An amazing Vidioe of mountain photographs

http://ianparnellphotography.blogspot.com/

Click on the vidoe, Why do we climb? I aspier to take pictures like this when I grow up

Lucy Skaer: Turner Prize Short List

I Really like this drawing bellow as well, I like how the drawing of the person is obscuered by the back grownd. I Think that this also coinsided with contour lines, as you could draw a picture within the map, contour lines. I aslo like the coulders that have been used, that it has been kept simple by only to coulders.

I really like this work by Lucy Skaer. I think that it coinsides with my project of being immersden in the landscape. I like the spiragrafes, think that they look very ellagent and delicit. I also think that it could be an abstract way of showing contour lines.

I like how you cant see the figers face as it gives it a tone of un-knowing-ness to it, as if that could be anybody (or even yourself). I also think that there is something sinister about this. As the coulders that have been ued are dark and the blue that has been used has a green tinge to it. This could scgnafie the weather? As clouds are building before a large thunder storm.

By looking at the photograph it makes me think that it has been printed onto something, possibuly fabric as it is a bit blochie and looks as though it has some kind of texture to it.

I really like her stly of work

Sleep

What is a Dream?

Dreams are a communication of body, mind and spirit in a symbolic communicative environmental state of being. That's it! Now that you are thoroughly confused let me explain in a more down to earth language. Our brains are in constant activity. Different states of consciousness (like awake, asleep, alert, drowsy, excited, bored, concentrating or daydreaming) cause different brain wave activity. Our conscious mind, or the part we think with, our "window" into life, only takes up a very small portion of our brain activity. (some say this is only 10%) Other areas control things like breathing, heartbeat, converting light to vision, sound to hearing, balance when we walk, etc. etc. This too has it's own percentage (small). Another area controls imagination. This area is widely an undiscovered frontier. Imagination is more then dreaming of a new car or picturing someone with their cloths off! When you look at clouds and see shapes, or wood grain and see images, this is the "order from chaos" part of your imagination. The mind cannot deal with chaos very well, in fact it will resist it and sometimes manufacture order. (very important to the dreaming process.)This too occupies a small percentage of brian activity. Then there is memory. Memory is vast! And I believe it occupies more of the brains resources then most people believe.

And then there is the activity called dreaming. I think that to a certain extent, we dream all the time. Even while awake! But the process is functioning in our subconscious mind, out of view from our "window". If defined precisely, they may not be referred to as dreams technically, but the activity is very closely related. During certain cycles of brain activity while asleep, we can "view" these dreams with our conscious mind and record them in our memory. (this is why we sometimes remember them).

Fine Mike, but what are dreams? Well, with the above kept in mind (especially the order from chaos part) try to imagine this.; Your brain mind and spirit, while at rest "review" and analysis in it's own way long term, short term and spirit memory. It kicks around emotions, thoughts, ideas, actions and interactions of the short term memory. It has in it's background the trends of your life and philosophy to influence it. Your mind is also processing spiritual data, your beliefs, whether or not you violated them, your information gained through psychic intuition (we ALL have this to a certain degree) and of course, any communication from God. ALL THIS data, as well as your subconscious "reading between the lines" of what people do and tell you, is then processed unsupervised by you! All this data is a form of chaos, and your mind (like seeing images in wood grain or clouds) puts it all together in a form of visual "screenplay", a medley of sight, sound,emotion and imagined interactivity. The end result is.... You guessed it, a dream!

Ahh but would it not be nice if it were that simple! Dreams are easily influenced by factors in your life and spirit, and these influences create "categories" that are almost infinite. We do broadly categorize them in terms like "prophetic, standard, physical and nightmare" (to name just a few) And these we study each their own, in order to gain benefit from them. I look at it this way: Our mind and spirit together with our brain, is actually the greatest computer ever devised! To understand it's "back of the house" processing is to learn more about ourselves, God, our future and each other. Many things can be gained from dreams, better health (mental and physical), entertainment and even financial gain! (dreaming of a invention or idea) Now that you know some of the basics about dreaming and what (theoretically) dreams are you should have a better grasp on how to understand and use your dreams.

http://altmedangel.com/melaton.htm

BBC Sleeping

To see the six positions studied by Professor Idzikowski click here. The Foetus: Those who curl up in the foetus position are described as tough on the outside but sensitive at heart. They may be shy when they first meet somebody, but soon relax. This is the most common sleeping position, adopted by 41% of the 1,000 people who took part in the survey. More than twice as many women as men tend to adopt this position. Log (15%): Lying on your side with both arms down by your side. These sleepers are easy going, social people who like being part of the in-crowd, and who are trusting of strangers. However, they may be gullible. The yearner (13%): People who sleep on their side with both arms out in front are said to have an open nature, but can be suspicious, cynical. They are slow to make up their minds, but once they have taken a decision, they are unlikely ever to change it. Soldier (8%): Lying on your back with both arms pinned to your sides. People who sleep in this position are generally quiet and reserved. They don't like a fuss, but set themselves and others high standards. Freefall (7%): Lying on your front with your hands around the pillow, and your head turned to one side. Often gregarious and brash people, but can be nervy and thin-skinned underneath, and don't like criticism, or extreme situations. Starfish (5%): Lying on your back with both arms up around the pillow. These sleepers make good friends because they are always ready to listen to others, and offer help when needed. They generally don't like to be the centre of attention. The remainder of those in the poll said the position they fell asleep varied or did not know. Health effect Professor Idzikowski also examined the effect of various sleeping positions on health. He concluded that the freefall position was good for digestion, while the starfish and soldier positions were more likely to lead to snoring and a bad night's sleep. Professor Idzikowski said: "Lying down flat means that stomach contents can more readily be worked back up into the mouth, while those who lie on their back may end up snoring and breathing less well during the night. "Both these postures may not necessarily awaken the sleeper but could cause a less refreshing night's sleep." The research also found that most people are unlikely to change their sleeping position. Just 5% said they sleep in a different position every night. Duvet position Professor Idzikowski also found that one arm or leg sticking out of the duvet is Britain's most common position, followed by both feet poking out the end. One in ten people like to cover themselves entirely with the duvet. Click to return

Language, Maps

I think its funny how when you go on holiday you can allways exspect someone in that contry to speek English.

There is an game called Geocaching, http://www.geocaching.com/about/default.aspx

This is where you have a GPS which gives you a sernten grid reffernce to go to, and within that grid squair you are to find some hidden treshuer! (eg. something that has been left there by someone on purpouse with a sticker or magnet thing inside) This could be anything from a old boot to a biscut tin or a camra spool. The aim of the game is to find the object and then make down which one that you have found in a logde book. A wee bit like bagging Munros or Corbetts.

Short Hand

Further reserch on codes and stuff.

This websight shows how to write useing shorthand: http://www.ma-radio.gold.ac.uk/shorthand/graphic.htm

Shorthand System	Relative Level of Difficulty	Learning Time Required*	"Usual" Maximum Speed Potential*
Gregg Pre-Anniversary, Gregg Anniversary, and New Era Pitman	Most difficult	The longest of all	All were used for court reporting and are capable of 200+ words per minute with lots of work.
Gregg Simplified	High but less than above	Moderate	Was also used in court work by a few people; capable of 200 words per minute with adequate work.
Gregg Diamond Jubilee or Pitman 2000	Moderate, certainly less than above	Less than systems listed above	Used primarily for business work; a good student can obtain 160 words per minute or more with adequate work.
Speedwriting, AlphaHand, and other alphabetic systems	Easiest	Least time required	It may be possible for some students to go over 120 words per minute with adequate work, depending upon the system.
*Both these columns are dependent upon how much time you're willing to invest in learning shorthand. Clearly, "Learning Time Required" is relative and "Maximum Speed Potential" can only be reached with adequate practice and preparation.

Wikapedia

Pitman shorthand is a system of shorthand for the English language developed by Englishman Sir Isaac Pitman (1813–1897), who first presented it in 1837.^[1] Like most systems of shorthand, it is a phonetic system; the symbols do not represent letters, but rather sounds, and words are, for the most part, written as they are spoken.^[2] As of 1996^[update], Pitman shorthand was the most popular shorthand system used in the United Kingdom and the second most popular in the United States.^[3]

One characteristic feature of Pitman shorthand is that [voiced] sounds (such as /p/ and /b/ or /t/ and /d/) are represented by strokes that differ only in thickness (the thin stroke representing 'light' sounds such as p and t; the thick stroke representing 'heavy' sounds such as b and d).^[4]

Another distinguishing feature is that there is more than one way of indicating vowels. The main vowel of a word or phrase is indicated by the position of the stroke with respect to the ruled lines of the notebook. (For example, a small circle drawn above the ruled line translates to as/has ; the same circle drawn on the line translates to is/his). But the marks for as/has and is/his are like irregular verbs: they are an exception to the rule. The predominant way of indicating vowels is to use dots or small dashes drawn close to the stroke of the preceding consonant. Each vowel, whether indicated by a dot for a short vowel, or by a dash or a longer, more drawn-out vowel, has its own position relative to its adjacent stroke (beginning, middle, or end).

There are at least three "dialects" of Pitman's shorthand: the original Pitman's, Pitman's New Era, and Pitman's 2000. The later versions dropped certain symbols and introduced other simplifications to earlier versions. For example, strokes "rer" (heavy curved downstroke) and "kway", (hooked horizontal straight stroke) are present in Pitman's New Era, but not in Pitman's 2000.

Elizabeth Berrien

http://www.wirelady.com/berrienwireafricapage.html

It says on hur websight that shes a Sculpture and Illustation artist. She uses a lot of wire in hur work and makes a lot of animals and humans out of it. shes also won a lot of compatitions such as;

Clio winner 2008

Cannes festival double gold

ADC double gold

Obie best of show

Andy double gold

One show gold pencil

London Internatioanl double grand.

I dont know much about these compotitios but looking at the trofies they look pritty impresive.

In 1968 she began evolving her own unique form of non-traditional wire sculpture, a complex hybrid of lace-making and engineering. By 1985, she had raised her mastery of the new medium to the extent that museums were inviting her to create one-woman exhibits. Today her works are found in museums, galleries, zoos, parks, corporate settings, sculpture gardens and private homes throughout the world.

Elizabeth Berrien's fluid, lacelike creations are remarkably sturdy and resilient. They cast intriguing shadows, and resonate softly when touched. Berrien begins each sculpture by twisting together single strands of wire. Twisting, stranding and splicing in countless additional wires, she creates a 3-dimensional line drawing, following the muscle, bone and feather patterns that best represent an animal's inner essence.

I think these sculptures are amazing.

Looking At Aborigonal Art

Over the past few days Ive been looking at codes and laguages through Aborignal art. and found these pictures on google.

John Copeland

http://www.johncopeland.com/

http://www.fecalface.com/SF/index.php?Itemid=92&id=473&option=com_content&task=view

The Chapmen Brothers

http://www.youtube.com/watch?v=9QeNatsDV4I

When looking at there work, I thought the magority of it was two men makeing manicans for horror films and thought the most of it was disgusting. However I remeber watiching a TV programme on a gallery opening where the two brothers were being interviewed. They did these drawings on money and other things like McDonalds boxes that I found interesting. During the programme insted of giving autografes poeple were giveing them there money to draw on for a one off. I rember lots of people going mentail to get them.

Did they do this skull?

Dorothy Cross

This is a transparent glass column. Containing an engraved human skull, with a foetal skeleton within the cranium, the column reflects ideas about human inheritance.
I like this as it is as if its an exray of what you are thinking. Could you amadichen if you were tinking of fish and chip for you tea? that would be pritty stange. Or if someone had the intetions of mudering someone! sapose if you could atually do that it would be really cool. You could read peoples minds! A bit creepie though.






Finger Crab
h: 6.5 cm
Price: 5,000-10,000 GB pounds!

I think its made out of porslin? I like how its really delicit looking and that its been photografed on a black backgorund. it really makes it stand out.

Kamrooz Aram

Kamrooz Aram is a contemporary artist whose paintings and drawings bring together traditional and contemporary cultural references to create scenes reflecting “the carnivalesque, absurd, magical and scary present day

I like his work but am not shour why?
Maybe its the coulder's that have been used?
http://www.kamroozaram.com/works/13.html

Mona Hatoun

(Pulling my Leg?)

BBC radio 3 interview.

She is a Palestinian artist who looks deals with sculptor, conceptual and situational art.

1995- She was short listed for the turner prize with Pulling my leg? Where she had a two video’s of a woman’s head and shoulders sleeping then with the a pony tail under it. The picture shows a person pulling the pony tail and the woman walking up. I find this quit comical, might need to find out more information.

When she was a school in Beirut, France they didn’t have art as a lesson. With the only time that they got to do art was when they copied poems out from a book and they were allowed to make illustrations on the opposite page. Also in Since when they were allowed to make drawings of cells. She also used to marvel over the grate masterpieces where she first seen them in the back of Larouse French to French Dictionary

Her father was also very agents her becoming an artist, wanting her to go to uni to get a real degree and get a real job. To satisfy her father she did a 2 year course in graphic design then worked in an office for another two years. Still wanting her pation for being an artist she moved to London were she when to art school.

Her fist work that she did she wanted her work the effect people through experience through the body. She also had a fascination of using electricity in her work. It would crackle and give a scene of danger.

She did an installation of house hold objects with electricity going through each of them with small light bulbs at the bottom (hidden away) to let people know that it was on! She liked the idea of home being a threat rather than a safe place. Trying to expose contradictions in the situation of something maybe hiding something else maybe that question of losing the stable environment and longing for it, like almost home becoming a kind of like prison. She wanted people to walk away with more questions than answers.

Light at the end of the tunnel- this was a piece the you would walk along a corridor towards the light then when you got up close you would realise that it was electric heater that could burn you badly. That gave the impetion of a prison gate suggesting torch our, pain, it’s a curl image, however it pirty in the same way.

Laurie Anderson

For example this image above;

Zero and One

http://www.youtube.com/watch?v=r3l9wwp_srg

Its a bit strange but if you keep watching till the end then it talkes about codes and binerie codes all made up from 0 and 1's. And how close the numbers are but there also very far apart.

Simon Patterson

http://www.nmm.ac.uk/explore/art/new-visions/simon-patterson

Simon is a Goldsmith’s graduate, born in England in 1967. His best known work is “the Great Bear” completed in 1992, a subversion of the London Underground map, where station names are replaced by the names of philosophers, film stars, politicians and other celebrities.

Courtesy the artist and Haunch of Venison © Simon Patterson and Transport for LondonReworkings of diagrams and maps are a regular occurrence in Patterson’s practice. The Great Bear (1992) departs from Harry Beck’s London Underground map, inserting a rupture between information and its representation. In this instantly recognizable chart, physical distances are inaccurate yet navigational relationships are communicated with the greatest clarity. In this artwork, named after the Ursa Major constellation, the East London Line becomes ‘Planets’, the Victoria line ‘Italian Artists’ and British Rail ‘Thirty Comedians’. One can travel from Venus to Captain Cook with only one change at Kate Adie, or from Columbus to Kierkegaard to board the mainline train at Oliver Reed. In reading these seemingly unlinked names, one cannot help but draw on memory and imagination to try and make sense of this renamed world where time, space and understanding collapse and reform anew. Visually the map appears to be familiar but inspection reveals an entirely different system. This, though, is a second untruth: the map today is obsolete. In 1992 the East London Line ran from Shoreditch to New Cross and the DLR stopped at the north bank of the Thames. A similar subversion takes place in Cosmic Wallpaper (2002) – seemingly a star chart communicating a school-book representation of cosmology in wallpaper form. Scrutiny shows that it is not the skies above that are being communicated but a portrait of the heavy-rock band Deep Purple, charting their line-up changes, spin-offs, groupies and outputs. In The Great Bear and Cosmic Wallpaper, Patterson reveals the ways both his sources and modified versions portray objectivity as an approximation that is hampered by an inevitable future obsolescence.

Other pices of his work that I found interesting are:

The Undersea World and Other Stories; The National Maritime Museum, Greenwich.

It opened in spring 2008 with its main themes central to the collections and research at the National Maritime Museum (NMM). The Museum unpacks the material cultures that result from human attempts to find their place in the world, be it mapping the skies above, the ocean depths below, or seeking relationships across time and space. Such structures form frameworks of understanding that are bounded by limits of knowledge and distributed through language.

Tony Cragg

Britain Seen from the North 1981

The work here that Cragg has done he has used found pices of plastic that he found then aranged the coulders on the wall in to a picture using the difrent coulders as shading. He first came about using rubbish as one of his materials when he was a student in 1969 and the cost of buying the materials was to exspentcive. At that time in Art, artists were looking more into nature and the industrail world and the big question on The Enviroment came into view, so using rubbish was the normal at that time.




He is British sculptor, born 1949 in Liverpool. He first studied art on the foundation course at the Gloucestershire College of Art and Design.

http://www.sculpture.org.uk/biography/TonyCragg/

An artist of great international acclaim and immense energy, Cragg has developed more possibilities in the making of sculpture than any other sculptor since Henry Moore discovered the 'hole' as positive space. He has employed more materials than most, and tested them to their limits through a wide variety of means, so that he seems to be one hundred sculptors at any one time. Cragg's contribution to the debate on contemporary sculpture practice is considerable. Early works of the 1970s were mostly made with found objects through which Cragg questioned and tested possibilities. Later pieces demonstrated a shift of interest to surface quality and how that could be manipulated, and a play with unlikely juxtapositions of materials. Results vary from the exquisite to the grotesque, from the refined to the crude, in bronze, steel, plastic, rubber, glass, wood, plaster and more. Tony Cragg was elected Royal Academician in 1994. In the summer of 1999 the forecourt of Burlington House housed an installation of his new work. These complex bronze sculptures demonstrate his mastery over form and material. A solo exhibition, A New Thing Breathing, was held at the Tate Gallery, Liverpool, in spring 2000 and five monumental sculptures formed the first exhibition on the Terrace of Somerset House, London in autumn 2001.





In an interview with Radio 4 he talks about a triangle of Image, Material, Oject. The Image was importaint but then he would look at the material that he had made it out of with then made him look at the object that he has made.





He's says that the majority of his work resolved around that during 1982-1983. Soon after this time he desided to go back in to his studio and go back to basics with exspramenting with new materials eg. sand blasters, making models ect...





His inmrestion of what he wanted his work to look like used to get sent away to craftmen to get made. However when it came back he use usally very disapointed with it. This then gave him the idea fo getting assestent to assest him in makeing his work. Everything that is done to the pice would get cheaked then re-cheacked over with him before it would go ahead. Some quotes that I picked out of the interview:

"Making things is an exsperance", "You have to lisen to the material"

Lucy Skaer: Turner Prize Short List

This pice is on a table, to me this looks like a hand jestuer. It makes me think that somone who sits at this table is/has been getting agravated over some work that there doing or trying to do.

Carved out whales head. She has put the walls around it so that a veiwer has to peir inside it to get a better look at it, probubulie spending more time looking over it.

http://www.guardian.co.uk/artanddesign/2009/dec/04/lucy-skaer-turner-prize-profile

Jackie Donachie

Jackie is the resadent artist at Bellahuoston Park this year and is considering on making something that gives the frelling of fleeting. (Jackie often thinks of a frelling or a emotion to give hur work)
She likes seeing things that have been adapted in mordern life, eg. a band stand- No bands being played now, so its use has changed to being a shelter for poeple to sit under out of the rain.

In hur elear work she also used the concept of things seen in every day life, but not apperashated. She did this in a exebition called Dear wifes, where she painted the floor a bright yellow and attatched scafilting poles to the floor, like single cimbing frams (Didnt realy understand this work very much, to me the room seemed to bright, and didnt realy understand why scaflding poles joined together had a in depth meaning)

Another pice of hur work, that I found interesting was 'South'. This was a large round polished disc which was heated, she wanted to allow the viewer to relaxe and ly around it, as when she went to visit the sight it was mid winter and everyone was hudling around each other. Thus hur wanting to give hur work a relaxed feel to it, also alowing the viewers to sit and hang out around it.
On the opening night she boroed a massive snake to place on it which turned a frew heads.
I really liked this pice of hur work.
It is simple and realy cliverly tought out. I like how she had a snake on it on the opening. It gives me the thought of something which could be cold polished concert some life to it, with the warmth invinting pepole to relxe, and haveing the snak on it on the opaning, gives me the impreshion of the heat inside the disc moving around cashouley/slowley, almost surging as the snake moves around it.

In hur talk she also talked about a building in Inverness (hospital) that she was asked to help desing some art work for.
She found intersting pices of old hospital equipment and photograghted them, then put them on these large wall mounted light boxes in pairs. I liked this because the objects were really nice photografes, but creepie is the same way as you didnt know what they could have been used for.
She also used hur bigh disc here in the main garden of the building (she designed the main garden, as well as a kitchen area, and a setting area made from timber form a wood shop at the bottom of the bilding sight)

She also worked with a lady called Cristen Burk who was also an artist/sculpoer. She designed the abstract pices of work inspered from the Feshie river, Glen Affric, clowdes and some more. These were very abstracted, and brightly coluered. There were like a fram, just giveing very little information on what they were showing. The coulers chosen for them realted to the photografe that they were taken from, eg. the Freshie river, the water boiles looked orange there for this fram was orange.

(couldnt find any picture's on the web, but she has some books out)