved to offer an increase in legibility and understanding to the non-Arab Muslims of the world.

The Kufic script developed stages as it progresses through the ages and which were categories as; Primary Kufic; Eastern Kufic and Maghribi Kufic, with each style of the kufic script being slightly developed and altered differently.  From the 4th century AH onwards, the kufic script gradually became a personal and expressive art form and was used especially for unique and expensive Qur’an. The eastern kufic is the closest to contemporary Arabic scripts, and it offers useful design ideas. Because of it being developed from primary kufic, the two styles can be combined creatively for creating monograms and other calligraphic design pieces. Maghribi Kufic is also very important; showing and giving the idea of how versatile the kufic can be. Essentially all three developed stages were laid on with a brush rather than a reed pen. Developing my Non-latin typeface from the style of primary kufic.

Having been curated specifically for the documentation of the Qur’an, Kufic script was considered very sacred right from its birth and its prestigious and historic superiority simply grew after Muslims deemed it appropriate to use Kufic scripts on elaborate gifts conveying spiritual wisdom and righteousness. Ceramic gifts dated to the 9th and 10th century, display a combination of all three Kufic script forms working in complementary fashion alongside one another. A clear exhibit of the versatility within the Kufic script steers many to agree that aesthetic development is completely unnecessary.

Although Kufic script was out of general use by the 13th century, its legacy is honoured by a trail of memorabilia in the form of paintings, mosaics and tile designs that remain on the walls of many architectural structures and for decorative purposes until this very day. Its contemporary use in etchings and engravings of everyday materials like; timber; clay; glass and metal, allow it to live on juxtaposing with the Arabic scripts that have superseded it today. Even in the newer cursive Qur’ans, Kufic was often used for the chapter headings. The continued importance and prestige of this family of scripts could not be shown more clear.

It is also commonly referred to as the source of inspiration when describing very low-contrast typefaces that have become ubiquitous in recent years in attempts to harmonize Latin and Arabic. However, a comparison of these styles and Kufi calligraphy shows great dissimilarities in the letterforms and their proportions.

Tareq Mahfouz - Critical Analysis 

[crookedtalks]

Reframing Modernism (Gallery 3)

Gallery 1

Gallery 2

Fernando Zobel

In 1951, Zobel returned to Manila after attending Harvard University. Though he had no formal training in art, he soon joined the ranks of young artists such as Hernando R Ocampo and Cesar Legaspi, who were forerunners of a new era of modern art in the Philippines.

Painted in 1952, Carroza is a partially abstract portrayal of folk subject matter, unified by a warm ochre background, bold black lines and a flattened, symmetrical composition. Zobel continued to use line and a limited colour palette in his works, but he eventually abandoned depicting recognisable subject matter altogether and ventured into full abstraction with his Saetas series in 1957.

This series was conceived following Zobel’s artist residency in the United States and a period of intense experimentation with non-objective painting, which lasted from 1954 to 1957. He declared movement the subject of Saetas, with fields of colour finished with expressive lines drawn using syringed of oil paint. Zobel’s works of this series look like they were made spontaneously, but he was known for actually sketching intensively before arriving at a work’s final composition.

A decade later, he developed a more precise approach to the use of line and atmospheric colour in works such as Conversation with Lee from his Dialogos series.

Consider this artist alongside:

Nicolas de Staël, Ahmad Sadali

(Above)

Fernando Zobel

(b. 1924, Manila, Philippines; d. 1984, Rome, Italy)

Conversation with Lee

1967

Oil on canvas

Collection of Lopez Memorial Museum

(Above, left)

Fernando Zobel

(b. 1924, Manila, Philippines; d. 1984, Rome, Italy)

Saeta no. 36

1957

Oil on canvas

Gift of Roger Keyes

Collection of Ateneo Art Galllery

(Above, right)

Fernando Zobel

(b. 1924, Manila, Philippines; d. 1984, Rome, Italy)

Saeta no. 37

1957

Oil on lawanit board

Gift of the artist

Collection of Ateneo Art Gallery

Pablo Picasso

In this composition, the cubistic, fractured forms of a cat and a rooster create a macabre still-life. Behind them, a knife rests on the rim of a cup, reinforcing the sense of menace. The use of grisaille (painting entirely in tones of grey) in this work is similar to some of Picasso’s iconic anti-war paintings, such as Guernica of 1937, and Massacre in Korea of 1951. Picasso often used this palette for paintings evoking anxiety and violence: in this case, the everyday violence of predator and prey. In the Western tradition, the still-life was used as a reminder of the transience of human existence, and the objects could carry symbolic meaning. Picasso engages with the history of still-life in this image of death.

A tireless innovator, Picasso continually reinvented his work in several different media: painting, printmaking, sculpture and ceramics. In his early career, he was a pioneer of Cubism alongside Georges Braque, developing a radical new way of painting: forms were reduced to geometry, and multiple points of view were compressed into a single perspective. However, Picasso’s work was never fixed with a single style, and he also embraced representational and symbolic subjects. In his late work, he would show greater spontaneity and expressiveness.

Picasso’s relentless creativity and desire for change have made his work among the most important and influential of any modern artist.

(Above)

Pablo Picasso

(b. 1881, Málaga, Spain; d. 1973, Mougins, France)

The Cat and the Rooster

1953

Oil on canvas

Donated by Louise and Michel Leiris, 1984

Collection of Centre Pompidou, Paris

Musée national d’art moderne/ Centre de création industrielle

Latiff Mohidin 

Latiff painted the Pago-Pago series between 1964 and 1969. In it, he experiments with a vocabulary of forms drawn from natural, cultural and historical motifs such as pagodas, stupas, shells and leaves.

Before embarking on making this series, he was in Berlin from 1960 to 1964. He took rigorous plein air (open air) and still-life drawing classes, and encountered German Expressionism, which had emerged during the 1900s to 1920s and was being re-examined in the post-war era. Latiff also travelled extensively throughout Southeast Asia. These experiences influenced the Pago-Pago series: its organic forms allude to the cultural and the natural world of Southeast Asia, while its gestural brushwork reflects German Expressionism.

Malam Merah and Pago-Pago 69 (Metamorphosis) are emblematic of this series. Malam Merah has dynamic forms, rich colour and animated brushwork, while Pago-Pago 69 (Metamorphosis) has a translucent quality created by layering and mixing pigments with varnish. The latter demonstrates his confident grasp of materials and versatility as an artist.

Consider this artist alongside:

Jean-Michel Atlan

(Above)

Latiff Mohidin

(b. 1941, Negeri Sembilan, Malaysia)

Untitled, Pago-Pago Series

1965

Oil on masonite board

Collection of Too Hing Yeap and Yoong Sin Min

(Above)

Latiff Mohidin

(b. 1941, Negeri Sembilan, Malaysia)

Pago-Pago No. 2, Pago-Pago Series

1965

Oil on canvas

Collection of Zain Azahari

(Above)

Latiff Mohidin

(b. 1941, Negeri Sembilan, Malaysia)

Malam Merah (Red Night), Pago-Pago Series

1968

Oil on canvas

Collection of Zain Azahari

CoBrA

The CoBrA movement was founded in Paris in 1948 and dissolved in Brussels n 1951. Its name was based on the first letters of the places where its members lived: Copenhagen, Brussels and Amsterdam. The movement sought to return to a more spontaneous and less rational form of creativity, drawing on a range of sources, including the magic and symbolism of Nordic popular mythology and the expressive tendencies of children’s art. This was based on a humanist philosophy that emerged from the trauma of World War II, which privileged authentic expression, In doing so, they offered a radical, alternative way of approaching painting. Their approach rejected the convention of categorising painting as either abstract or figurative, as it had elements of both.

The group comprised a number of northern European artists and poets including Asger Jorn, Karel Appel, Carl-Henning Pedersen, Corneille Beverloo, Joseph Noiret, Constant Niewenhuys and Christian Dotremont. Advocating physical spontaneity and vitality, its members produced “four-handed works”, each using the combined creative energy of two artists to create unique collaborative pieces of great poetry and plasticity. While short-lived, CoBrA’s radical philosophy attracted a number of major artists from different disciplines, and had a lasting influence on the past-war art scene.

Consider this artist alongside:

André Masson, Jean-Michel Atlan, Bagyi Aung Soe

(Above)

Asger Oluf Jorgensen, known as Asger Jorn

(b. 1914, Vejrum, Denmark; d. 1973, Aarhus, Denmark)

Kyotosmorama

1969-1970

Oil on canvas

Purchased by the French government, 1971

Acquired 1976

Collection of Centre Pompidou, Paris

Musée national d’art moderne/ Centre de création industrielle

(Above)

Carl-Henning Pedersen

(b. 1913, Copenhagen, Denmark; d. 2007, Frederiksberg, Denmark)

Yellow Horse

1941

Oil on canvas

Donated by Mme Sidsel Ramson, 2012

Collection of Centre Pompidou, Paris

Musée national d’art moderne/ Centre de création industrielle

And of course, the endnote:

Endnote   Reframing Modernism shows the various paths, proposals and approaches to modern art taken by 51 artists working in different geographical, historical and social contexts. While there may be parallels across the works, the exhibition reveals above all the singularity of individual artistic practice in relation to modernism: the diversity of the artists and the nuances of each artist’s approach.   Given this diversity, the conventional understanding of modernism as a simple story of influence from Europe and America cannot be sustained. A dynamic and creative exchange, occurring at multiple centres, emerges instead.   Our understanding of modernism is continually being rewritten and contested: Reframing Modernism hopes to open up this story further.

Finally after more than a year, Gallery 3 is up. Looking through the photos I’ve taken, I can still feel what I remember feeling at the exhibition itself. Art can be truly remarkable in its variety and scope in terms of the different styles and disciplines, different reasons for making art, different emotions that goes into the pieces and the feelings they invoke in us the viewer, etc, etc.… art is as varied as the artists that make art.

I’m not a “formally trained” art student, and my knowledge of the various art movements is superficial at best; I am also totally unfamiliar with Modernism in art, and pretty much know nothing about analysing art, which is why one of the things I really liked about the exhibition was the artist bio which explain the backgrounds of the different artists, their histories, ideals and inspirations, characteristics and themes that run through their art, the social and political context at that time which influenced their art, etc. It really helped me have a deeper understanding of the paintings, such that they are no longer just objects of art, but become tiny snippets of history frozen in time, a sliver of the artist’s world seen through the artist’s lens, and each with their complex stories.

It made me realise more than ever that artists are not hermits who only focus on their own works, and there are no boundaries or walls in art. Art diverges and converges in such complex ways that we cannot predict and I think it was really amazing to be able to see this at this exhibition. My greatest takeaway from this exhibition, I think, would be the realisation that art is, at the same time, a relic of preserved history and alive and ongoing; I’m glad to be able to witness a small part of it.

[aaronpinkneya2photography]

An Exploration of Photography in Environments

In this essay I will be exploring the documentary photography styles of three photographers presenting their environments with different compositions and comparing the traits of each delivery of their locations. I will be analysing a specific body of work from each photographer being Zhang Kechun - The Yellow River, Jeff Frost - California On Fire and Mattia Bicchi - London TimeLapse.

Zhang Kechun’s The Yellow River features the sparse landscapes that he encountered on a journey following China’s Yellow River. Many of Kechun’s images present concrete which is a major sign of the industrialisation stereotypical of China. This, in many cases, is juxtaposed by normal looking people standing nearby observing these creations constructing the idea that either the people or these concrete half built structures are out of place depending on your perspective. This thought process is pushed into motion by Kechun’s choice to capture the people as secondary observers to the environment as people typically wouldn’t spend time observing these features of their own environment in such a direct manner if it were the norm.

Another major feature of these images is the corroded and run down nature of many of the structures alongside the scrapped materials shown in several images being used by the people as shelter. From barely remaining blocks of brick amongst rubble to rusted cylinders the remnants of construction and demolition also shelter the remnants of people who are not benefitting from the industrialisation which initially caused these structures to be destroyed and left to settle. These small outcroppings, set with industrialised buildings behind them, send a powerful message about the negative impact a change in environment can have on the people who were already living within these environments and in many of the other images the grand architecture overshadows the small people below. I believe the inclusion of these people, while perhaps providing a greater message, is also a perfect use of both perspective and contrast in being able to compare the scale of each eroded monument to China’s past to the people in modern clothing. This provides insight into not only the size of each construction but also shows how far it has been allowed to decay.

I feel the most powerful images in The Yellow River are those featuring only the environment in its altered state from either mining or other industrial actions but devoid of any human presence. There is an aura created by the appearance of monuments created with no imagery in mind but here they still appear to me as oppressive symbols of the machine of man surrounded in the fog created by themselves.

I found an unnatural beauty in California On Fire which has been perfectly captured by Jeff Frost during the nights of the California fires. Spending around 3 years attempting to capture natural fires such as the California fires Frost joined with firefighters allowing him to safely record his timelapses while being able to reach the spots he needed to set up his compositions. This is shown initially within the California On Fire preview where he is following along with the firefighting van to a shot they think he wants. I believe that Frost’s choice to capture large landscapes, while also safer than moving up close to the large areas of fire, truly portrays the scale of the events that is not done justice in news articles.

The skybox in each of his timelapses flow almost like a liquid shifting through oranges to dark greys as the fire grows in certain areas lighting up the sky across the horizon as the smoke rises to the sky but in two of the shots only filling roughly a third of the space with the fire and smoke shows a clear use of the rule of thirds which especially within landscapes is powerful, this coupled with the amazing view of the night sky in the remaining two thirds makes for beautiful compositions.  

The sense of scale within the time lapses done over cities is astounding as there is no certain control over such an area when it is all alight. This loss of control is an unsettling piece of imagery as it is in human nature to attempt to control our surroundings while natural events such as these capture our inability to prevent them.

London TimeLapse shows a variety of recognisable locations in London captured by Mattia Bicchi as timelapses with either large crowds people or open empty areas. The areas shot with crowds stood in place create a constant and overpowering motion as no single person holds their stance and over the timelapse appear almost to be shimmering as the natural movements and swaying are blurred together. Another way in which movement is captured within Bicchi’s timelapses is with people moving through the environment making them appear as a fluid passing between the obstacles of the structures surrounding which is comparable to rocks standing in a river.

In contrast the scenes without people moving constantly are strangely peaceful with only the skybox in motion and some autonomy, such as trains moving in the background, plays into the idea that without humans there is a beauty in leaving the constant motion behind while our architecture and autonomy continue peacefully to show what remains of this civilisation.

This juxtaposition allows London TimeLapse’s range to show vast differences of atmosphere within the city.

The choice to focus many of the timelapses with famous structures gives an easy reference point to understand the scale of each area of focus but also is the natural choice when making a timelapse of London while also showing a wide range of architectural styles which I believe is a major strength of this method of documentary photography. The range of different types of structure surrounded by both swarms of people and none at all has a far greater feel in a  subjective way to other timelapses focusing on a singular event or environment as it paints a picture of London as a whole, although it may only truly be scratching the surface.

I believe the first major comparison to make is between The Yellow River photoshoot and the other two timelapses as the presentation is greatly shifted between them. I believe Kechun’s choice to present a shoot was far more effective than a timelapse for his subject matter as barely anything would actually move in his compositions. Kechun’s compositions are taken in isolated locations and would not benefit from the use of timelapse but the allure of the landscapes can be captured effectively with a series of single shots.

Another comparison that stands out to me is between London Timelapse and California on Fire. They feature opposing environments as a comparison embodying order and chaos in London Timelapse which follows the fluid movements of people, autonomy and architecture in set, well known environments while California on Fire is a chase to keep up with and get setup to capture naturally occurring wildfires which are unpredictable and took years to capture in unfamiliar cities and out in the countryside. Despite their clear differences the method behind each of these timelapses is incredibly similar only requiring changes to adjust for the light of the environments as the chosen composition and any events that take place are captured.

The idea that The Yellow River and California on Fire are both journeys gives them a tight connection as they each take the viewer with them through an experience. Frost’s journey around California to capture wildfires is both one of excitement and great risk as his documentation takes him directly into harm’s way, although fortunately for him he works with firefighters so he can avoid many of the risks of the massive events he captures. Kechun’s journey takes him down the Chinese Yellow River which is a cultural journey as he is documenting the scenes he finds as he travels downriver bringing together a range of worn traditional architecture, industrialisation and its results which altogether create an experience through time of a country that has shifted dramatically within the last century. While not portraying a journey within his documentation Bicchi presents the viewer with several elements of the city of London in a variety of compositions and a range of subject matter without feeling repetitive or at any point showing a weak section as his choices of composition and perspective achieve an absorbing view of London in timelapse.

 Bibliography:

https://en.wikipedia.org/wiki/Documentary_photography

http://www.beetlesandhuxley.com/exhibitions/zhang-kechun.html-0

http://www.zhangkechun.com/the-yellow-river/

http://wildfiretoday.com/2016/02/26/fire-chasers-great-photography-of-wildfire/

http://news.nationalgeographic.com/2016/03/160318-wildfire-timelapse-video-california-fires-jeff-frost/

https://vimeo.com/155926338

http://www.jeff-frost.com/cof

http://www.mattiabicchiphotography.com/portfolio-articoli/london-timelapse/