This blog is a select collective posting unique imagery from various sources with a focus on Art, Architecture, Film, Graphic Design etc...Images & othere contents are copyright to the respective authors. Wish you guy's enjoy this place with me. m.a.Raihan is a freelance Visual Artist, currently based in Dhaka,Bangladesh. www.maraihan.com redonion.tumblr.com
Understanding Chakra Frequencies.
The seven chakras each have an associated color, but did you know that they each have a unique frequency as well? Each chakra vibrates as a different frequency and learning to influence the chakra frequencies brings them into balance and clear energy blockages.
Everything about you is ‘alive’ with a vibrational frequency. Every thought, every emotion, every cell, every organ… everything that makes up ‘you’ is basically different vibrations clustered together. The chakras are the energy centers through which energy moves. When the chakras are open, everything is in balance and harmony.
Chakra frequencies and colors correspond to various areas of your life. When chakra frequency is disrupted, you are out of tune, and things start to go awry spiritually, mentally, emotionally and physically.
Sound Therapy
Today, we have a wide choice in sound therapies and chakra balancing techniques. One such therapy involves using the “Solfeggio frequencies” which ‘tunes’ the body to different frequencies that create harmony.
Below is a list of the 7 chakra frequencies, as well as the corresponding Solfeggio frequency that can be used to heal and balance that chakra.
Use sounds, affirmations and other techniques to balance each chakra.
1. Root Chakra Frequency: 396 Hz
This is the vibrational tone of the Earth’s day. It is dynamic, energizing and vitalizing. Use the Solfeggio frequency UT – ‘Liberating Guilt and Fear’.
2. Sacral Chakra Frequency: 417 Hz
This is the tone of the synodic moon (lunar month, which is different from the earth’s month). Use the Solfeggio frequency RE – ‘Undoing Situations and Facilitating Change’.
3. Solar Plexus Chakra Frequency: 528 Hz
This is the tone of the sun. Use the Solfeggio frequency MI – ‘Transformation and Miracles (DNA Repair)’.
4. Heart Chakra Frequency: 639 Hz
This is the tone of the Earth’s year. Use the Solfeggio frequency of FA – ‘Connecting/Relationships’.
5. Throat Chakra Frequency: 741 Hz
This is the tone of the planet Mercury. Use the Solfeggio frequency of SOL – ‘Awakening Intuition’.
6. Third Eye Chakra Frequency: 852 Hz
This is the tone of the planet Venus. Use the Solfeggio frequency of LA – ‘Returning to Spiritual Order’.
7. Crown Chakra Frequency: 963 Hz
This is the tone of the Platonic Year, otherwise known as the Great Year; or a period of 25,800 years. Use the Solfeggio frequency of TI – the ‘Higher Frequency’ of the crown chakra.
EXCLUSIVE INTERVIEW WITH THE 2017 ABRAAJ GROUP ART PRIZE WINNER, RANA BEGUM
Artist Rana Begum gives an overview of her artistic practice, and reveals her personal aspirations for the Abraaj Group Art Prize 2017. Begum’s ambitious new commission, realised through the $100,000 award, will be unveiled to the public at Art Dubai on 15 March 2017.
Art Dubai: What does it mean to you, to have been chosen as the winner of the Abraaj Group Art Prize 2017?
Rana Begum: It is such an incredible honour, to be honest it still hasn’t really sunk in that my proposal has been selected. I don’t think it will fully until I start working on the project! For me the most exciting thing about winning the Abraaj Prize is the fact that it will allow me to push my work further than I have ever done before. We have removed ‘my largest installation to date’ as this would be a great line to release with images of the work when it is unveiled in March 2017. We would like to hold back this story until then.
AD: What drew you to participate? Do you have any hopes about how this opportunity might affect your career?
RB: It felt like the right to time to apply in regards to where my work is - I feel I have reached a level of confidence now which allows me to take risks and do something really ambitious. This unique opportunity that the prize offers provides the chance for me to really progress with my work.
AD: How did developing this proposal differ to your usual way of working?
RB: The proposal evolved from a series of works which I have been pushing since 2011. This series stemmed from the bar works where you experience two colours interacting to create a third layer of colour and form. I have been striving to make that interaction more physical and tangible though my series of paintings on MDF. For the Abraaj Group Art Prize I knew that the paintings were not testing the limits of my practice enough - I felt a need for the painting to come to life and become physical themselves, to engage more fully with the viewer. The Prize gives me the perfect opportunity to develop this strand of work in that way.
AD: Without giving too much away, can you give us a hint of what we could expect to see with your commission next year?
RB: It’s about immersion in colour and form.
AD: What role do you think that art prizes play within the arts sector? What do they offer, or why are they attractive, to artists?
RB: For me their most vital role is providing artists with the opportunity to produce something on a completely different scale, something that you can’t create yourself without the support of an institute or gallery. They also allow artists to receive international exposure outside their home city and are an excellent way of ensuring that they are really pushing their practice - they encourage innovation and new ways of thinking.
AD: Would you say that a prize which represents MENASA, is particularly important?
RB: As a female artist from Bangladesh I often feel as though I am fighting an uphill battle - the odds were stacked against me in terms of me becoming a successful artist. Prizes like the Abraaj Group Art Prize offer encouragement for people like me that there truly is hope for their creative ambitions.
AD: Please tell us about your artistic background – when did you first start practicing?
RB: Growing up I expressed my creativity through representational art. It provided a means of communication at school when I first arrived in the UK without being able to speak English. However, I was introduced to works of Agnes Martin, Judd, Sol Lewitt and Frank Stella during my Foundation course and was instantly drawn to their minimal approach. A longing to distill and create something pure took hold and everything was stripped back in my work. Returning to basics in this way afforded me a far greater understanding of abstract art and provided a far richer means of expression.
AD: You are originally from Bangladesh, and your studio is in London. Would you say either of these places, or your heritage, has an influence on your work?
RB: They both have had a huge influence on my work. A recent installation I created for the Dhaka Art Summit played with my childhood memories of growing up in Bangladesh - the experience of light, rice fields, water - all embedded in my memory. The latest installation at Parasol Unit was a progression from that but also dealt with where I am currently living and working - an urban environment of constant change where elements are in flux, shifting, disappearing and re-appearing like building blocks. However, I also love travelling for work. I get a lot of my inspiration from visiting new cities, which you can see from my Instagram account.
AD: You recently presented a solo show at Parasol Unit that was a great success. How will this new commission relate to the survey of works shown in London?
RB: The show at Parasol Unit comprises of works from the last 15 years and a new body of work. By spanning the breadth of my artistic career, this exhibition clearly demonstrated the evolution of my practice and my in-depth research of light and geometry. I remain captivated by the way natural light interacts with the work throughout the day, transforming it and creating an experience, which is both temporal and sensorial. I have spent a number of years researching the complexities of colour and how it reacts with this light. By combining this understanding of colour, light and geometry, I reached the distilled language that will be seen in my new commission for the Abraaj Group Art Prize. I am excited by the manner in which this proposal embodies these two research periods in the most natural way possible.
AD: Do you have other projects or exhibitions coming up that you can tell us about?
RB: I would really like to make some time to focus on the next stage of my work. I am currently participating in the Gwangju Biennale 2016 curated by Maria Lind, and then taking part in group show at MRAC (Musée Régional d'Art Contemporian) and Gemeentemuseum Den Haag to commemorate of Sol Lewitt. I am also working towards a project at Yorkshire Sculpture Park for their 40th anniversary and Kettles Yard. I am completing a few commissions this year - one in Ohio for Cleveland Clinic, one in Westgate Oxford and another at Kings Cross Station in London, which will be unveiled early November.
The Abraaj Group Art Prize 2017 exhibition will be unveiled at Art Dubai, March 15-18, 2017.For press inquiries: [email protected]
Main post link : http://blog.artdubai.ae/post/151374968061/exclusive-interview-with-the-2017-abraaj-group-art
পূর্ণেন্দু পত্রী যে কাভার করেছেন, আমি সাত জন্মেও সেরকম কাভার করতে পারবো না। সুব্রত জহিরের কাজ দেখেন, শুভ্র গঙ্গোপাধ্যায়ের কাজ দেখেন- তাদের কাজ অসম্ভব ভালো। আমাদের দেশে প্রথম কাভারে চেঞ্জ নিয়ে আসেন কাজী হাসান। এরপর আফজাল হোসেন। ডিজাইনার হিসেবে তিনি অসাধারণ। উনি বিজ্ঞাপন নিয়ে ব্যস্ত না হয়ে পরলে আরও ভালো কাজ পাওয়া যেত। আমি যখন কাজ করতে এসেছি, আফজাল ভাইয়ের কাজ দেখে অনুপ্রাণিত হয়েছি। কাইয়ুম স্যার, নবী স্যার আর হাশেম স্যারদের কথা তো বাদই দিলাম, এছাড়াও এদেশে অনেক ভালো মানের কাজ হয়েছে। আমি কাজ শুরু করার পরই পেলাম হুমায়ূন আহমেদকে। তাকে পাশে পাওয়াটা ছিল অনেক বেশি জরুরি।
Upcoming short film by Antoine Delacharlery is a portrait of Paris presented in black-and-white raw 3D scans:
Scientific and dreamlike documentary at once, Ghost Cell is a stereoscopic plunge into the guts of an organic Paris seen as a cell through a virtual microscope.
Silvia Federici: Future Transformations of the Subject
Feminist scholar and activist Silvia Federici (Emerita Professor of Political Philosophy and International Studies at Hofstra University) was invited by Triple Canopy in July 2013 to speak at Speculations (“The future is ____ ”), a program of lectures and discussions for EXPO 1: New York, on the topic of an ideal future. In her talk, Federici considers how we might go about reappropriating the commons and creating a new society centered around the common good rather than on the accumulation of privately held wealth. She argues that such a project would entail reconceiving of what it means to a human being—to be a child, a mother, or an elderly person, for example—in a society in which people are no longer measured according to their productivity. In a future realm of social relations beyond the suffocating confines of the nuclear family, she suggests, an entirely new form of subjectivity might emerge.
Discussing the future of work, Federici refers to the fantasy Karl Marx described in theGrundrisse in which machines take over everything and human beings work only as supervisors. In contrast to Marx and to revolutionaries who imagine a future marked by the end of work, however, Federici envisions a future commons not as one in which technology will liberate human beings from work, but as one in which work will be reinvented and possibly even expanded. Yet in this ideal future society, because work will be for our common good rather than for the accumulation of private profit, it will be far less painful than it is today. (“What makes work so exploitative and oppressive today,” she says, “is the social relationships that sustain it, rather than the work itself.”) We may then begin to discover the creative potential of work, even of forms of work that have long been considered drudgery. Reproductive work may also then be accorded the recognition it deserves for being the work that literally reproduces our lives.
Fair & Lovely -র বিজ্ঞাপন, আর academy-র art appreciation দুইটাই সমান। দুইটাই সুন্দর এর পূজারী। এরা আপনারে বা আপনার কাজরে সুন্দর বানাইয়া ছাড়বে। আপনি যেইটা বা আপনার ভিতর যেইটা আছে সেইটারে তারা দাম দিবেনা।
অ্যাকাডেমির হাত থিকা শিল্পের মুক্তি প্রয়োজন, শিল্পীর মুক্তি প্রয়োজন। শিল্পের স্বত্বাটারে একাডেমীর হাতে বর্গা দিয়া রাখলে আর যাই হোক সেইটারে শিল্প বইলা দাবি না করা উত্তম, সত্য এ যাত্রায় মুক্তি পাবে।
The word GLITCH means - a defect or malfunction in a machine or interruption in data or signal pass; A minor malfunction, mishap, or technical problem. Read more on Wiki.
প্রতিটি digital image তৈরি হয় কতগুলো data অথবা signal দ্বারা। যখন এই data অথবা signal pass-এ interruption ঘটে তখন image তার স্বাভাবিক রূপ হারায়, ভিন্ন রূপে হাজির হয় । এই ভিন্ন রূপ নিজেই একটি uniqueness তৈরি করে । এটাকেই Glitch Art বলা জেতে পারে। ৭০-এর দশক থেকে এই ফর্ম এ কাজ হয়ে আসছে।
Imperfection creates uniqueness out of diversity.
By changing the paradigm, that which standardisation views as an error, to the free thinker becomes the unexpected source of a new beauty.
- Gaetano Pesce, Italian sculptor, designer and architect
This animation contains 150 frame. 1 still image+17 manually constructed glitch image by manipulating image data or signal. Total 5 second animation. Repeat forever by GIF file format.
Imperfection creates uniqueness out of diversity. By changing the paradigm, that which standardisation views as an error, to the free thinker becomes the unexpected source of a new beauty.
– Gaetano Pesce. Italian Sculptor, Designer and Architect.
ধ্রুবদা'র strait cut কথাগুলো পড়ে মজা পাইলাম । কেনজানি strait cut কথাগুলো আঁতেলেকচুয়াল আলাপ গুল জমতে দেয়না । যেকোনো বিষয়ে fundamental গেয়ান থাকা জরুরী, এর জন্য সাগর সাঁতরাইতে হয়না । সমস্যা হয় fundamental গেয়ান না রাইখা আমরা সাগর সাঁতরাইতে প্রস্তুত থাকি, আঁতেলেকচুয়াল আলাপ জমাই । অবাক করা বিষয় Graphic design আর Graphic art এর তফাৎটা আমরা এখনো বুঝতে শিখিনি । প্রচ্ছদ টা graphic design এর ভিতরেই পড়ে, আর Design কে জোর করে Art বলতে যাওয়াটা বোকামি । Design itself বড় একটা space নিয়ে কাজ করে এবং এর contribution এর মত করে । Design এর contribution এবং কার্যকারিতা সম্পর্কে ভাষা ভাষা গেয়ান থাকলে Graphic design বুঝতে যাওয়াটা আপনার জন্য বৃথা । অযৌক্তিক হীনমন্নতা কাটাতে তখন আপ্নি একে Art বলার জন্য চেষ্টা চালাতে থাকবেন, এটাই স্বাভাবিক ।
Leon Botstein, Conductor / President of Bard College President Leon Botstein of Bard College steps boldly into the fray to answer one of the most enduring human questions: What is art? This discussion spills over into debates about art's value to society ---- whether access to the arts is right as basic as education or health care, and whether it should be assessed and supported by government or left to the "invisible hand" of the free market. President Botstein explains why it is essential to ask these questions and offers a sturdy basis for evaluating them. He goes so far as to suggest that engaging with art can give our lives meaning and purpose. The Floating University Originally released September 2011.
