Wednesday, July 27, 2016

Cool Cat Image images

Check out these cat image images:


20100310 - cats vs. snake #4 - GEDC1625 - Lemonjello, triumphant
cat image
Image by Rev. Xanatos Satanicos Bombasticos (ClintJCL)
Lemonjello poses with his fresh kill, proud that he accomplished something other than getting fatter.

Also another good example of the shitty red lines our camera likes to put on everything.

Lemonjello the cat, black racer snake.

upstairs, Clint and Carolyn's house, Alexandria, Virginia.

March 10, 2010.


... Read my blog at ClintJCL.wordpress.com
... Read Carolyn's blog at CarolynCASL.wordpress.com



BACKSTORY: Cats caught another snake! This is the 4th time we've found a snake in our house. Ahh, the joys of living next to a creek in a 60 year old house.

I thought it was a toy. Then it moved. But that was the last time. It's jaw was damaged by Lemonjello, apparently. About 14in long, 0.8cm thick.

Tried to identify with: fwie.fw.vt.edu/VHS/identification-keys/id-keys-snakes/vir...

Round eyes, no heat sensing pit.

I thought it might be an Eastern Hognose Snake (Heterodon platirhinos), but then I decided its nose wasn't upturned enough, not like in the pictures I saw.

Its scales were not keeled, so I had to check for a Preocular scale. None were present.

The next step is to count the mid-body scale rows. Are they = 19? They were definitely over 19 -- possibly closer to 20-23.

That led me to the next page, which asks if the dorsum [top] is uniformly black and blue, or has blotches or crossbands. This one was the latter.

Now I had to check if the anal plate was a single or a double. This is easy, because single anal plates have divided subcaudal (below the butthole) scales, while double anal plates have undivided subcaudal scales. So it's really hard to do this step incorrectly. This guy had a single anal plate & divided subcaudal scales.

The next step, fwie.fw.vt.edu/VHS/identification-keys/id-keys-snakes/sna..., has us lookin at the dorsum again.

Unfortunately, this page gave 2 choices.. Neither of which applies to my snake!

So I had to go back a couple steps, to the one asking if the dorsum is uniformly black and blue - fwie.fw.vt.edu/VHS/identification-keys/id-keys-snakes/sna... ... This page shows a picture of a juvenile black racer, which actually is NOT uniformly black and blue. It's markings seemed very much like our snake, which was also a juvenile. Apparently they don't lose their patterns until they get about 12 inches long -- and this one was barely longer (14 inches, but still a baby).

Found other juvenile black racer pictures on Google Images, such as this one: www.snake-removal.com/pix/snake025.jpg

Looked for wikipedia page, found en.wikipedia.org/wiki/Coluber_constrictor , which is for eastern racers in general. There's no wikipedia page for the Black Racer subspecies, unfortunately.

This page told me more about black racers: www.uga.edu/srelherp/snakes/colcon.htm ... They like edge habitats, and my house's backyard is the epitome of edge habitats.

So... I must conclude, tentatively, that this was a juvenile black racer.


Black Cat Comics # 1, 1947...Animated!
cat image
Image by Terry McCombs
I animated the cover of Black Cat Comics #1, to see the animation you will have to look at the image full size.


Bangsar House Cat
cat image
Image by shutupyourface
Canon 20D with Hasselblad Carl Zeiss 80mm F2.8 T* CF lens.
Tried a few crops of the previous image. I love the DOF and bokeh from this lens.

collage your favorites - set 68

Some cool photo collage images:


collage your favorites - set 68
photo collage
Image by dietmut
collage your favorites - set 68
Thank you to all my friends

1. herfst bladeren / autumn leaves, 2. herfst bladeren / autumn leaves, 3. herfst bladeren / autumn leaves, 4. Erasmus MC, om vrolijk van te worden / Erasmus MC, to get happy, 5. details van boomstammen / details of tree trunks, 6. detail van een boomstam / detail of a tree trunk, 7. herfst / autumn, 8. reflectie van een wilg / reflection, 9. dikke spin / big spider, 10. zwammen / fungi, 11. zwammen / fungi, 12. reflectie / reflection, 13. reservation !!!, 14. Hartelijk gefeliciteerd, 15. Hartelijk gefeliciteerd !, 16. reflectie / reflection, 17. Untitled, 18. tussen de struiken / between the bushes, 19. zwam / fungi, 20. een september boemetje / a september flower, 21. Sparta lied (vanuit de auto genomen), 22. Sparta / het kasteel (vanuit de auto genomen), 23. eend / duck, 24. Untitled, 25. pennisetum setaceum "fireworks", 26. Untitled, 27. herfst / autum, 28. lariks / larix, 29. lathyrus, 30. zwavelzwam / laetiporus sulphureus, 31. sneeuwbes, 32. herfstaster, 33. clematis / fijn weekend !!!!, 34. seringe / flieder / syringa, 35. Feli (analoog/analogous), 36. handpainted ceramic

Created with fd's Flickr Toys


• M E M O R I E S E I R O M E M • R E C U E R D A S A D R E U C E R •
photo collage
Image by DeeAshley
". . . if a pre ordained existence is reality, and common sense mathematics implies a strong possibility, then in a strange way, it supports the odds of an afterlife. After all, how could we be predestined without a grand intelligent plan that involved us personally. The possibility of a predestined—perhaps soul in waiting—tilts the scale of probability towards a life outside what we know."
- Steve Hartnett (Excerpt from his writings on, "Predestination")

*** aremaC: I just distorted the hell out of the filter, especially swirls, and then subtracted the distortion in the centre (this was part of a collage - a triptych, I believe...)!


Photo Booth Ego Collage
photo collage
Image by Geoff LMV

Monday, July 25, 2016

IMG_3961Arsenalshorts

Check out these change background image images:


IMG_3961Arsenalshorts
change background image
Image by uniondocs
The program collects films that are asking the same questions: What was here before? And how can you show it if it’s not there anymore? When and how did absence turn into presence? Does it always do that?
It also connects places in East and West, New York, Berlin and Warsaw. Shanghai and Venice. Not only through images, but also through the people who made the films (and are in them): For them, 1984 had been fiction and 1989 a reality. They are from a generation that has been producing images and sounds before and after the Berlin Wall, in East and West, until today.
Program runtime is 62 minutes.
a-b-city by Dieter Hormel and Brigitte Bühler
BRD 1985, 8 minutes, digital projection

Accompanied by a score using music of Pere Ubu and Einstürzende Neubauten, a-b-city revolves around West-Berlin’s psychodelic atmosphere. Brigitte Bühler and Dieter Hormel, who were renown for their fast paced and skillfully edited Super-8 clips, mix TV images and time-lapse shots of nightly streets, drifting clouds, and a men continuously jumping in front of the Berlin Wall, bringing about an impression of the enclosed city that constantly shifts between ecstasis and depression. (Text: Florian Wüst)
Haunt No. 1-3 by Niklas Goldbach
2007, 2 minutes, digital projection

Haunt No. 1, Video Loop, 35 sec., Stereo
Assistance: Daniel Reuter
Haunt No. 2, Video Loop, 28 sec., Stereo
Assistance: Viktor Neumann
Haunt No. 3, Video Loop, 36 sec., Stereo
Assistance: Viktor Neumann
The video triptych focuses on the historical background and the future of up to now abandoned places in Berlin’s former working-class district Prenzlauer Berg where the gentrification process is almost accomplished.
5 lessons and 9 questions about Chinatown by Shelly Silver
USA, 2009, 10 minutes, digital projection

You live somewhere, walk down the same street 50, 100, 10,000 times, each time taking in fragments, but never fully registering THE PLACE. Years, decades go by and you continue,unseeing, possibly unseen. A building comes down, and before the next one is up you ask yourself ‘what used to be there?’ You are only vaguely aware of the district’s shifting patterns and the sense that, since the 19th century, wave after wave of inhabitants have moved through and transformed these alleyways, tenements, stoops and shops.
10 square blocks, past, present, future, time, light, movement, immigration, exclusion, gentrification, racism, history, China, America, 3 languages, 13 voices, 152 years, 17,820 frames, 9 minutes, 54 seconds, 9 questions, 5 lessons, Chinatown.
View Excerpt
Former East/Former West by Shelly Silver
USA, 1994, excerpt 10-15 minutes digital projection

Made up of hundreds of street interviews done in Berlin two years after the Reunification, FORMER EAST/FORMER WEST is a vital, surprisingly open, and at times disturbing documentary. Silver questions the very notion of a shared language, focusing on changing definitions of words for political and economic systems – democracy, freedom, capitalism, socialism, nationality and history.
Magnetic [eye] Berlin by Gunter Krüger
Germany, 2007 / 08, excerpt 10 minutes, digital projection

Since 1997, Gunter Krüger has been archiving media fragments which he finds on the street – broken audiotapes, scraps of VHS and discarded compact discs. At the location he records additional filmic notes.
In the second part of the “Magnetic [eye]” series, “Magnetic [eye] Berlin”, a selection of media fragments forms a portrait of his living space. The film is designed as a generative structure, i.e. there is no final version.
In 2007 and 2008, three different playlists were made, each varying in both the selection of the media fragments as well as their compilation. By integrating new modules, new playlists with predefined running times can be created for each screening.
Nullpanorama by Martin Ebner
Germany, 2003, 1 minute, digital projection

The ascent and decent of an advertiser’s captive balloon over the roofs of the capital.
Proprio Aperto by Judith Hopf, Natascha Sadr Haghighian, Florian Zeyfang
Germany / USA, 2005, 6 minutes, digital projection

The single channel video and installation work PROPRIO APERTO, which was first presented in February 2005 at the Museum of Contemporary Art, Chicago in the exhibition, “Universal Experience: Art, Life and the Tourist’s Eye,” shows a walk taken through the giardini, the grounds of the Venice Biennale, in winter.
The conversations that took place there among Judith Hopf, Natascha Sadr-Hadhighian and Florian Zeyfang result in a text that circles around landscapes of ruin, ghosts and the Dasein in cultural hegemony. The images — actually photographs — are presented in slow pans, and the various levels of destruction of the pavilion come more and more into the center.
The tone of voice and language congenially conveys the suitably contemplative mood during the walk, which carries over to the spectator.
The Rooms (excerpt) by Tim Blue and Paul Rowley
USA 2010, 5 minutes, digital projection

With rich sound design and diverse formats, THE ROOMS is an experimental study of an abandoned world that somehow continues to operate. This excerpt feautures the HAU 1 / Hebbel am Ufer, a historical theater in Berlin, that turned into a cultural space for contemporary experimental and innovative theater and performance art (HAU 1).
We will be strong in our weakness. Notes from the first congress of the Jewish Renaissance in Poland.Performance by Yael Bartana with Susanne Sachsse and Slawomir Sierakowski
Israel/Netherlands/Poland, 2010, 15 minutes, digital video projection
Jewish Renaissance movement in Poland, Tel-Aviv/Amsterdam/Warsaw

Stefanie Schulte Strathaus is a film and video curator who lives and works in Berlin. She is Co-Director of Arsenal – Institute for Film and Video Art (with Milena Gregor and Birgit Kohler) and Member of the selection committee of the Berlinale Forum and founding director of Forum Expanded, a new section of the Berlin International Film Festival which negotiates the boundaries of cinema. Her curatorial work comprises numerous film programs, retrospectives and exhibitions, among them Michael Snow, Guy Maddin, Heinz Emigholz, Birgit Hein, Ulrike Ottinger, Stephen Dwoskin and many others. She recently co-curated (with Susanne Sachsse and Marc Siegel) LIVE FILM! JACK SMITH! Five Flaming Days in A Rented World (October 2009).
Her texts have been published in Frauen und Film, The Moving Image, Texte zur Kunst, Ästhetik & Kommunikation, Schriftenreihe Kinemathek as well as in various festival and exhibition catalogues. She is the editor of: Kinemathekheft Nr. 93: Germaine Dulac (with Sabine Nessel and Heide Schlüpmann), Berlin 2002; “The Memo Book. Films, Videos and Installations by Matthias Müller”, Berlin: Vorwerk 8, 2005; “The Primal Scene: Christine Noll Brinckmann. Films and Texts”, Berlin: arsenal edition, 2008; “Who says concrete doesn’t burn, have you tried? West Berlin Film in the ’80s” (with Florian Wüst), Berlin: arsenal edition, 2008. www.arsenal-berlin.de

Paul Rowley was born 1971 in Dublin. He has worked for more than ten years as a filmmaker and visual artist.
His critically acclaimed feature documentary Seaview, which he co-directed with Nicky Gogan, premiered at the Berlin Film Festival and has toured festivals internationally since.
Together with David Phillips, Paul completed a collection of films to accompany a live performance of John Cage’s Sonatas and Interludes, premiered at The Stone in New York in collaboration with pianist Emily Manzo. They recently completed a 60 screen permanent video installation in the international terminal at LAX airport.
Paul was artist in residence at the Atlantic Center for the Arts in Florida with Gillian Wearing, and has received many awards from the Irish Arts Council for his work since 1997. He was a fellow at the Macdowell Artist Colony in New Hampshire, and the Bogliasco Foundation, Italy. He was awarded a residency at the Experimental Television Center in New York, which led to a grant from NYCSA, the New York State Council for the Arts. He lives in Dublin and Brooklyn.
See also www.condensate.net and www.stillfilms.org

Shelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves.
Silver’s work has been exhibited and broadcast widely throughout the U.S., Europe and Asia. Screenings and installations have been mounted by venues such as the Museum of Modern Art in New York, the International Center of Photography in New York, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the Pompidou Center, the Kyoto Museum, the London Institute of Contemporary Arts, the Museo Reina Sofia, and the London, Singapore, New York, Moscow, and Berlin film festivals. Her work has been broadcast on BBC/England, PBS/USA, Arte, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain. Silver’s numerous fellowships and grants include awards from the Guggenheim Foundation, the NEA, NYSCA, NYFA, the DAAD, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. She is based in New York where she is an Associate Professor of Visual Arts in the School of the Arts, Columbia University.


IMG_4031Arsenalshorts
change background image
Image by uniondocs
The program collects films that are asking the same questions: What was here before? And how can you show it if it’s not there anymore? When and how did absence turn into presence? Does it always do that?
It also connects places in East and West, New York, Berlin and Warsaw. Shanghai and Venice. Not only through images, but also through the people who made the films (and are in them): For them, 1984 had been fiction and 1989 a reality. They are from a generation that has been producing images and sounds before and after the Berlin Wall, in East and West, until today.
Program runtime is 62 minutes.
a-b-city by Dieter Hormel and Brigitte Bühler
BRD 1985, 8 minutes, digital projection

Accompanied by a score using music of Pere Ubu and Einstürzende Neubauten, a-b-city revolves around West-Berlin’s psychodelic atmosphere. Brigitte Bühler and Dieter Hormel, who were renown for their fast paced and skillfully edited Super-8 clips, mix TV images and time-lapse shots of nightly streets, drifting clouds, and a men continuously jumping in front of the Berlin Wall, bringing about an impression of the enclosed city that constantly shifts between ecstasis and depression. (Text: Florian Wüst)
Haunt No. 1-3 by Niklas Goldbach
2007, 2 minutes, digital projection

Haunt No. 1, Video Loop, 35 sec., Stereo
Assistance: Daniel Reuter
Haunt No. 2, Video Loop, 28 sec., Stereo
Assistance: Viktor Neumann
Haunt No. 3, Video Loop, 36 sec., Stereo
Assistance: Viktor Neumann
The video triptych focuses on the historical background and the future of up to now abandoned places in Berlin’s former working-class district Prenzlauer Berg where the gentrification process is almost accomplished.
5 lessons and 9 questions about Chinatown by Shelly Silver
USA, 2009, 10 minutes, digital projection

You live somewhere, walk down the same street 50, 100, 10,000 times, each time taking in fragments, but never fully registering THE PLACE. Years, decades go by and you continue,unseeing, possibly unseen. A building comes down, and before the next one is up you ask yourself ‘what used to be there?’ You are only vaguely aware of the district’s shifting patterns and the sense that, since the 19th century, wave after wave of inhabitants have moved through and transformed these alleyways, tenements, stoops and shops.
10 square blocks, past, present, future, time, light, movement, immigration, exclusion, gentrification, racism, history, China, America, 3 languages, 13 voices, 152 years, 17,820 frames, 9 minutes, 54 seconds, 9 questions, 5 lessons, Chinatown.
View Excerpt
Former East/Former West by Shelly Silver
USA, 1994, excerpt 10-15 minutes digital projection

Made up of hundreds of street interviews done in Berlin two years after the Reunification, FORMER EAST/FORMER WEST is a vital, surprisingly open, and at times disturbing documentary. Silver questions the very notion of a shared language, focusing on changing definitions of words for political and economic systems – democracy, freedom, capitalism, socialism, nationality and history.
Magnetic [eye] Berlin by Gunter Krüger
Germany, 2007 / 08, excerpt 10 minutes, digital projection

Since 1997, Gunter Krüger has been archiving media fragments which he finds on the street – broken audiotapes, scraps of VHS and discarded compact discs. At the location he records additional filmic notes.
In the second part of the “Magnetic [eye]” series, “Magnetic [eye] Berlin”, a selection of media fragments forms a portrait of his living space. The film is designed as a generative structure, i.e. there is no final version.
In 2007 and 2008, three different playlists were made, each varying in both the selection of the media fragments as well as their compilation. By integrating new modules, new playlists with predefined running times can be created for each screening.
Nullpanorama by Martin Ebner
Germany, 2003, 1 minute, digital projection

The ascent and decent of an advertiser’s captive balloon over the roofs of the capital.
Proprio Aperto by Judith Hopf, Natascha Sadr Haghighian, Florian Zeyfang
Germany / USA, 2005, 6 minutes, digital projection

The single channel video and installation work PROPRIO APERTO, which was first presented in February 2005 at the Museum of Contemporary Art, Chicago in the exhibition, “Universal Experience: Art, Life and the Tourist’s Eye,” shows a walk taken through the giardini, the grounds of the Venice Biennale, in winter.
The conversations that took place there among Judith Hopf, Natascha Sadr-Hadhighian and Florian Zeyfang result in a text that circles around landscapes of ruin, ghosts and the Dasein in cultural hegemony. The images — actually photographs — are presented in slow pans, and the various levels of destruction of the pavilion come more and more into the center.
The tone of voice and language congenially conveys the suitably contemplative mood during the walk, which carries over to the spectator.
The Rooms (excerpt) by Tim Blue and Paul Rowley
USA 2010, 5 minutes, digital projection

With rich sound design and diverse formats, THE ROOMS is an experimental study of an abandoned world that somehow continues to operate. This excerpt feautures the HAU 1 / Hebbel am Ufer, a historical theater in Berlin, that turned into a cultural space for contemporary experimental and innovative theater and performance art (HAU 1).
We will be strong in our weakness. Notes from the first congress of the Jewish Renaissance in Poland.Performance by Yael Bartana with Susanne Sachsse and Slawomir Sierakowski
Israel/Netherlands/Poland, 2010, 15 minutes, digital video projection
Jewish Renaissance movement in Poland, Tel-Aviv/Amsterdam/Warsaw

Stefanie Schulte Strathaus is a film and video curator who lives and works in Berlin. She is Co-Director of Arsenal – Institute for Film and Video Art (with Milena Gregor and Birgit Kohler) and Member of the selection committee of the Berlinale Forum and founding director of Forum Expanded, a new section of the Berlin International Film Festival which negotiates the boundaries of cinema. Her curatorial work comprises numerous film programs, retrospectives and exhibitions, among them Michael Snow, Guy Maddin, Heinz Emigholz, Birgit Hein, Ulrike Ottinger, Stephen Dwoskin and many others. She recently co-curated (with Susanne Sachsse and Marc Siegel) LIVE FILM! JACK SMITH! Five Flaming Days in A Rented World (October 2009).
Her texts have been published in Frauen und Film, The Moving Image, Texte zur Kunst, Ästhetik & Kommunikation, Schriftenreihe Kinemathek as well as in various festival and exhibition catalogues. She is the editor of: Kinemathekheft Nr. 93: Germaine Dulac (with Sabine Nessel and Heide Schlüpmann), Berlin 2002; “The Memo Book. Films, Videos and Installations by Matthias Müller”, Berlin: Vorwerk 8, 2005; “The Primal Scene: Christine Noll Brinckmann. Films and Texts”, Berlin: arsenal edition, 2008; “Who says concrete doesn’t burn, have you tried? West Berlin Film in the ’80s” (with Florian Wüst), Berlin: arsenal edition, 2008. www.arsenal-berlin.de

Paul Rowley was born 1971 in Dublin. He has worked for more than ten years as a filmmaker and visual artist.
His critically acclaimed feature documentary Seaview, which he co-directed with Nicky Gogan, premiered at the Berlin Film Festival and has toured festivals internationally since.
Together with David Phillips, Paul completed a collection of films to accompany a live performance of John Cage’s Sonatas and Interludes, premiered at The Stone in New York in collaboration with pianist Emily Manzo. They recently completed a 60 screen permanent video installation in the international terminal at LAX airport.
Paul was artist in residence at the Atlantic Center for the Arts in Florida with Gillian Wearing, and has received many awards from the Irish Arts Council for his work since 1997. He was a fellow at the Macdowell Artist Colony in New Hampshire, and the Bogliasco Foundation, Italy. He was awarded a residency at the Experimental Television Center in New York, which led to a grant from NYCSA, the New York State Council for the Arts. He lives in Dublin and Brooklyn.
See also www.condensate.net and www.stillfilms.org

Shelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves.
Silver’s work has been exhibited and broadcast widely throughout the U.S., Europe and Asia. Screenings and installations have been mounted by venues such as the Museum of Modern Art in New York, the International Center of Photography in New York, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the Pompidou Center, the Kyoto Museum, the London Institute of Contemporary Arts, the Museo Reina Sofia, and the London, Singapore, New York, Moscow, and Berlin film festivals. Her work has been broadcast on BBC/England, PBS/USA, Arte, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain. Silver’s numerous fellowships and grants include awards from the Guggenheim Foundation, the NEA, NYSCA, NYFA, the DAAD, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. She is based in New York where she is an Associate Professor of Visual Arts in the School of the Arts, Columbia University.


IMG_3974Arsenalshorts
change background image
Image by uniondocs
The program collects films that are asking the same questions: What was here before? And how can you show it if it’s not there anymore? When and how did absence turn into presence? Does it always do that?
It also connects places in East and West, New York, Berlin and Warsaw. Shanghai and Venice. Not only through images, but also through the people who made the films (and are in them): For them, 1984 had been fiction and 1989 a reality. They are from a generation that has been producing images and sounds before and after the Berlin Wall, in East and West, until today.
Program runtime is 62 minutes.
a-b-city by Dieter Hormel and Brigitte Bühler
BRD 1985, 8 minutes, digital projection

Accompanied by a score using music of Pere Ubu and Einstürzende Neubauten, a-b-city revolves around West-Berlin’s psychodelic atmosphere. Brigitte Bühler and Dieter Hormel, who were renown for their fast paced and skillfully edited Super-8 clips, mix TV images and time-lapse shots of nightly streets, drifting clouds, and a men continuously jumping in front of the Berlin Wall, bringing about an impression of the enclosed city that constantly shifts between ecstasis and depression. (Text: Florian Wüst)
Haunt No. 1-3 by Niklas Goldbach
2007, 2 minutes, digital projection

Haunt No. 1, Video Loop, 35 sec., Stereo
Assistance: Daniel Reuter
Haunt No. 2, Video Loop, 28 sec., Stereo
Assistance: Viktor Neumann
Haunt No. 3, Video Loop, 36 sec., Stereo
Assistance: Viktor Neumann
The video triptych focuses on the historical background and the future of up to now abandoned places in Berlin’s former working-class district Prenzlauer Berg where the gentrification process is almost accomplished.
5 lessons and 9 questions about Chinatown by Shelly Silver
USA, 2009, 10 minutes, digital projection

You live somewhere, walk down the same street 50, 100, 10,000 times, each time taking in fragments, but never fully registering THE PLACE. Years, decades go by and you continue,unseeing, possibly unseen. A building comes down, and before the next one is up you ask yourself ‘what used to be there?’ You are only vaguely aware of the district’s shifting patterns and the sense that, since the 19th century, wave after wave of inhabitants have moved through and transformed these alleyways, tenements, stoops and shops.
10 square blocks, past, present, future, time, light, movement, immigration, exclusion, gentrification, racism, history, China, America, 3 languages, 13 voices, 152 years, 17,820 frames, 9 minutes, 54 seconds, 9 questions, 5 lessons, Chinatown.
View Excerpt
Former East/Former West by Shelly Silver
USA, 1994, excerpt 10-15 minutes digital projection

Made up of hundreds of street interviews done in Berlin two years after the Reunification, FORMER EAST/FORMER WEST is a vital, surprisingly open, and at times disturbing documentary. Silver questions the very notion of a shared language, focusing on changing definitions of words for political and economic systems – democracy, freedom, capitalism, socialism, nationality and history.
Magnetic [eye] Berlin by Gunter Krüger
Germany, 2007 / 08, excerpt 10 minutes, digital projection

Since 1997, Gunter Krüger has been archiving media fragments which he finds on the street – broken audiotapes, scraps of VHS and discarded compact discs. At the location he records additional filmic notes.
In the second part of the “Magnetic [eye]” series, “Magnetic [eye] Berlin”, a selection of media fragments forms a portrait of his living space. The film is designed as a generative structure, i.e. there is no final version.
In 2007 and 2008, three different playlists were made, each varying in both the selection of the media fragments as well as their compilation. By integrating new modules, new playlists with predefined running times can be created for each screening.
Nullpanorama by Martin Ebner
Germany, 2003, 1 minute, digital projection

The ascent and decent of an advertiser’s captive balloon over the roofs of the capital.
Proprio Aperto by Judith Hopf, Natascha Sadr Haghighian, Florian Zeyfang
Germany / USA, 2005, 6 minutes, digital projection

The single channel video and installation work PROPRIO APERTO, which was first presented in February 2005 at the Museum of Contemporary Art, Chicago in the exhibition, “Universal Experience: Art, Life and the Tourist’s Eye,” shows a walk taken through the giardini, the grounds of the Venice Biennale, in winter.
The conversations that took place there among Judith Hopf, Natascha Sadr-Hadhighian and Florian Zeyfang result in a text that circles around landscapes of ruin, ghosts and the Dasein in cultural hegemony. The images — actually photographs — are presented in slow pans, and the various levels of destruction of the pavilion come more and more into the center.
The tone of voice and language congenially conveys the suitably contemplative mood during the walk, which carries over to the spectator.
The Rooms (excerpt) by Tim Blue and Paul Rowley
USA 2010, 5 minutes, digital projection

With rich sound design and diverse formats, THE ROOMS is an experimental study of an abandoned world that somehow continues to operate. This excerpt feautures the HAU 1 / Hebbel am Ufer, a historical theater in Berlin, that turned into a cultural space for contemporary experimental and innovative theater and performance art (HAU 1).
We will be strong in our weakness. Notes from the first congress of the Jewish Renaissance in Poland.Performance by Yael Bartana with Susanne Sachsse and Slawomir Sierakowski
Israel/Netherlands/Poland, 2010, 15 minutes, digital video projection
Jewish Renaissance movement in Poland, Tel-Aviv/Amsterdam/Warsaw

Stefanie Schulte Strathaus is a film and video curator who lives and works in Berlin. She is Co-Director of Arsenal – Institute for Film and Video Art (with Milena Gregor and Birgit Kohler) and Member of the selection committee of the Berlinale Forum and founding director of Forum Expanded, a new section of the Berlin International Film Festival which negotiates the boundaries of cinema. Her curatorial work comprises numerous film programs, retrospectives and exhibitions, among them Michael Snow, Guy Maddin, Heinz Emigholz, Birgit Hein, Ulrike Ottinger, Stephen Dwoskin and many others. She recently co-curated (with Susanne Sachsse and Marc Siegel) LIVE FILM! JACK SMITH! Five Flaming Days in A Rented World (October 2009).
Her texts have been published in Frauen und Film, The Moving Image, Texte zur Kunst, Ästhetik & Kommunikation, Schriftenreihe Kinemathek as well as in various festival and exhibition catalogues. She is the editor of: Kinemathekheft Nr. 93: Germaine Dulac (with Sabine Nessel and Heide Schlüpmann), Berlin 2002; “The Memo Book. Films, Videos and Installations by Matthias Müller”, Berlin: Vorwerk 8, 2005; “The Primal Scene: Christine Noll Brinckmann. Films and Texts”, Berlin: arsenal edition, 2008; “Who says concrete doesn’t burn, have you tried? West Berlin Film in the ’80s” (with Florian Wüst), Berlin: arsenal edition, 2008. www.arsenal-berlin.de

Paul Rowley was born 1971 in Dublin. He has worked for more than ten years as a filmmaker and visual artist.
His critically acclaimed feature documentary Seaview, which he co-directed with Nicky Gogan, premiered at the Berlin Film Festival and has toured festivals internationally since.
Together with David Phillips, Paul completed a collection of films to accompany a live performance of John Cage’s Sonatas and Interludes, premiered at The Stone in New York in collaboration with pianist Emily Manzo. They recently completed a 60 screen permanent video installation in the international terminal at LAX airport.
Paul was artist in residence at the Atlantic Center for the Arts in Florida with Gillian Wearing, and has received many awards from the Irish Arts Council for his work since 1997. He was a fellow at the Macdowell Artist Colony in New Hampshire, and the Bogliasco Foundation, Italy. He was awarded a residency at the Experimental Television Center in New York, which led to a grant from NYCSA, the New York State Council for the Arts. He lives in Dublin and Brooklyn.
See also www.condensate.net and www.stillfilms.org

Shelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves.
Silver’s work has been exhibited and broadcast widely throughout the U.S., Europe and Asia. Screenings and installations have been mounted by venues such as the Museum of Modern Art in New York, the International Center of Photography in New York, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the Pompidou Center, the Kyoto Museum, the London Institute of Contemporary Arts, the Museo Reina Sofia, and the London, Singapore, New York, Moscow, and Berlin film festivals. Her work has been broadcast on BBC/England, PBS/USA, Arte, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain. Silver’s numerous fellowships and grants include awards from the Guggenheim Foundation, the NEA, NYSCA, NYFA, the DAAD, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. She is based in New York where she is an Associate Professor of Visual Arts in the School of the Arts, Columbia University.

Cool Photo Gifts images

Check out these photo gifts images:


Jester (24:04:12)
photo gifts
Image by Ismar Badzic
My mother bought me a red pencil a few years ago, with this little fella sat on top. I've never used this pencil because I prefer the sentimental value over it's real world purpose. I don't want to waste a pencil- I can do that to any pencil. I'm like that. I collect a lot of stuff that way. I find it hard to say goodbye or let go to people and objects alike. It's like the story of the kid who loved his new shoes so much that he never wore them for fear of getting them dirty-and then grew out of them (what film is that from- I reckon Home Alone).

But hey, I finally found a use for the pencil-jester. The subject on the receiving end of a beautiful 55mm macro lens.

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J D Graber with gifts, 1952, Argentina
photo gifts
Image by Mennonite Church USA Archives
Caption: J.D. Graber is thanking the missionaries for gifts he and his wife received.

Citation: Mennonite Board of Missions. Photographs. Argentina, 1937-1954. IV-10-7.2 Box 1 folder 45, photo #7. Mennonite Church USA Archives - Goshen. Goshen, Indiana.

Sunday, July 24, 2016

Cool Wedding Photo images

Check out these wedding photo images:


Wedding Portraits | Vincent & Pauline Couilleau | © Justin Beckley Photography
wedding photo
Image by Justin Beckley Photography
Wedding Portraits | Château de la Galissonnière | Vincent & Pauline Couilleau | © Justin Beckley Photography


Wedding Portraits | Vincent & Pauline Couilleau | © Justin Beckley Photography
wedding photo
Image by Justin Beckley Photography
Wedding Portraits | Château de la Galissonnière | Vincent & Pauline Couilleau | © Justin Beckley Photography

Saturday, July 23, 2016

iPhoneJM_wallpaper_0185

Check out these royalty free image images:


iPhoneJM_wallpaper_0185
royalty free image
Image by IamJomo
Royalty Free image cropped to 320x480 for Apple iPhone and iTouch.

Friday, July 22, 2016

Nice Photo Show photos

Check out these photo show images:


Perspective
photo show
Image by zmi66 - ZMIphoto
World Wide Photo Walk 2011-Lausanne
*** FlickR Explorer ***
Photo de la semaine sur
www.flickr.com/groups/romandie/discuss/72157625622071931/


Best Wishes
photo show
Image by lucianvenutian
How funny is this? Just ran across it as I was cleaning up. I had a student long ago who was first cousin to Courteney Cox, and she brought me this signed photo as part of her excuse for being absent. She missed my class because she was attending the taping of the last episode. Fair enough. How many last episodes of Friends are there?

You may have to enlarge to see how it's personalized to me. Here's my question, though:

-Is she saying best wishes to me? "Best Wishes Teaching, Luke."

-Or best wishes to whomever teaches me in the future: "Best Wishes Teaching Luke (he can be a handful)."

I won't be able to post much in the coming weeks. A new job is nearly afoot and I must prepare. You may carry on in my absence.


SX-70 Sonar OneStep
photo show
Image by Silvio Tanaka
One of the best Polaroid on the '70s.