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Ian Yang

visualcomplexity.com | A visual exploration on mapping complex networks - 0 views

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    VisualComplexity.com intends to be a unified resource space for anyone interested in the visualization of complex networks. The project's main goal is to leverage a critical understanding of different visualization methods, across a series of disciplines, as diverse as Biology, Social Networks or the World Wide Web. I truly hope this space can inspire, motivate and enlighten any person doing research on this field.
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    Some examples: Monitoring and Visualizing Last.fm Author(s): Christopher Adjei, Nils Holland-Cunz The Voice Author(s): Lisa Jevbratt 2008 City Railway System Author(s): Kim Ji-Hwan, Jin Sol
Scheiro Deligne

The Photo Review | About Us - 0 views

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    The Photo Review is a critical journal of national scope and international readership. Publishing since 1976, the Photo Review covers photography events throughout the country and serves as a central resource for the Mid-Atlantic region. With incisive reviews, exciting portfolios, lively interviews, the latest in books and exhibitions, The Photo Review quarterly journal has earned a reputation as one of the best serious photography publications being produced today.
yc c

Nikon Small World - Photomicrography Competition - 4 views

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    Small World is regarded as the leading forum for showcasing the beauty and complexity of life as seen through the light microscope. For over 30 years, Nikon has rewarded the world's best photomicrographers who make critically important scientific contributions to life sciences, bio-research and materials science.
Trendbuddies paktrendbuddies

Gorgeous Carrie Underwood Awe-Inspiring voice and powerful performance in 2020 - 0 views

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    Gorgeous Carrie Underwood Awe-Inspiring voice and powerful performance in 2020 Her vocal range has been described as "enormous", with critics highlighting her ability to hold notes for an extended period of time... #news #singer #AMERICANSINGER #beautifulandgorgeoussinger #trendbuddies #powerfulperformance #carrieunderwood https://trendbuddies.com/gorgeous-carrie-underwood-awe-inspiring-voice/
ruben vh

Romanticism - 3 views

  • second half of the 18th century in Western Europe
  • revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature
  • confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories
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  • escape the confines of population growth, urban sprawl and industrialism, and it also attempted to embrace the exotic, unfamiliar and distant
  • ideologies and events of the French Revolution laid the background
  • in the second half of the nineteenth century, "Realism"
  • Romanticism elevated the achievements of what it perceived as misunderstood heroic individuals and artists that altered society. It also legitimized the individual imagination as a critical authority which permitted freedom from classical notions of form in art
  • Despite this general usage of the term, a precise characterization and specific definition of Romanticism has been the subject of debate in the fields of intellectual history and literary history throughout the twentieth century, without any great measure of consensus emerging
  • t is the period of 1815 to 1848 which must be regarded as the true age of Romanticism in music - the age of the last compositions of Beethoven (d. 1827) and Schubert (d. 1828), of the works of Schumann (d. 1856) and Chopin (d.1849), of the early struggles of Berlioz and Richard Wagner, of the great virtuosi such as Paganini (d. 1840), and the young Liszt and Thalberg
  • At that time Germany was a multitude of small separate states, and Goethe's works would have a seminal influence in developing a unifying sense of nationalism
  • The poet and painter William Blake is the most extreme example of the Romantic sensibility in Britain, epitomised by his claim “I must create a system or be enslaved by another man's.”
  • In predominantly Roman Catholic countries Romanticism was less pronounced than in Germany and Britain, and tended to develop later, after the rise of Napoleon. François-René de Chateaubriand is often called the "Father of French Romanticism". In France, the movement is associated with the nineteenth century, particularly in the paintings of Théodore Géricault and Eugène Delacroix, the plays, poems and novels of Victor Hugo (such as "Les Misérables" and "Ninety-Three"), and the novels of Stendhal.
  • But by the 1880s, psychological and social realism was competing with romanticism in the novel.
  • One of Romanticism's key ideas and most enduring legacies is the assertion of nationalism, which became a central theme of Romantic art and political philosophy
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    very well developed description + analysis of the Romantic tradition
c newsom

Andrei Tarkovsky: Film and Painting - 0 views

  • It is here that we find the basic difference and juxtaposition between his film aesthetics and those of Pasolini and Fellini. Pasolini raises the language of film to that of literature, writing, with its syntax, semiotics, etc. Fellini’s method, where each scene is put together in the same way as a painting is on canvas, was even more unacceptable to Tarkovsky. What will you have if, instead of a figure drawn on canvas by the artist we see a live actor? This is a surrogate painting, a “live picture”.
  • Saint Sebastian, from the painting by Antonello da Messina
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    A great article on Tarkovsky's films and their connections to painting. Solaris is highlighted - along with Nostalghia and Andrei Rublev.
Ian Yang

Forum : Art Face Off :: View topic - Pricing Your Art - 0 views

  • In general, I recommend artists price their work as low as they can possibly bear to start out. Remember, it is more important to cultivate on-going relationships with dealers and consultants than to sell one piece.
  • Ultimately, it is better for the work to be out there than sitting in your studio. I believe art is a process, a verb, not a noun. And, part of the process necessitates that the work be exhibited, purchased and appreciated by others.
  • Remember, this is just a starting point. If you are fortunate enough to have a gallery representative, they should work with you in helping to determine a realistic price for you work. Ultimately, your prices will establish themselves as you start showing your work and getting a reaction.
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  • Medium, size, complexity, cost of production and previous sales history, also play important roles in determining the final sales price. But the bottom line could just as easily be determined by how much an artist is attached to a particular piece.
  • an increase in price is only justified when this balance shifts…either the demand increases, or the supply decreases.
  • the work you present publicly should all be of the highest caliber and of equal value. If you are particularly attached to a particular piece and want to price it twice as much as the other work in the show, it is better to just mark the piece sold and keep it for yourself until your work increases in value to a point where the price you want is justified.
  • * What is the number and quality of the venue of group and solo exhibitions? * Are the shows all local or spread out nationally or even internationally? * Are there any museum shows? * Does the artist have any critical published reviews? * What kinds of publications and who are the writers? * Have any catalogs been done in conjunction with any of the shows? * What is the artists sales history? * Is there a long list of collectors? * Are the collectors mainly private collectors, or are there public institutions listed? * Any permanent museum collections?
Ian Yang

Art Community & Forum : Art Face Off :: View topic - Top 10 Reasons Why Galleries Rejec... - 0 views

  • Too Similar: A gallery looks at the group of artists they represent, much like an artist looks at a painting. It is not so much the individual artist that is considered, but, rather, how that art fits into the existing group. Often galleries are reluctant to take artists that are too similar to an artist they already represent. Too Different: All galleries try to create a niche for themselves by representing artists that are stylistically similar and would appeal to their core group of collectors. If your work is outside the arbitrary parameters they have established, you are out of luck. Too Far Away: Unless you have already established a reputation elsewhere, galleries are reluctant to work with artists outside their regional area. Issues surrounding shipping costs and the inconvenience of getting and returning work in an expedient manner make it often not worth it. Too Fragile/Difficult to Store: Regardless of how big a gallery is, there is never enough storage space. Galleries shy away from work that is 3 dimensional, easily breakable, heavy or hard to handle. Too Expensive: Most artists undervalue their work. But, occasionally I will come across an artist with a totally unrealistic sense of how to price their work. Prices are established by the law of supply of demand (Read Pricing Your Art). If a gallery feels they can not price your work fairly and still make a 50% commission, they will not be willing to take a chance on you. Too Cheap: Artists who only do works on paper, photographers, etc often can not generate enough income from sales to make an exhibition worth it to a gallery. If you have 20 pieces in a show, and each piece sells for $500, and your show completely sells out…your gallery has only made $5000… barely enough to cover the costs of the postage, announcement and opening reception. Too Difficult: Entering into a relationship with a gallery is in many ways similar to entering into a marriage. It's a relationship that needs to be able to endure candid dialog about the things that are often the most difficult to discuss with anyone…your artwork and money. Both the artist and the gallery need to have a level of trust and comfort that will guarantee honest communication. If a gallery perceives you as being a difficult person to work with, they tend to veer away. Too Inexperienced: Many artists start approaching galleries too soon, before their work has fully matured. Most critics and curators say it takes an artist several years after college for their work to fully develop stylistically. Galleries want to make sure that once they commit to you, your work will not make radical and/or unpredictable changes. Even if a gallery LOVES your work, they may want to watch your development over a period of years to confirm their initial opinion. Artists must also have enough work of a similar sensibility to mount an exhibition. Too Experienced: The gallery fear of failure is strong, particularly in this economic climate. Careful to be sensitive to a price point that is right for their audience, galleries may not be financially able to risk representing artists who are farther along in their career, therefore demanding higher prices, than emerging younger artists. Artists with a long sales history of gradually appreciating prices may find themselves priced out of the current market.
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    Something that every artist should keep in his/her mind.
Ian Yang

Creators: From Chaucer and Dürer to ... - Google Books - 0 views

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    When a guy starts talking about Shakespeare, Albrecht Dürer, Picasso and Eugène Viollet-le-Duc, I know I'm gonna have a real good time! :P
Skeptical Debunker

Celebrating Caravaggio: First Of The Bad-Boy Artists : NPR - 2 views

  • Art scholar Stefania Macioce points out the modernity of these works. "If you think of the age, 16th century, there is same way to use the light like modern photography," she says. "It’s fantastic."Caravaggio's use of light and shadow mirrored the ups and downs of his turbulent life.It was the time of Galileo and Monteverdi, and the painter's life reads like a play by Shakespeare, another of his contemporaries.Born in Milan in 1571, Caravaggio arrived in Rome at the height of the Inquisition, when the church was all-powerful. But Rome also had a rich low-life of courtesans, gamblers and brawlers. Caravaggio led a double life, dividing his time between the gilded salons of the powerful cardinals who were his art patrons, and the back-alley demimonde of whorehouses and taverns — the inspiration for his paintings.Art historian Maurizio Calvesi says the artist rejected the uplifting Baroque style so dear to the church, and plunged biblical narratives into the gloom and desperation of contemporary reality. "Caravaggio is the opposite of the Baroque, which glorifies wealth, luxury and the triumphant Catholic Church," Calvesi says. "He was deeply revolutionary; he brought the human aspect of God back to earth." For models, Caravaggio used laborers, prostitutes and gypsies. The church was outraged. Painting after painting was rejected: a dead Virgin that looked like a bloated corpse, a jailer yanking Christ's hair, saints with dirty feet.Cardinal Federico Borromeo wrote in indignation, "Contaminated men must not deal with the sacred."The 19th century art critic John Ruskin called him the "ruffian Caravaggio," and described his work as ''horror and ugliness and filthiness of sin.''Rome's Sant'Agostino Church is filled with treasures — a Raphael, a Sansovino and a Bernini — but visitors all flock first to a corner chapel on the left and drop coins in a machine to illuminate the canvas. Madonna of Loreto shows a barefoot Virgin holding the baby Jesus. She stands in a doorway in the evening shadow, one leg saucily crossed over the other. Visitor Cinzia Margotti is enthralled. "The church couldn't possibly like a Madonna like this one," Margotti says. "Just look at her. She's real and beautiful but too free for the 16th century church."Many of Caravaggio's works were filled with grief, suffering and violence — images in contrast with the church's predilection for rosy cherubs and angels in the heavens. Francine Prose, author of Caravaggio: Painter of Miracles, says his paintings reflected the violence of the times. "Beheadings were a daily fact of life in Rome," she says. "So if you look at Judith and Holofernes or the Beheading of John the Baptist, which is in Malta, they are paintings of executions. His crucifixions, the deaths of saints are executions, so he lived in a very violent time."Under papal orders, heretics were burned at the stake. Caravaggio may have even witnessed the execution of the philosopher and theologian Giordano Bruno in Campo dei Fiori in 1600.Caravaggio also led a violent life. He left no letters, so all that is known about him comes through judicial records of his many scuffles with the law. Sentenced to death in 1606 for murdering a man, he fled Rome.The next four years were spent in flight: to Naples, to Malta, to Sicily and back to Naples. In Malta, he got in trouble again. He was arrested but managed to escape by scaling the fortress-prison walls. His works got darker and more dramatic — he believed papal hit men were on his heels. He painted David with the Head of Goliath, portraying a delicate young man holding a severed head that was Caravaggio's own self-portrait, a tormented mask of agony and horror.Suddenly, he got long-hoped-for news: He was pardoned, and he headed back to Rome.As one of his biographers wrote, "Bad luck did not abandon him."On a hot July day in 1610, a semiconscious Caravaggio was found lying on a beach along the Tuscan coast.It remains a mystery whether he had come down with malaria or some other illness, or whether he had been wounded in a duel. Two days later in the local hospital, the greatest artist of his time ended his all-too-brief career. After his death, Caravaggio was forgotten for 300 years. It wasn't until the 20th century that the visionary genius was rediscovered.
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    This year marks the 400th anniversary of the death of the Italian artist Caravaggio, believed by many art lovers to be the greatest painter of all time. Rome, the city where he was both hailed and rejected, is hosting a major exhibition of masterpieces from all over the world showcasing the first of the bad-boy artists.\n\nExhibition visitors are plunged into near-total darkness - only the canvases are lighted: Lute Player, Cardsharps, Judith and Holofernes, the Conversion of Saul and many more.\n\nClaudia Palmira Acunto is admiring a painting of a young Bacchus, the god of wine. "I'm just marveling at the sensuality of the skin," she says, "and the contrast of textures from the fruit to the wine to the fabric; it's chiaroscuro."\n\nCaravaggio invented this groundbreaking technique of light and darkness, with a single, powerful ray of light coming from outside the frame. In his time, the norm in painting was a vague and diffuse light. Caravaggio's contrast of shadow and light produced a totally new intensity and stark realism.
Ian Yang

ESSAYS ON SCIENCE AND SOCIETY: Artistic Creativity and the Brain -- Zeki 293 (5527): 51... - 6 views

  • Visual art contributes to our understanding of the visual brain because it explores and reveals the brain's perceptual capabilities. As Paul Klee once wrote, "Art does not reproduce the visible; it makes things visible." But visual art also obeys the laws of the visual brain, and thus reveals these laws to us. Of these laws, two stand supreme.
  • The first is the law of constancy. By this I mean that the function of the visual brain is to seek knowledge of the constant and essential properties of objects and surfaces, when the information reaching it changes from moment to moment. The distance, the viewing point, and the illumination conditions change continually, yet the brain is able to discard these changes in categorizing an object.
  • The second supreme law is that of abstraction. By abstraction I mean the process in which the particular is subordinated to the general, so that what is represented is applicable to many particulars. This second law is intimately linked to the first, because abstraction is a critical step in the efficient acquisition of knowledge; without it, the brain would be enslaved to the particular. The capacity to abstract is also probably imposed on the brain by the limitations of its memory system, because it does away with the need to recall every detail. Art, too, abstracts and thus externalizes the inner workings of the brain. Its primordial function is thus a reflection of the function of the brain.
Ian Yang

ArtLex Art Dictionary - 2 views

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    Dicitionary for artists, collectors, students and educators
    in art production, criticism, history, aesthetics, and education
Ian Yang

Ways of seeing - Google Books - 1 views

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    Borrowed this book from a local library a couple of weeks ago. To be honest, it's a bit shocking to me 'cause this book offers a new and quite thought-provoking perspective that helps me to interpret art in a way I have never imagined. Here is another website that gathers few paragraphs from the last chapter about how publicity disguises itself in the form of art and influences our daily life physically and mentally.
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    This is a great book and it's stood the test of time quite well. Another book I read recently called Do Good Design by David Berman reminded me of Berger's book. In many ways they are very similar but Berman's book focuses entirely on graphic design and directly challenges designers to take responsibility for the culture they create. http://www.davidberman.com/social/dogood.php
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