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[zegalba]

Nam June Paik: TV Rodin :: Le Pensuer (1976)

[psikonauti]

Tomas Harker (British, b. 1990)

Violas, 2021

Oil on canvas

[odd-maid3n-deactivated20230910]

"Remember how long you've been putting this off, how many extensions the gods gave you, and you didn't use them. At some point you have to recognize what world it is that you belong to; what power rules it and from what source you spring; that there is a limit to the time assigned you, and if you don't use it to free yourself it will be gone and will never return."

Marcus Aurelius - Meditations, Book 2, 4.

[tri-ciclo]

[musicmakesyousmart]

[nemfrog]

“Clouds and currents of dark matter associated with nebular objects in the the constellation of Ophiucus.” Les énigmes de la science. 1921.

Internet Archive

[hollosene]

"Experiments with stippling" by artist/cartographer Heather Gabriel Smith. Posted to her Instagram on sept 3 2024 (Antigonish, Nova Scotia, Canada).

[image-junkie]

Ruth Thorne-Thomsen is best known for her constructed landscape photographs made with a cigar-box pinhole camera. In these works, she sets cropped pictures and miniature props in real landscapes, exposes them onto paper negatives, and produces sepia-toned contact prints. The resulting images feature an infinite depth of field, freedom from linear distortion, a high level of contrast, and a soft grain. Because of her choice of subjects, the printing method, and the pinhole camera’s rendering of sharply focused but ambiguously scaled subjects, her images recall both nineteenth-century calotype landscapes and the uncanny juxtapositions of Surrealist imagery from the 1920s and 1930s.

Lisa Hostetler

[hitku]

“Yuanyang” by Johnson Tsang

[cyberexgirlfri3nd]

By Alvin Booth

[sharpenededges]

Gabriel Ferrier - The Awakening Of The Poet - (1899)

[hollosene]

Mountain Through Clouds, Early Winter, and Crater

More from Pictures of The Earth 2007-2012 by Sean McFarland Dye Diffusion Transfer Prints, 3 1/4″ x 4 1/4″

End of the West

High Desert

Landscape and Night Sky

Tornado

[deathandmysticism]

All-sky view of the Leonids shower, 156 meteors were captured in this 4 hour image, 1998

[clearpills]

the love in me feels the love in you

[hollosene]

Boris Behncke, PhD (Istituto Nazionale di Geofisica e Vulcanologia) on this depiction of Mount Etna's 1669 explosion:

Impressive fresco (ascribed to Giacinto Platania) in the cathedral of Catania, depicting with neat accuracy all the important features of the most destructive historical eruption of this volcano in 1669. Eruption start is 11 March 1669, following a dramatic buildup in seismic activity, which helped to drive away the population from the site of the outbreak. The erupting vent is at only 800 m elevation (compared to the ~3300 m of the summit at that time) and builds a large new cone, later to be named Monti Rossi. Just below that erupting cone, another green hill is seen surrounded by the red lava, this is an older, prehistoric cone known as Mompilieri (or Monpilieri). The lava makes its way down toward the coast, splitting into several branches. On its path, several villages are partly or entirely consumed by the lava flow, only a few buildings seen protruding from the huge mass of molten rock. After about one month the lava arrives at the city walls of Catania, in the foreground, and is diverted into the nearby harbor of the town. The fortress at left, Castello Ursino, is surrounded by the lava, which piles up to about one-third of the building's height without causing significant damage. Behind the fortress, in the western outskirts of Catania, numerous land houses and villas are destroyed; the lava breaches the city walls in this area and destroys a number of buildings before stopping short of the Benedictine Convent. All sources saying that Catania was totally (or mostly) destroyed during this eruption are wrong. The city is seen almost entirely intact here, with the old, Medieval cathedral and its about 100 m-high church tower. Some people are depicted leaving on boats, others holding processions. What is certain is that no one was killed, since the lava moved slowly, and eyewitness accounts (of which there are plenty) do not mention fatalities.Among the other interesting details in this painting is the fact that the summit crater of the volcano is nearly perfectly quiet, and the dark streak of lava extending from the center of the image to the coast behind Catania. This is a lava flow that is often ascribed to an eruption in 1381 but known to have been erupted around AD 1160. The vents of this lava flow lie even lower on the southeast flank of Etna, at only around 400 m elevation, being the lowest known historically active vents of this volcano. The lava reached the sea north of what was then Catania, in an area named Ognina, which is now part of the expanding city" [source].

On Dr. Behncke:

In 1994, Behncke was among the first scientists in Europe to discover the vast informative and communicative potential of internet. As early as in spring 1995 he created the web site "Italy's Volcanoes: The Cradle of Volcanology," ...the first volcanologically oriented site in Germany, and the second in Europe, which provides information about all volcanoes in Italy and particularly about Mount Etna. The server is now at www.vulcanoetna.com, based in Catania. The scope of the site is now fundamentally to provide background information about the Italian volcanoes rather than news about their activity. Skills - Identification of stratigraphic relationships between various rock units and facies characteristics (Monti Iblei, Sicily) - Observation and interpretation of live volcanic processes at Mount Etna (Sicily); ample knowledge of Mount Etna as a volcano and as an environment from extensive literature research and more than two hundred excursions on and around the volcano. [source: italysvolcanoes.com/Boris.html]

[publicdomainreview]

Cattleya Orchid and Three Hummingbirds, 1871.⠀ ⠀ One of several hummingbird / orchid paintings by Martin Johnson Heade. This and a couple of other Heade works available as prints in our online shop here: https://t.co/VHH9GF9U3j

[hollosene]

Heade offered viewers an intimate glimpse into the exotic recesses of nature’s secret garden. Lichen covers dead branches; moss drips from trees; and, a blue-gray mist veils the distant jungle. An opulent pink orchid with light-green stems and pods dominates the left foreground. To the right, perched near a nest on a branch, are a Sappho Comet, green with a yellow throat and brilliant red tail feathers, and two green-and-pink Brazilian Amethysts.

Perhaps inspired by the writings of Charles Darwin, the artist studied these subjects in the wild during several expeditions to South America. The precisely rendered flora and fauna seem alive in their natural habitat, not mere specimens for scientific analysis. Defying strict categorization as either still life or landscape, Heade’s work reflects the artist’s unerring attention to detail and his delight in the infinitesimal joys of nature.

More information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 291-295, which is available as a free PDF at https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/american-paintings-19th-century-part-1.pdf

[hollosene]

Optical Deformation (1942) by György Kepes

Vintage gelatin silver print

…

“The colleagues Kepes collaborated with on various book projects included a metallurgist who prepared fissionable material for the first atomic bomb, an engineer who created one of the earliest digital computers for the United States military, and a mathematician who invented novel ways to simulate thermonuclear war. Though Kepes was politically on the left, and vocally protested the war in Vietnam both on the ground and in numerous written statements, he was still trapped in a conflicted position within what we might call the military-industrial-aesthetic complex." (John Blakinger, pulled from a blog post by Chris Knight).

Education of Vision (free to borrow from Internet Archive)

The essays in this book concern themselves with the carefully sequenced interplay between sensory, imaginative awareness and disciplined, scientific knowledge. They deal specifically with sharpening visual perception. The opening essays analyze the fundamental characteristics of visual faculties. The next group of essays deal with vision as an important implement in facilitating comprehension of complex scientific information. The remaining essays are concerned with concrete educational techniques for developing visual sensibilities. The authors of these essays come from a variety of backgrounds: physics, art, education, and psychology. The essays are extensively illustrated. (JY)

Artist description submitted to Artsy.net by Alpha Gallery:

The Hungarian artist György Kepes (1906-2001) is well-known for his explorations of the interconnectedness of art and science, nature and technology. As a photographer, painter, filmmaker, graphic designer and environmental artist, he embraced mid-20th modernity and the technological society while recognizing the fundamental expressiveness of forms found in the natural world. Kepes was a member of the European Bauhaus before coming to Chicago, upon the invitation of Laszlo Moholy-Nagy, to teach at the New Bauhaus. He is the author of seminal books and articles, which have been influential to generations of artists, architects and designers. He was also the founding director of the Center for Advanced Visual Studies at the Massachusetts Institute of Technology. A new museum, the Kepes Visual Centre, is open at the University of Eger, outside of Budapest, which will house the existing Kepes Museum founded in 1990.

From "Celebrating the Center for Advanced Visual Studies, a pioneer in melding art, science, and tech" by Ken Shulman, MIT News | School of Architecture and Planning (September 27, 2017):

The Institute also inaugurated the Center for Advanced Visual Studies (CAVS). The juxtaposition was no coincidence. Founded by artist and MIT Professor György Kepes in 1967, CAVS was created as a fellowship program that brought cutting-edge visual artists into contact with scientists and engineers in the MIT community. … Gediminas Urbonas, director of the MIT Program in Art, Culture and Technology (ACT), which was created when CAVS merged with MIT’s Visual Arts Program in 2009. “They had witnessed how a certain segment of mankind had used technology to cause destruction on an almost unimaginable scale. They believed in the arts, and in their potential to humanize those technologies so they might be used to help the human species thrive.” … CAVS owed much of its early prominence and character to Kepes, the Hungarian-born and educated painter, designer, photographer, and educator who founded the initiative in 1967. Kepes came to MIT in 1946 after a stint as head of the Light and Color Department at the Institute of Design in Chicago, which was then known as the New Bauhaus. He served as director at CAVS until 1974. He passed away in 2001. … “György Kepes was the greatest pioneer in the marriage of art and technology in America,” playwright Alan Brody, then the associate provost for Arts at MIT, said at the time of Kepes’s death. “He was a visionary, a towering intellect, and a breathtaking artist. He single-handedly created the Center for Advanced Visual Studies and turned it into an internationally acclaimed program for the development of the finest in late 20th century art.”