#translucent mirror technology

[hometoursandotherstuff]

I have never seen a decorative building material like the one they have in this house. Thanks to nicebrite for sending it in. This is a 3bd. home in Peachland, British Columbia listed for $1.529M. However, the ceilings are covered with a product called a "European Stretch Ceiling" (rubberized product that can be easily removed). You gotta see this.

Is this dizzying or what? It looks like a black mirror. I thought that the ceiling was twice as high. Where the hell did they find this product?

It's not in all the rooms, like the kitchen.

But, it's in the primary bedroom. I swear, I thought the room was double its height. I wonder if it only comes in black.

It's in this bath with some kind of funky wavy green light.

In the hall.

The family room.

It's not in the main kitchen, but it's in the 2nd kitchen.

It's just about everywhere in the house.

Not in the secondary bedrooms, though.

Backyard, patio and terrace.

The home is located right on the water.

And, there you have it. The house with the "European Stretch Ceiling." So, you can just peel the rubber off? I would just leave it.

I had to google it. It comes in designs, too.

It can be cut to fit. And, it's a "revolutionary technology in home design." You know, they weren't very creative with it.

There are options. Even clouds and stuff. Price begins at $5.50 sq. ft. and up. Oh, I would leave it up, it wasn't cheap. It's here in the USA, now, how did we not know about this? (They credit it to the French.) And, it's installed in one day. Now, I want a fancy French rubber ceiling in my loft apt.

[cookinguptales]

Étienne-Gaspard Robert's Fantasmagorie

Okay, so in response to a tumblr post asking what fun thing I'd love to go back and see if I had a time machine, I said Étienne-Gaspard Robert's installation at the Couvent des Capucines.

Okay, so let's start with Étienne-Gaspard Robert. He was a Belgian man who lived at the end of the 18th century in France. He was actually a physicist, at least initially. He taught physics in Belgium for a time, but then moved to Paris to study art instead.

Now... I don't think it's too much to say that Robert — who took on the stage name Robertson — is the father of many kinds of what we now know as special effects. (And in fact, I initially heard about all this in a textbook about cinema history.) He used his interests in both physics and art to create entirely new forms of entertainment, and he used them to scare the shit out of people.

(He also tried to make a death ray for a while, but that was actually more common than you would think.)

To start with, let's talk about the magic lantern. Robert did not invent the magic lantern — it had been around for over a hundred years at this point — but he did use it in a way that hadn't really been seen before.

A magic lantern is really just a kind of simple projector. Glass plates had designs painted on them, light was shown through those plates, that light was focused through a lens and the resulting image was projected onto a screen.

Robert used his experience as a physicist to take this technology and run with it. He created a machine that he called a Fantoscope, and this machine allowed him to project several images at once. He could move these images independently and even change the depth at which they could be seen. In other words, instead of just putting a single image on a screen, he could fill a room with smoke and make these images look like they were traveling around the audience.

He also utilized other techniques like ventriloquism, rear projection, mirrors, and projecting images onto nearly translucent wax-covered gauze in order to accentuate this effect. Add to that his artistic ability (allowing him to paint fairly lifelike creatures) and his showmanship and... well, you've got a hell of a show.

He called it "Fantasmagorie", or "Phantasmagoria".

As one attendee described it,

"The members of the public having been ushered into the most lugubrious of rooms, at the moment the spectacle is to be begin, the lights are suddenly extinguished and one is plunged for an hour and a half into frightful and profound darkness; it’s the nature of the thing; one should not be able to make anything out in the imaginary region of the dead. In an instant, two turnings of a key lock the door: nothing could be more natural than one should be deprived of one’s liberty while seated in the tomb, or in the hereafter of Acheron, among shadows."

Robert would really ham it up, too. He was a magician, a physicist, an artist — but most especially a showman. He would tell audience members that he was going to raise the dead. He would throw what looked like butterflies or blood into the fire, chant an incantation, and then project an image of what looked like the person he was trying to resurrect — and have that image swoop down into the crowd.

This was really unlike anything that anyone had ever seen before. Due to the French Revolution, there was a real cultural fascination with death in Paris at this point, and people were simultaneously fascinated and repelled by his shows. There were people who left his shows in tears, convinced that they had truly seen ghosts.

Such was the public hysteria that his shows were even briefly shut down by the authorities in the interest of public safety!

Robert was undaunted by this, though, and came back with his greatest show yet. In 1799, he bought an old convent in Paris that had been emptied and damaged during the Revolution and set to work making it the setting for an interactive phantasmagoria.

So... to set the stage, imagine the crumbling ruins of the Couvent des Capucines. There are actual human remains here where parishioners and saints both have been laid to rest. Robert has filled the venue with smoke, and frightened visitors are invited inside to the candlelit courtyard.

He shows the crowd a series of optical illusions while giving a monologue on both life and death, the ghostly sounds of a glass harmonica on the wind.

And then things start to get weird.

According to his notes for the project, Robert used incredible illusions to bring this convent to life (or afterlife, as the case may be.) He would project ghosts and demons in the air and have them swoop down toward the frightened crowd. He would project a ghost right in the middle of the audience and then make it disappear as soon as someone tried to touch it. He used ventriloquism to make it sound like screams and sighs were coming from all directions.

One famous illusion found in the darkened rooms of the convent was that of the Invisible Woman. A glass casket was suspended above the crowd and frightened onlookers would be able to hear a voice coming from inside. This was, of course, ventriloquism — but apparently the effect was something to be remembered.

Robert also gave demonstrations of light and galvanism — or displays of the effects of electricity — during these performances. Keep in mind that concepts like electricity and magnetism would have been new and mysterious to this crowd, and as a physicist, Robert was easily able to share his fascination with such things.

This display included things like "commotions, lightning, and attractions" as well as demonstrations on how to create a spark using a Volta's pistol, Leyden jar batteries, and inducing muscle movement in a dead animal.

(If you're thinking this all feels very Frankenstein, you'd be right! Mary Shelley was being influenced by these same occult and scientific concepts when she wrote the book in 1818.)

It was all, quite literally, a lot of smoke and mirrors... but imagine it. Imagine seeing things like this for the very first time, and in a venue like this. Imagine the theatricality of it all. Imagine the magic.

In the words of Étienne-Gaspard Robert himself, "Il est difficile de décrire ces apparitions; elles sont telles que dans un siècle moins éclairé, on seroit tenté de croire à la magie."

"It is difficult to describe these apparitions; if you were from a less illuminated age, you would be tempted to believe in magic."

And that, my friends, is why I would choose to go see Robertson's Phantasmagoria if I had a time machine. For just a few minutes, I'd love to be tempted to believe in magic.

(The tomb of Étienne-Gaspard Robert at Paris's Père Lachaise cemetery.)

Further reading: Tales from the Crypt: Robertson’s Phantasmagoria and the 18th Century Origins of Horror Cinema (Dirty Sexy History) Robertson’s Fantastic Phantasmagoria, An 18th Century Spectacle of Horror (Atlas Obscura) Étienne-Gaspard Robert Wikipedia) Fantasmagorie de Robertson, Cour des Capucines, près la place Vendôme. Tous les jours à sept houres. (Robert's description of the show at the convent. French only.)

[atiny-for-life]

Ateez's Full Storyline Explained - Part 23

Masterlist

Youth (A-World)

I'm a bit reluctant to talk about this one since it's clearly a very personal song for both Yunho and Mingi so I will, once again, stick strictly to the visual parts of the MV and steer clear of the lyrics

We open on Yunho and Mingi running along a dirt path between two open fields toward a small wooden cabin, its windows lit up

Given the protagonists in the other two unit MVs prior to this one, we can already assume that these two are from the Halazia World as well so we won't be able to rely on any diary entries or other past knowledge outside that one MV and its associated promo-material and worldbuilding

They reach the building and Mingi peeks through one of the dusty windows and we get to look at a scene from his past

His past self, scratched up cheek and blood around the corner of his mouth, is sitting across a masked man in the shabby interior of the cabin

Speculating on the identity of the man is not yet needed as we'll get more hints toward his identity in a second; however, it is noteworthy that a gramophone can be seen on the chest of drawers - it seems music was not yet outlawed when this took place

We move on to Yunho who's also looking through another window into his past which consists of a garage-like room filled with instruments, tools, a beat-up looking car and sound-muffling rugs, boxed in by walls covered in graffiti

Since I assume they didn't have timelord-technology when they built this cabin, we can gather that they're not actually looking into these rooms but are rather thinking back to their lives in the other world - the cabin is simply a symbol of their past

It's likely, though, that it's located in the same place as their hideout back in their world since they specifically sought it out

We return to Mingi who's now being confronted by multiple masked men in a rather run-down looking police interrogation room

It could be that these guys are working directly under Henry Jo - elites, maybe, or a human version of the Android Guardians from Z-World

Either way, we can conclude that Mingi, and potentially other Black Pirates, were involved in some kind of scuffle during which Mingi was injured and arrested

They're likely now trying to get him to rat out the rest of the Black Pirates or maybe they're just pissed at his attitude or behavior

Either way, Mingi visibly doesn't back down - instead, he snaps back before putting in his earbuds and looking away (behavior that is reminiscent of Mingi in the A-World, specifically in the Diary Film)

After this, we cut to shots of current-day Yungi performing in an abandoned parking-garage-like building, followed by a more artistic shot

We see a row of full-body mirrors showing Mingi in a suit and glasses - all polished and business, alongside a more translucent version of Yunho in a similar get-up

Is this what they were pressured to look like? Is it what society expected of them, what they were forced to conform to? It's likely.

Much like in IT's You, albeit more violently and blatantly, the screen shatters as he punches one of the mirrors to signify his breaking point as he recalls past trauma

In their business suits and among the shards, they both dance with a row of Black Pirates between them before they break formation and spread out more freely to continue their performance

We get some pretty shots of Yungi on the roof of the cabin and with a nearby parked truck before we return to Yungi in his past

He's standing by the beat-up looking car and it looks... truly wrecked, potentially burnt and with a smashed in driver's side window

Did his older brother die too, like A-World Yunho's? If so, is this some Across the Spider-Verse type thing where certain fixed events cannot be avoided?

It's definitely a possibility, given the emotional outburst during which Yunho grabs an electric guitar and proceeds to bash it into the car's windshield

The trauma-related anger aligns with Seonghwa and Hongjoong's in Matz - but who can blame them?

And like Hongjoong and Seonghwa, he also has a tendency for expressing his trauma further by committing arson

As we see him perform near the car wreck, the flames are already licking away behind the glass panes in the background

Clearly, Mingi had the same idea as we see him stand in front of the now burning cabin before Yunho steps up beside him

While Mingi seems transfixed by the flames, Yunho looks over to check on him

Mingi meets his eyes a moment later before we cut back to their performance in suits which transitions to the same choreo performed in front of the burning cabin

A few more flashes of their past and them running on the dirt path before we end with the title card as they stand there, side-by-side, while the symbol of their trauma burns to the ground

[connectparanormal]

Shades

Ghostly shades, sometimes known as phantoms or specters, have long been a fascinating aspect of human storytelling and folklore in all cultural contexts. Usually characterized as translucent or shadowy figures, these ethereal beings haunt particular places and frequently connect to terrible or unsolved historical events. Because ghostly shades cast doubt on our conception of life and death, they can inspire both terror and wonder. This is why they are so fascinating. Throughout history, people have depicted ghostly shades in a variety of ways, from good spirits offering guidance to evil forces seeking retribution. People believe them to be the spirits of the dead, either unable to transition to the hereafter or carrying unresolved matters. These ghosts frequently show themselves in locations like ancient homes, battlefields, or cemeteries where they formerly went through intense feelings or experiences. Ghostly shades are usually accompanied by a chill in the air, unsettling noises, or a feeling of being seen.

Literature and the media have greatly influenced our understanding of ghostly shades. Ghosts are major characters in classic works like Dickens' A Christmas Carol and Shakespeare's Hamlet, each of whom drives the plot and explores themes of guilt, atonement, and the paranormal. Even in the present era, movies and TV series frequently combine suspense and terror with ghost stories and hauntings to attract viewers. Beyond just being entertaining, ghostly shades are appealing because they allow one to explore difficult feelings and existential issues. Ghost stories frequently serve as mirrors for our own doubts about death and the afterlife, reflecting societal concerns and worries. They give us a safe area to explore our darkest fears and enable us to face the unknown in a regulated setting. The concept of ghostly shades endures despite scientific and technological advancements that provide logical explanations for many occurrences once thought to be caused by ghosts. Fans continue to flock to paranormal investigations and ghost tours, employing a variety of instruments and methods to identify and interact with ghosts. These endeavors demonstrate the enduring human yearning to establish a spiritual connection and derive significance from encounters that defy rational interpretation.

Ghostly shades are frequently a part of cultural customs and ceremonies. For example, Halloween in the West emphasizes the macabre and occult, whereas Día de los Muertos (Day of the Dead) in Mexico commemorates and celebrates departed loved ones. These incidents demonstrate the incorporation of spectral hues into cultural identity, providing people with a sense of continuity and a connection to the past. In summary, ghostly shades are more than merely eerie characters that linger on the edges of our consciousness. They represent our dreams, concerns, and the mysteries that exist beyond the curtain of death, making them an important and enduring aspect of human society. Whether we see them as mental illusions or as expressions of something deeper, ghostly shades continue to evoke curiosity and inspiration, reminding us of the fine line that separates the known from the unknown.

[artvinyl]

Uncovered: The Ninja Tales

3. Machinedrum - 3FOR82 (2024)

To complete our trilogy of ‘The Ninja Tales’, Part III takes a look at the hidden spot gloss ASCII artwork for Travis Steward's aka Machinedrum’s 11th studio album, 3FOR82 out on Ninja Tune on 24th May 2024. It is reported that Stewart crafted the album during a pilgrimage to Joshua Tree National Park, California, to seek clarity and inspiration, saying, “..I knew that I should, at some point in my life, go out there to work on something creatively.” 

Fascinated by the outwardly simple artwork that, in reality has many hidden depths, we caught up with graphic designer and Machinedrum's Creative Director, Joseph Durnan and Ninja Tune’s Head of Production, Sean Preston to understand more about the process for creating the album’s hidden code artwork using The Demoscene. For us mere mortals unfamiliar with The Demoscene, it is an international computer art subculture made up of a worldwide network of creative minds, focused on producing demos: self-contained, sometimes extremely small, computer programs that produce audiovisual presentations.

Joseph told us, “One component we latched onto early was the Demoscene's challenge of keeping file sizes as low as possible while maximising the complexity of the demos. ASCII art, halftoning, and duotone degrading helped express that idea, with legendary demoscener TPOLM's art and Travis' (Machinedrum) personal artefacts from his teenage years acting as source material. The words flooding the sleeve and hidden code are nods to personal messages within Demoscene culture—references to in-jokes, cryptic sayings and messages to other demo makers. I liked how this type of content could either seem conceptual and esoteric to an outsider, or something between total gibberish and a confusing nerdy joke. Blending this with the 3FOR82 process involved using personal numbers related to birth dates, in-studio references among the album collaborators, and redundant information about the WAV files for the album tracks.”

Accompanying the record is a 16-page boutique zine. Joseph explains, “The accompanying zine goes deeper into the archival aspect, including rules from a quest-style video game imagined by Machinedrum as a child and a transcript from his first-ever interview. It also features nostalgic cyber-culture-style artwork contributions from Sensory Works and bitmapped photos from studio shoots with Tinashe and AK the Saviour.”

The limited edition translucent yellow glow vinyl edition, includes an alternative Dinked album art oversleeve and Joseph told us more about this, “For the limited edition Dinked art, TDR's Ian Anderson "3FOR82" font was degraded via an online ASCII art converter, overlaid with the T-26 font "Bias” for the MACHINEDRUM type. The font non-coincidentally looks good with Ian's logotype because a lot of the T26 foundry's typefaces made their way into his designs in the 90s and early 00s - which is widely held up as an era defining body of work within that world. Something definitive of the visual language of electronic music was how much of the artwork developed with technology, mirroring the way the Demoscene visuals have mutated over the past 30 years.” 

Ninja Tune’s Head of Production, Sean Preston worked alongside Durnan on the album artwork and gave us his insight into the creative process.

He told us, “I think if anyone else other than Joe had come to me with the premise for the latest Machinedrum album I would’ve done all I could to put them off, but having suffered under the designer’s collaboration for several years, I was all too aware of his penchant for ASCII art, glitchy graphics, and secret gifts/traps buried deep within pixel data for me to find. Sometimes, where you land with the final packaging on a record, is more pleasing or rewarding because of the pitfalls laid before it, most of which in this instance we couldn’t have known ahead of the course.” 

Sean explains, "Initially pencilled for manufacture in Ireland, we had to pivot to printing some of the sleeves there, stickers, zine booklet and o-card (for the Dinked edition) in three separate locations in the UK, and pressing the vinyl in France. The danger in working that way is that most printers have their own calibration settings for sleeves and o-card sizes. It also presents a risk to hitting colour consistency across the print parts. Getting printers to talk about these things with each other isn’t always a harmonious of fruitful pursuit, but with a good amount of physical proofing, some nervy stress tests, the record comes together really well.”

We asked more about the 16 page zine insert and Sean explained, “The zine booklet, complete with French folds, feels like a real artefact, centring the artwork’s ambition on an uncoated offset paper and card. The outer sleeve is 6-colour, utilising a bright Pantone Green and Pantone Orange against a CMYK composite, overlaid with a blind spot varnish. A blind varnish is a varnish that doesn’t necessarily correspond to the colour artwork it is printed on. Often when you see this, the blind varnish is vibrant, blind only in name, and usually employed as large block text, which requires a certain level of legibility. I visited the printer near Dublin specifically to get the right amount of subtlety to the overlaid varnish. Because of the miniscule, dotted areas occupied by the varnish, the traditional method of varnishing wasn’t going to give us the fine detail desired. The beauty of working with the sort of printer we did (AngloPrinters in Drogheda, around 45 mins north of Dublin) is that they are experienced and agile enough to recognise intention and move to solutions that benefit the artistic purpose. The finished sleeve now holds a finely detailed varnish that is present in light, but subtle enough to maintain the overall clandestine aesthetic that pervades the album’s artwork and music.”

3FOR82 by Machinedrum is released on Ninja Tune on 24th May 2024. Artwork by Joseph Durnan [124 World]. Typography by Ian Anderson (The Designers Republic). Record FlipFrames by Art Vinyl.

[kicksaddictny]

Nike Athena and Zeus Sunglasses: Elevating Athletic Performance

The Nike Athena and Nike Zeus sunglasses are designed to be more than just eyewear; they are psychological armor for athletes, intended to be worn before and after competition to protect and project confidence.

Nike's Chief Innovation Officer, John Hoke, explains, “While we initially focused on designing something for competition, our athletes emphasized the need for a mental edge before and after competing. Their ability to get totally into the zone, to be completely focused and undistracted, is crucial.”

These futuristic, all-gender sunglasses push the boundaries of performance and style, helping athletes stand out while expressing their personalities. They represent a new level of digital artistry, advancing Nike’s aesthetic horizons and offering contrasting visions of sport’s future.

The Nike Athena sunglasses celebrate asymmetry and expression, featuring mirroring that wraps from lens to temple, accented by Nike’s Electric Pack graphic. The screwless, ultrasonic bonds and stainless-steel temples create a lightweight frame that positions the lens further from the face, eliminating the “lash crash” caused by shallower sunglasses.

Nike Zeus sunglasses have an angular, technical look, inspired by traditional acupressure points and the concept of “speed.” The design suspends five translucent elements in an ultralightweight, handcrafted titanium frame. Worn close to the face, the Nike Zeus incorporates the innovative ventilation of the Nike Windshield Elite 360, with intricate, fluted perforations to increase airflow, eliminating heat pockets around the nose and cheekbones and directing heat away from the eyes.

Both styles utilize Nike Max Extreme Lens technology, providing maximum optical clarity and reducing eye fatigue on various surfaces. They also incorporate recycled materials, with at least 40% of Nike Athena’s total weight and 20% of Nike Zeus made from recycled materials.

The Nike Athena and Nike Zeus eyewear will be available globally on Nike’s digital platforms starting July 24. Get ready to elevate your performance and style with these cutting-edge sunglasses.

[just-another-blog-of-fluff]

Jessaaaa it’s been ages🥺 i was wondering if you had more sneak peaks for the Loki blip in the universe?

Hope you are well love

- C

Hi lovely! I'm sorry it's taken so long to respond to this!

I don't want to give TOO much away of the story, but here's a small sneak peek of one of the alternate universes Loki visits:

Loki lay in place for just a moment, catching his breath. While he picked himself up off the ground, he took the time to observe his new surroundings. The first thing he noticed was the relative lack of purple lightning streaking the sky. Must not have infiltrated this universe just yet, he thought to himself.

Once he'd made note of that, he began to really take a look around.

He was standing beside a building, similar in shape to the one he'd just used as an escape route when the portal had opened, but composed completely of a surface of mirrored glass. Beneath him was a posh, polished stone sidewalk running parallel to a narrow walkway where the street should have been. On closer inspection, he realized the walkway was moving; a conveyor belt of sorts, carrying passerby along to their destinations.

The electronic whirring overhead captured his attention next. Translucent tunnels spanned the distance between buildings, running in line with the walkways below. Shadows rapidly whizzed through them, belonging to what Loki could only imagine were transport pods or cars of some kind. Obviously, the Midgard of this universe had come much further in their technological development than the one he knew.

Most startling, though, were the electronic billboard screens scattered throughout the city, all depicting various moving images of none other than Tony Stark.

President Stark, in fact - based on the largest billboard hovering high above the city.

[h3adtv]

Ohhhkkayyy. Who are these people on the roof, and are they the key to unlocking the secrets of the robotic lab I've mentioned in previous posts? Does the lab hold alien technology, targeted individual effigy, x-men technology? From the equipment I've seen, it looks like an extremely high-tech facility. There are people using translucent monitors, vr head gear, and 3d holographic projectors.

A month ago, I noticed something was reflecting in my sunglasses while I was recording myself, and when I took a closer look, I found a secret robotics laboratory. I know, I know, out of this world. I don't know why they were projecting this secret lab at me, but they always have cameras on me. My eyes looking at them, while I'm looking at me, but I'm only thinking that I'm looking at what's in front of me, which is nothing but what's in front of me. Except it's not true. There is something in front of me, but I can't see it, but I am seeing it, and I am aware of it, just not consciously. Why would I be aware of something on a subconscious or even unconscious level? Someone is using my brainwaves, and looking through my eyes, I'm aware of it even as a slight nuance, a glitch, a loss of attention, blank stare. They are pumping their brain into my brain. I'm acting like someone else, I look like someone else, and I feel like someone else. Who am I? Am I looking at myself when I look in the mirror, or am I looking at a projection? Am I just some kind of walking projector screen, a new age billboard, is that an add on my forehead? Or are they recording me looking at myself while I project my reality out of my eyes. Am I nothing more than a pair of floating eyes projecting my own existence. Am I alone?

The person on the right is someone I've photographed a few times. They have a hideous face, like the girl from the exorcism, this may be part of their camouflage. They're always wearing a robe, like a monk. The person on the left I've seen in one other photograph that I have. I believe they are a high-tech robot, like the ones from the HBO show West World.

Next time on head tv, cameras cameras, cameras. I'm also going to post all my pictures of this so-called secret robotics laboratory and break it down Deedee style. Bitchhhhh.

[dangeroustragedybouquetus-blog]

Nostalgia Overload: Creating a Perfect Y2K Room

The early 2000s, commonly referred to as the Y2K era, evoke memories of a unique blend of futuristic and nostalgic styles. Creating a perfect Y2K room involves merging these elements into a cohesive, vibrant space. This guide will walk you through the steps to achieve a room that perfectly captures the essence of the Y2K era.

Understanding the Y2K Aesthetic

The Y2K aesthetic is a blend of futuristic and nostalgic elements. It reflects the optimism and excitement of a new millennium, characterized by bright colors, metallic finishes, and digital influences. Key elements include:

Bold Colors and Patterns: Think vibrant hues like neon pink, electric blue, and lime green. Patterns such as checkerboards, animal prints, and geometric shapes were popular.

Tech-Inspired Decor: The era was marked by rapid technological advancements, which influenced home decor. Items like translucent electronics, CD racks, and neon lighting were staples.

Mixed Media: Combining different textures and materials, such as plastic, metal, and glass, adds to the eclectic feel of the Y2K aesthetic.

Choosing the Right Colors

To create an authentic Y2K room, start with the color palette. The early 2000s favored bright, bold colors. Here are some suggestions:

Neon and Fluorescents: Neon pinks, greens, and blues can make your room pop. These colors can be used on accent walls, furniture, or decorative items.

Metallics: Silver, chrome, and other metallic finishes were prevalent. Use these for furniture, fixtures, and decorative pieces to add a futuristic touch.

Black and White: A monochrome base can help balance the bold colors and patterns. Consider black and white checkerboard patterns for flooring or decor.

Furniture Selection

Furniture in a Y2K room should reflect the era’s innovative spirit and playful nature. Here are some tips:

Futuristic Designs: Look for furniture with sleek, modern lines and unique shapes. Pieces like bean bag chairs, inflatable furniture, and curvy, plastic chairs are ideal.

Multifunctional Pieces: Technology influenced the design of furniture, leading to multifunctional items. Consider desks with built-in shelving or beds with storage compartments.

Translucent and Metallic Finishes: Clear plastic chairs, glass tables, and metallic shelving units add to the tech-inspired vibe.

Decorative Elements

The right decor can transform your room into a perfect Y2K haven. Focus on these elements:

Neon Lighting: Neon signs and LED strips can add a vibrant glow. Place them around mirrors, under shelves, or behind furniture.

Tech Gadgets: Old-school gadgets like boom boxes, CD players, and vintage computers can serve as nostalgic decor pieces.

Posters and Wall Art: Display posters of Y2K pop culture icons, abstract art, and graphic designs. Look for prints that feature bold colors and geometric patterns.

Textiles and Bedding

Textiles play a crucial role in achieving the Y2K look. Here’s how to incorporate them:

Bold Patterns: Choose bedding, rugs, and curtains with bold patterns such as animal prints, checkerboards, and geometric shapes.

Vibrant Colors: Ensure that your textiles complement the room’s color palette. Neon and metallic fabrics can add a lively touch.

Mix and Match: Don’t be afraid to mix different textures and patterns. Combining shiny fabrics with soft, plush materials can create a dynamic, layered look.

Accessorizing Your Y2K Room

Accessories are the finishing touch that brings the Y2K room together. Here are some must-have items:

Lava Lamps: A classic symbol of the era, lava lamps add a retro-futuristic element to your room.

Digital Clocks: LED digital clocks or projection clocks can serve as functional decor.

CD Collections: Display your CDs in a rack or mount them on the wall as a unique art piece.

Creating a Tech-Friendly Space

Incorporate modern technology in a way that complements the Y2K aesthetic. Here’s how:

Gaming Consoles: Vintage gaming consoles like the PlayStation 2 or GameCube can be both functional and decorative.

Sound Systems: Set up a retro-inspired sound system with large speakers and a CD player.

Smart Lighting: Use smart bulbs that can change colors to match the vibrant Y2K palette.

Maintaining the Y2K Vibe

To keep your Y2K room looking fresh and nostalgic, follow these maintenance tips:

Regular Updates: Refresh the decor periodically with new items that fit the Y2K theme.

Clean and Organized: Keep the space tidy and free from clutter. Use storage solutions that blend with the room’s aesthetic.

Stay Inspired: Follow Y2K-themed social media accounts and blogs for continuous inspiration and new ideas.

Conclusion

Creating a perfect Y2K room is a fun and nostalgic journey that blends the futuristic optimism of the early 2000s with bold, vibrant decor. By following these tips and incorporating key elements of the Y2K aesthetic, you can transform any space into a retro-futuristic haven that captures the essence of the era. Embrace the bold colors, tech-inspired decor, and playful accessories to create a room that is both nostalgic and ahead of its time.

[iclub22]

Maximizing Space: Innovative Solutions for Your Bhubaneswar Penthouse

Owning a Penthouse in Bhubaneswar is a luxurious experience, but even the most spacious homes can benefit from smart space utilization. These creative ideas will help you make the most of every square inch of your Bhubaneswar penthouse, regardless of whether you're working with a smaller space or simply want to make your enormous apartment feel even more vast.

1. Optimize Vertical Space

The best way to make the most of available space is to think vertically. Install ceiling-height cabinets and towering shelves. This gives the impression of a larger area by drawing the attention upward in addition to offering plenty of storage. Custom-built furniture can help you maximise the space in nooks and crannies.

2. Multi-Functional Furniture

Purchasing multipurpose furniture can significantly improve how useful your penthouse is. Examples include ottomans with storage, sofa beds, and extendable dining tables. Because these pieces are multifunctional, there is less need for additional furniture

3. Mirrors and Reflective Surfaces

Mirrors are a tried-and-true way to add dimension to any space. Large mirrors should be positioned thoughtfully to reflect light and expand the room. Moreover, glossy cabinet finishes and reflective surfaces like glass tables can improve the impression of light and space.

4. Light Colors and Natural Light

A space can feel light and expansive by using light, neutral colours on the walls and furniture. Light pastels, whites, and creams are excellent options. Using translucent curtains or blinds to maximise natural light can also brighten the room and give it an air of openness.

5. Built-In Storage Solutions

A key to making the most of available space is built-in storage. These options, which range from built-in wardrobes to under-bed storage, can drastically reduce clutter. If you want to keep your stuff organised without taking up additional space, think about wall niches or built-in benches with storage underneath.

6. Declutter Regularly

A house free of clutter always seems larger. Declutter and arrange your possessions on a regular basis. Keep just the items you truly love and need when it comes to décor. This will make more room in the physical sense as well as make the atmosphere cosier and friendlier.

7. Use Sliding Doors

When swinging open, traditional doors can occupy precious space. Conversely, sliding doors are a fantastic space-saving option. You may use them to provide solitude without sacrificing space in rooms, closets, and even toilets.

8. Create Zones

Even in an open-plan penthouse, dividing the space into discrete areas for various uses can assist give the impression of more room and organisation. To distinguish between spaces for eating, working, and living, use rugs, furniture placement, and lighting.

9. Outdoor Space

Take full advantage of any balcony or patio that comes with your penthouse. Create an extra living space with vertical gardens, small furniture, and outside storage options. This improves your living space overall and increases the amount of useful space you have.

10. Smart Home Technology

Incorporating smart home technology can help you manage space more efficiently. Automated lighting, climate control, and security systems can be controlled remotely, reducing the need for multiple devices and clutter.

Conclusion

Maximizing space in your Penthouse in Bhubaneswar requires a combination of smart design, strategic furniture choices, and regular maintenance. By implementing these innovative solutions, you can create a comfortable, spacious, and stylish living environment that makes the most of your beautiful penthouse. Embrace these tips and watch your home transform into a haven of efficiency and elegance.

[businessindustry]

Surface Protection Films Market Top Growth Companies Global Growth, Size - 2032

The Reports and Insights, a leading market research company, has recently releases report titled “Surface Protection Films Market: Global Industry Trends, Share, Size, Growth, Opportunity and Forecast 2024-2032.” The study provides a detailed analysis of the industry, including the global Surface Protection Films Market share, size, trends, and growth forecasts. The report also includes competitor and regional analysis and highlights the latest advancements in the market.

Report Highlights:

How big is the Surface Protection Films Market?

The global surface protection films market was valued at US$ 1.43 Billion in 2023 and is expected to register a CAGR of 4.6% over the forecast period and reach US$ 2.15 Bn in 2032.

What are Surface Protection Films?                                                                                                                                                                            

Surface protection films are adhesive-backed materials designed to protect surfaces from damage during manufacturing, transportation, installation, and regular use. These films temporarily adhere to various surfaces like metals, plastics, glass, and painted surfaces, shielding them from scratches, abrasions, dirt, and UV rays. Widely used across industries such as automotive, electronics, construction, and aerospace, they help maintain material quality and appearance throughout production and handling processes. Available in different thicknesses and adhesive strengths tailored to specific surfaces and environmental conditions, surface protection films provide effective and residue-free protection at a cost-effective rate.

Request for a sample copy with detail analysis: https://www.reportsandinsights.com/sample-request/2350

What are the growth prospects and trends in the Surface Protection Films industry?

The surface protection films market growth is driven by various factors and trends. The surface protection films market is growing rapidly, driven by high demand in automotive, electronics, construction, and aerospace sectors. These adhesive-backed films are essential for shielding surfaces from scratches, abrasions, dirt, and UV exposure during manufacturing, transportation, installation, and daily use. Key growth factors include growing awareness of surface preservation, strict quality standards in manufacturing, and the requirement for economical protective solutions. Leading regions like North America, Europe, and Asia-Pacific are leading in market adoption, featuring a competitive market landscape with various film options tailored to diverse surface materials and environmental conditions. Hence, all these factors contribute to surface protection films market growth.

What is included in market segmentation?

The report has segmented the market into the following categories:

By Technology

Adhesion Lamination

Dry bond lamination

Wet bond lamination

Energy-curable adhesive lamination

Hot melt seal coating

Solventless lamination

Others

Coextrusion Lamination

By Material Type

Polyethylene (PE)

Polypropylene (PP)

Polyethylene Terephthalate (PET)

Polyurethane (PU)

Polyvinyl Chloride (PVC)

Others

By Thickness

Up to 25 microns

25-50 microns

50-100 microns

100-150 microns

Above 150 microns

By Color

Transparent

Translucent

Colored/tinted

Opaque

By Application

Metal Sheets

Glass & Mirror

Prepainted Surfaces

PVC Profiles

Furniture Surfaces

Carpet Protection

Others

By End-Use Industry

Construction & Interior

Electrical & Electronics

Automotive

Industrial

Healthcare

Others

North America

United States

Canada

Europe

Germany

United Kingdom

France

Italy

Spain

Russia

Poland

Benelux

Nordic

Rest of Europe

Asia Pacific

China

Japan

India

South Korea

ASEAN

Australia & New Zealand

Rest of Asia Pacific

Latin America

Brazil

Mexico

Argentina

Middle East & Africa

Saudi Arabia

South Africa

United Arab Emirates

Israel

Rest of MEA

Who are the key players operating in the industry?

The report covers the major market players including:

Chargeurs S.A

Nitto Denko Corp

Tredegar Corporation

Polifilm GmbH

Bischof + Klein SE & Co. KG

DUNMORE Corporation

Grafix Plastics

Surface Armor LLC

Pelloplast OY

MacDermid Autotype Ltd

Dute Industries Group

Scapa Industrial

ARGOTEC

View Full Report: https://www.reportsandinsights.com/report/Surface Protection Films-market

If you require any specific information that is not covered currently within the scope of the report, we will provide the same as a part of the customization.

About Us:

Reports and Insights consistently mееt international benchmarks in the market research industry and maintain a kееn focus on providing only the highest quality of reports and analysis outlooks across markets, industries, domains, sectors, and verticals. We have bееn catering to varying market nееds and do not compromise on quality and research efforts in our objective to deliver only the very best to our clients globally.

Our offerings include comprehensive market intelligence in the form of research reports, production cost reports, feasibility studies, and consulting services. Our team, which includes experienced researchers and analysts from various industries, is dedicated to providing high-quality data and insights to our clientele, ranging from small and medium businesses to Fortune 1000 corporations.

Contact Us:

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[storyspothub]

The Ultimate Guide to Teeth Whitening in Brooklyn: What You Need to Know

From the vibrant murals of Bushwick to the historic brownstones lining the streets of Brooklyn Heights, Brooklyn embodies a unique mix of tradition and modernity. Just as diverse and expressive as its culture are the smiles of its residents. In a city where first impressions can make all the difference, a bright smile is your golden ticket. Recognizing the pivotal role of dental aesthetics in today’s dynamic social arena, Aesthetic & Implant Dental Arts has become a beacon for those seeking to transform their smiles in the heart of New York.

Understanding the Causes of Teeth Discoloration

Before we explore the solutions, it's vital to understand the adversaries. Teeth discoloration can be caused by a variety of factors, ranging from your morning cup of coffee to the natural aging process. Other common culprits include smoking, certain medications, and foods with strong colorants. Uncovering the cause is the first step in selecting the most effective whitening treatment for your teeth.

Exploring the Latest Teeth Whitening Techniques

Teeth whitening in Brooklyn have evolved far beyond simple bleaching processes. Nowadays, dental clinics like Aesthetic & Implant Dental Arts leverage cutting-edge technologies to offer a spectrum of whitening services. Among these, laser teeth whitening in Brooklyn stands out for its quick results and minimized discomfort, making it a popular choice for New Yorkers on the go. Whether you opt for an in-office procedure that guarantees instant results or prefer the convenience of at-home treatments, knowing your options is key to achieving that dazzling Brooklyn smile.

The Benefits of Porcelain Veneers in New York

For those seeking more than just a surface-level solution, porcelain veneers represent a revolutionary approach in cosmetic dentistry. These thin layers of ceramic are custom-made to fit over your existing teeth, providing a flawless, whiter smile that mirrors the natural translucency of tooth enamel. Aesthetic & Implant Dental Arts specializes in crafting porcelain veneers in New York that not only enhance aesthetics but also offer durability and resistance to future discoloration.

The Process of Getting Porcelain Veneers

The journey to obtaining porcelain veneers at Aesthetic & Implant Dental Arts begins with a comprehensive consultation to discuss your aesthetic goals and review your dental health. The process involves several steps, including the preparation of your teeth, taking precise molds, and fitting the veneers. Though the procedure might sound daunting, the team’s expertise ensures a comfortable and satisfying experience, leading to a smile transformation that can last decades with proper care.

Real-Life Success Stories

Skeptical about the promises of cosmetic dentistry? Aesthetic & Implant Dental Arts proudly showcases a gallery of real-life success stories. Testimonials and striking before-and-after photos bear witness to the life-changing impact of professionally administered teeth whitening and meticulously designed porcelain veneers. Patients from all walks of life share their journeys toward gaining newfound confidence through enhanced smiles.

Expert Tips for Maintaining a Whiter Smile

Protecting your investment is the next logical step after achieving your desired smile. Post-treatment care plays a crucial role in maintaining the brilliance of your teeth. Simple lifestyle adjustments, such as limiting stain-inducing food and beverages, regular dental check-ups, and adherence to proper oral hygiene practices, can extend the longevity of both teeth whitening results and porcelain veneers.

A dazzling smile is more than just an aesthetic asset; it’s a reflection of your individuality and confidence. With the array of options available at Aesthetic & Implant Dental Arts, from advanced teeth whitening techniques to bespoke porcelain veneers in New York, achieving your dream smile has never been more attainable. We invite you to schedule a consultation with our expert team, where we’ll tailor a treatment plan to your specific needs, ensuring that your smile continues to be as vibrant and dynamic as Brooklyn itself.

[dgyum]

Miraidon

I saw the Lord of the Dead Earth floating above the barren ground. "What must we do to stop this?" I asked.When the Iron Serpent turned and beheld me I was transfixed in sadness. "Can you outrun the land? Can all the fish outswim the sea? Can all the birds outfly the heavens? No. No more can you leave time."

Direction;West

Colors: purple, a mixture of orange and brown

Some Titles;The Iron Serpent, Automaton King, The End of All, the Lord of the Dead Earth

Miraidon must be summoned to destroy an objective, protection from the dangers of trying to interact with robotic paradox Pokemon, rituals for in various ways enchanting technology its auspices are useful in cosmic alchemy and Workings with electricity, Miraidon is a spirit of Daath. minorly presides over crystals especially colored crystals, crystal balls and mirrors. The texts that deal with them in their End of Everything aspect are among the first to make it quickly clear that to draw upon oneself the wrath of Miraidon is unwise in the extreme,Miraidon appears to me as a floating dragon. which as in the Iter Aevum, the main surviving text on Miraidon, has “regal” purple scales, about ten feet long. On its neck it has a translucent pouch with a storm cloud inside. From its head and body come lightning bolts that strike anything that comes near. Its claws and tail are metallic. Its eyes are like a metal sheet with irises made of glowing ink. The irises move like ink flowing on a page or oil moving on water, forming new patterns when the creature expresses itself. Its body bears some resemblance to cyclizar. Where Miraidon travels the astral space of the place where we are becomes a reflection of the dead Earth on which he reigns. Miraidon is a proud spirit much like Dialga character-wise when they are serious being the only two among all living and non-living creatures who can manipulate the future but Miraidon is much much more determined and ready to chase you to the end of the world in order to do justice if necessary, just like his brother: Koraidon, In baleful magic Miraidon releases torrents of Dragon type aura mixed with Electric type energy causing spasms while the cursed one's heart is stopped for an hour every day and due to the infrequent cardiac arrests the cursed one will soon suffer from arrhythmia and other minor problems with the heart

[xasha777]

In the year 2247, the Earth was teeming with cities that scraped the skies, and cybernetic enhancements were as common as smartphones once were. In this neon-lit world, Ava, a young historian with sapphire eyes, dedicated her life to unraveling the untold stories of the past.

Ava stood before a mirror in her apartment, a high-rise capsule with a view of the sprawling megacity below. She held an antiquated device in her hand, a smartphone from the 21st century, a relic she had just uncovered at an excavation site. Her reflection was both ancient and modern; her braided hair and traditional clothing juxtaposed with the sleek, black fabric of her shirt, woven from smart fibers that regulated temperature and emitted a faint glow in the dark corridors of the archives.

The smartphone was her gateway to a secret project, an AI-driven simulation that allowed her to witness the past as if she were there. Ava was particularly fascinated by the 66th Punjabis, a regiment that had served with distinction in the armies of British India. The records spoke of their bravery, their strategic might, and the battles they had swayed. But now, Ava sought a deeper truth, one that went beyond the military accolades and into the lives of the men who served.

With the press of a button, Ava activated the simulation. The walls of her room became translucent screens, depicting the sands of a bygone battlefield. The sounds of marching boots and distant artillery filled the air. There she was, an ethereal observer in the midst of the 66th Punjabis, not as a soldier, but as a spectral historian, documenting their hopes, their fears, and their humanity.

Through the AI's intricate algorithms, Ava interacted with lifelike projections of the soldiers. She shared their meals, listened to their stories, and recorded their personal accounts. She discovered tales of love, loss, and camaraderie that textbooks had omitted.

One evening, as the digital sun dipped below the simulated horizon, Ava came across a soldier who was writing a letter to his family. His words were full of longing and a sense of duty that transcended time. Moved by his story, Ava decided to send a message of her own, a holographic letter projected through the streams of time, hoping that somehow, the universe would carry her voice to the past.

Ava's experiments with the simulation began to attract attention. The technology she used was not meant to disturb the fabric of history, only to observe it. But Ava had grown to believe that history was not a static entity to be studied but a living, breathing tapestry that she was now a part of.

One night, as she was deeply engrossed in her research, the smartphone flickered and glitched, the air around her crackled with static energy, and a figure emerged from the simulation. It was the soldier she had seen writing the letter, standing before her, as real as the world outside her window.

"Who are you?" he asked, bewildered by the foreign environment.

Ava was stunned. The simulation had somehow become a conduit, a bridge across centuries. The universe had answered her holographic letter in the most unexpected way.

"I am Ava," she replied, "and I believe we have much to learn from each other."

Together, they began to explore the truth about the past, seeing it not as a linear path but as a network of countless possibilities. The soldier, a man out of time, offered Ava insights no record could provide. In turn, Ava showed him the future that had been built on the foundation of his and countless others' sacrifices.

Their bond grew, a fusion of past and present, as they set out to share the true story of the 66th Punjabis, ensuring that the soldiers were remembered not just for their battles but for their humanity. They stood side by side, a bridge between eras, guardians of history, and architects of memory.

The line between reality and simulation blurred, but one thing remained clear: history is not just about the events that change the world, but also about the people who live, love, and hope within it. Ava and the soldier from the past had shown the world that time may divide us, but our stories will always unite us.

[exhibit-of-the-century]

Lecture Notes MON 29th JAN

Masterlist

BUY ME A COFFEE

The Artwork in History: ‘Early Modern’ Art

What is ‘Early Modern’ Art? Well, it’s mostly an umbrella term for a lot of art, it can refer to the renaissance, and is sometimes associated with it. The Renaissance is a loaded term, especially when linked to culture and belief. So, some prefer to use ‘early modern’ as a term to describe it.

Let’s unpack ‘Early Modern’. ‘Modern’ we usually consider it to be closer to us? Another loaded term really. Because what is modernity? So, for art that is closer to us, we use the term contemporary rather than modern, since modernism is also a movement in art history, and there’s historical modern too.

One of the things modern may be: (depending on who) Just after the Renaissance or even the Renaissance. We usually limit ourselves in chronological thinking when it comes to Art History, although timelines are very helpful when it comes to understanding what influences what. What happens outside of Italy helps establish a vague name for the other art that is happening.

Jan Van Eyck is one of these painters, as he dates and signed all of his works (Van Eyck was here, was his signature). This means that his work is well documented for the time. His work was done during the same century as Renaissance Italy and the Masaccio panel, in reference to my previous lesson.

The Renaissance is a term that mostly refers to Italy during the 14th century and cannot entirely be applied to Eyck. That is where the term ‘Northern Renaissance’ comes in, attempting to mostly cash in on the cultural value of the term Renaissance. Another annoying term.

Jan van Eyck (d. 1441) Arnolfini double portrait, 1434 oil on panel, 82 x 59.5 cm National Gallery.

Why would this painting be modern?

Well, it’s non-religious for a start, it has directional lighting with cast shadows and perspective. Especially the mirror. Although the way Van Eyck’s script is written for his signature is more in the gothic style than humanitarian script.

Linseed oil and nut oils with pigment were used to paint this work, olive oil is not an option for painting with as it never dries. Linseed oil is translucent despite the natural pigments added. The detail of carpentry carving in beams next to the mirror, as well as the lustre on the brass chandelier.

To achieve this gradient of shadow and shade, you’d layer a base colour and then adding white to a layer you add light, here adding transparent glaze achieves shadow, rather than adding dark pigment. As light has more layers to pass through, so this creates the darker effect, we know this from x-rays of the painting. The vividness of this painting is achieved through the naturalistic colour palette. How artists at the time developed this, is still largely unknown but we have reason to believe historically, that some of their knowledge would’ve come from Arabic/Middle Eastern discoveries of light’s effect on the eye and colour.

Oil painting predates the Renaissance, it just becomes popular during this time.

The aforementioned convex mirror with great distortion, but still reflective and showing the artist. Can be linked to/associated with ‘modern art’ as self-awareness is an association of it.

Martin Kemp (who has a technological application interest and used it on Eyck’s work): if you tale what’s in the mirror you actually get a better/more accurate perspective than what you have un the main body of the painting. Vanishing points (as studied with computer tech).

Vasari knew Michelangelo told people to value and like this artwork at the time, so it’s been popular throughout history.

Bramante, ‘Tempietto’, c.1502, San Pietro in Montorio, Rome

‘Tempietto’ meaning little temple. Noticing the floor, it is similar to the cosmati pavement in Westminster Abbey, it appears as convincing Antiquity but is definitely Medieval. This complicate what the Renaissance is and Antiquity.

Northern Artists begin going/taking inspiration from Italy.

A Northern European artist in Italy: Dürer, Feast of the Rose Garlands, 1506 oil on poplar, 162 x 194.5 cm, Národní Galerie, Prague

Van Eyck traditionally begins to blend with Italian Gossaert. Going from the Netherlands to Italy These Motifs of gods spread all across Europe.

Jan Gossaert, Venus and Cupid, 1521, oil on panel, 32 x 24 cm Brussels

And Religion gets complicated. The Reformation, which impacts the visual arts. The Protestant Reformation was a religious reform movement that swept through Europe in the 1500s. It resulted in the creation of a branch of Christianity called Protestantism, a name used collectively to refer to the many religious groups that separated from the Roman Catholic Church due to differences in doctrine.

Marin Luther, a very religious celibate, who published a doctrine for the reformation, has a portrait with his wife.

Lucas Cranach the Elder (1472-1553) Portrait depicts Martin Luther and Katharina von Bora, 1529 Darmstadt

Cranach works closely with Luther in publishing propaganda and painting, he generally was an interesting historical figure.

Religious and political frameworks for the visual arts begin breaking down. Henry VIII takes ownership of all the churches land.

While the visual arts may not actually be effected to such an extent of what to paint/create, they are effected, in a different way. Iconoclastic was something that came from the reformation due to protestant belief centring around icons being removed, that you should worship without the need of icons. Especially in Northern Europe a lot of icons and images are smashed – coming from the more extreme views of no icons. In the Netherlands there is a large riot and smashing of icons:

Iconoclasm depicted: Frans Hogenberg, The Iconoclastic Riot of 20 August 1566 Engraving from Michael Aitsinger, De Leone Belgico, 1588

Iconoclasm in practice: Polychrome stone altarpiece Burial chapel of Jan van Arkel, c1500 Utrecht Cathedral.

As well as reconfiguring some Medieval churches:

Iconoclasm in practice: Interior of the church in Noordwijk aan Zee, Netherlands

This religious/political change around (mainly) Europe, disturbs the continuity of Church Art and the Visual Arts. This also actually breaks the entire art market at the time.

Holbein during this time comes to England for work. One of these portraits is of Erasmus, a very famous and one of the most important humanists of that time.

(Left) New emphases: Hans Holbein the Younger (1497-1543) Portrait of Sir Thomas More, 1527 (Right) Portrait of Erasmus, 1523 Oil on panel,74 x 59 cm, Frick, New York Oil on panel, 43 x 33 cm, Louvre

Around this time, comes Mannerism: a break in form and idealism. There are extensions in proportions and exaggerations. ‘Madonna with the long neck’/’swan neck’

‘Mannerism’ Parmigianino, Virgin and Child with Angels and St Jerome,1535- 40, oil on panel, 216 x 132 cm, Uffizi, Florence

Although mannerism can be summarised as a proportion change, it’s hard to put it into a box and explain exactly what mannerism is. Although it was also mostly an Italian insult, when referring to a work: to say it was not mannered/awkward.

However, mannerism also shows us how artists attempted something new and different.

Giulio Romano, East façade of the courtyard, Palazzo del Tè, Mantua, 1526-34

This also happened to architecture, although this façade looks to have tension and be slipping/sliding, this was done intentionally. At the time, only the sophisticated audiences would know and understand that these ‘faults’ are an intent and a joke.

Another twist that comes from the reformation: ‘Baroque’

And this title too is considered a bit of an insult, at least at the time it was. ‘Goth’ was also one of these. Baroque meant twisted and contorted. But despite this insulting title, this work was propagandistic and is considered one of the first global art styles due to mass colonisation during the time this style was popular.

‘Baroque’ Gian Lorenzo Bernini, Cornaro Chapel, 1652, Santa Maria della Vittoria, Rome

Although this Caravaggio painting was well studied people still cannot determine or decide who St. Matthew is, out of all the men, it’s very ambiguous. As well as a little peculiar to depict saints and Jesus in a drinking scene, even if in the bible this is the setting, Caravaggio was a frequent visitor of drinking houses  and enjoyed the drinking scene visually (pubs).

Caravaggio, The Calling of St Matthew,1599- 1600, oil on canvas, 322 x 340 cm, Contarelli chapel, San Luigi dei Francesi, Rome

Francesco Borromini, San Carlo alle Quattro Fontane, Rome, 1638-41

Towards the end of this period, you have far less church art but still a large art ownership, especially in the Netherlands. There is a long tradition in Dutch Art for precise depiction, like in this landscape piece and still life. Although the still life succeeds in a secondary function, of depicting wealth through material goods: the Chinese porcelain, olives spilling out.

Jacob van Ruisdael, A Pool surrounded by Trees, and Two Sportsmen coursing a Hare, about 1665, oil on canvas, 107.5 x 143 cm, National Gallery

Willem Claesz. Heda, Still Life with a Lobster, 1650-9, oil on canvas,114 x 103cm, National Gallery

[opticalhub]

Etnia Underwater Spring-Summer 2024 Collection

Etnia UNDERWATER Spring-Summer 2024 Collection

Welcome to an ocean-inspired journey that promises to captivate your senses and elevate your style. Etnia Barcelona's latest masterpiece, the UNDERWATER collection, is not just eyewear; it's a passport to a mesmerizing world beneath the waves, a narrative brought to life through visionary design and pioneering artificial intelligence. Embrace the allure of the deep sea and discover eyewear that transcends fashion, blending the harmony of nature with the thrill of technological innovation.

A Surreal Voyage with Etnia UNDERWATER from BarcelonaEmbark on a trip into the enigmatic abyss, where solitude of the oceanic trenches provides the canvas for a startling spectacle of life. Etnia Barcelona's UNDERWATER collection is a daring invitation to explore the unseen, to capture the essence of the aquatic world through a lens of unparalleled creativity and sophistication.A Creative Leap into the Deep BlueIt takes more than just design prowess and expertise to create something truly impactful; it requires a dive into uncharted territory where the conventional meets the extraordinary. Etnia Barcelona, with the UNDERWATER collection, presents an extraordinary exercise in creativity, finding unique inspiration in the silent, yet flourishing submarine landscapes. Previous Next AMPATArtificial Intelligence: Crafting a World of WonderFueled by artificial intelligence, the UNDERWATER campaign steers clear of a robotic coldness, guiding us instead towards a realm where organic forms and AI coalesce. In this harmonious realm, the intricate details of the underwater flora and fauna are meticulously respected, creating a rich tapestry of designs that beckon to be admired and adorned.Intricate Design Meets Ethereal AestheticsThe collection introduces a stunning array of 22 new models, comprising 18 prescription frames and 4 sunglasses, each christened with names evocative of their maritime muses – Arrecife, Posidonia, Anemona, Coral, and more. The radiant color palette flows with fluid precision, mirroring the interplay of light and shadow beneath the ocean's surface, while the solid colors pay homage to the vibrant beauty of sea life.Unveiling the Craftsmanship: A Closer Look at the CollectionIndulge in the illustrious selection that UNDERWATER brings forth, offering a tangible expression of the ocean's beguiling charm. Each frame from Etnia Barcelona is meticulously handcrafted, employing the choicest natural materials that parallel the sustainable beauty of the marine environment.- Sheer Translucence: The semi-transparent frames capture the delicate dance of sun rays filtering through the water, amplifying the essence of the wondrous play of light in the deep blue. - Solid Hues: Borrowed from the vivid coloration of the aquatic life, these frames are a vibrant contrast to the tranquil blues and greens, akin to the striking appearances of tropical fish and coral reefs. - Elegance of Shapes: Echoing the variable forms of oceanic life, from the sleek streamlined shape of swift-swimming fish to the organic contours of coral, the collection boasts designs that envelop the contours of your face in a flowing embrace. - Textures and Patterns: Mimicking the surface of shells, the roughness of sand, and the patterning of aquatic vegetation, the eyewear features intricate details that awaken your touch sense, inviting you to feel as much as see the splendor they behold.With the unveiling of the UNDERWATER collection, every individual is empowered to orchestrate their unique style symphony, to stand out and to shine, much like the fascinating creatures of the ocean's depth that never cease to astonish and inspire.

Etnia Underwater is More Than EyewearImmersing yourself in the Etnia Barcelona experience is to understand a philosophy of life, a dedication to the arts, and a passion for color that resonates deeply with the soul of its home city, Barcelona. Graced with vision and carried by an attitude that's open to the world, Etnia Barcelona stands not merely as a brand but as an embodiment of a vibrant lifestyle.The Story Behind the #BeAnartist Movement#BeAnartist, Etnia Barcelona's rallying cry, is more than a slogan; it's an invitation to embrace your individuality, to express yourself freely through fashion, and to craft your narrative with every frame you don. Celebrated for its radiant use of color and commitment to art and culture, Etnia Barcelona has cemented its place as an authority in the eyewear sector.Quality Craftsmanship: A Mark of Etnia UNDERWATER modelsWhether strolling along the bustling streets of a cosmopolitan city or delving into the serenity of nature, your Etnia Barcelona glasses are a constant companion that pairs resilience with comfort. Each piece is fashioned from the finest natural materials, including the illustrious Mazzucchelli acetates and crystal-clear HD mineral lenses.Culture, Art, and Attitude: Barcelona's LegacyBarcelona—Etnia Barcelona's nurturing cradle, a city that thrives on culture, art, and an open-minded attitude towards life and creativity. The spirit of Barcelona is imbibed in every frame, embodied in vibrant tones, sleek designs, and the invitation to seize life with enthusiasm and a distinctive flair.

Embrace the Exceptional: Your Invitation AwaitsStand out with Etnia Barcelona’s UNDERWATER eyewear collection, which is easily accessible in over 50 countries and 15,000 points of sale globally. From the signature artistic flair to the environmentally mindful approach, Etnia Barcelona merges the best of both worlds in a showcase of eyewear artistry.From Our Studio to Your StoryAt Etnia Barcelona, the creative journey starts and ends within the heart of our meticulous design team. Each step, from inception to the final touch, is steeped in a narrative of vivid storytelling and innovative craftsmanship—a journey that’s lived and breathed by over 650 dedicated professionals across our Barcelona HQ and subsidiaries in Miami, Vancouver, and Hong with its unmistakable identity that beckons you to be part of its story and to carve your own.A New Chapter in Eyewear InnovationThe allure of nature and the marvels of modern technology have never blended so seamlessly as they do in the UNDERWATER collection. Every element is a sublime tribute to the grandeur of the deep-sea universe, crafted to perfection, providing a new perspective on eyewear fashion. Etnia Barcelona, ever-so-attuned to consumer desires, continues to push boundaries, ensuring the visionary spirit of design never dims.Capturing the Essence of the Ocean Across BordersWith the UNDERWATER collection, Etnia Barcelona invites you on an international voyage where the language of design transcends words and the appeal of avant-garde eyewear unites enthusiasts. The joy of discovery, the thrill of new horizons, and the satisfaction of exquisite selections—all await those who choose to embrace the spirit of exploration.Reflections on Sustainability and StyleAs we marvel at the beauty of the underwater realm, Etnia Barcelona champions ecological awareness alongside aesthetic appeal. Each frame is a step towards sustainability, harnessing the beauty of natural materials and embodying the commitment to a greener future, where style and responsibility flow in harmony.

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