Path of Beauty  on Vimeo


Path of beauty - Director’s Cut Version.

A women walks in the Musée du Louvre, alone.
The museum is completely empty.
We follow this young woman in her dreamlike journey through the different rooms of the museum, between amazement and beauty, art and poetry.

The woman : Eve Claudel

Director : Florent Igla
DOP : Benjamin Ramalho
Steadicam operator & Camera : Aymeric Colas
First AC : Sonia Bisch
Editor : Camille Guyot
Color Grader : Arthur Paux
Flame Artist : Gregg Langlois
Smoke Artist : Bruno Beaudouin
Production Company : O.I.
Client : Musée du Louvre de Paris & Nintendo

Music : Sigur Rós - “Suð Í Eyrum”

From  on Vimeo  ”This a director’s cut version of a movie I’ve made for clients Musée du Louvre and Nintendo.

This a personal version.
There’s no and there’ll not commercial exploitation with this movie.”


Artemis:  I’m pretty sure I posted this at some point but I can’t find it in my archive.

Beautiful…  posting again. Watch full screen.   


 Happiness or sorrow, whatever befalls you, walk on untouched, unattached.    ~Buddha
  Dhammapada
  Image via:  binekasadnani.com



Happiness or sorrow, whatever befalls you, walk on untouched, unattached.  

~Buddha

  Dhammapada

  Image via:  binekasadnani.com


artemisvoice:
Chet Baker, Los Angeles 1956
Ray Avery (via: Jazz Times)

artemisvoice:

Chet Baker, Los Angeles 1956

Ray Avery (via: Jazz Times)


La Nascita de Venus, 1992
Joan Fontcuberta (via: faz.net)

La Nascita de Venus, 1992

Joan Fontcuberta (via: faz.net)


Semiópolis - Odisea-Homero (from the Semiópolis Series)

Joan Fontcuberta (Barcelona, España, 1955)
 Museo Nacional Centro de Arte Reina Sofía

Fecha: 1999 
Técnica: Impresión cromogénica sobre papel y dibond
Dimensiones: Soporte: 180 x 120 cm
Edición/Nº de ejemplar: 2/2
Categoría:Fotografía 
Año de ingreso: 2001
Nº de registro: AD02340

Description from Angels Barcelona Gallery:   “The images from Semiopolis evoque a low flight over images of Braille texts from the most relevant works in literature and philosophy, the Bible, the Odyssey, Don Quixote, The Metamorphosis… -. By means of backlighting and photographic perspective these images become archaeologies of the future, extracted from the aesthetics of science fiction like the ones used in the sagas of Star Trek or Star Wars.
The landscapes raised in Semiopolis are territories of signs that insist on the old dialogue between image and writing, or between magical conscience and historical conscience. The writing here takes the form of a digital language measured in doses of light and darkness.
The paradox lies in the fact that those who could decipher the messages cannot see them, and those who can see them cannot understand them and therefore we are all equally “blind” to their content. Text via: angelsbarcelona.com - Image via: Museo Nacional Centro de Arte Reina Sofía

Semiópolis - Odisea-Homero (from the Semiópolis Series)

Joan Fontcuberta (Barcelona, España, 1955)


Museo Nacional Centro de Arte Reina Sofía

Fecha: 1999 

Técnica: Impresión cromogénica sobre papel y dibond

Dimensiones: Soporte: 180 x 120 cm

Edición/Nº de ejemplar: 2/2

Categoría:Fotografía 

Año de ingreso: 2001

Nº de registro: AD02340


Description from Angels Barcelona Gallery:   “The images from Semiopolis evoque a low flight over images of Braille texts from the most relevant works in literature and philosophy, the Bible, the Odyssey, Don Quixote, The Metamorphosis… -. By means of backlighting and photographic perspective these images become archaeologies of the future, extracted from the aesthetics of science fiction like the ones used in the sagas of Star Trek or Star Wars.

The landscapes raised in Semiopolis are territories of signs that insist on the old dialogue between image and writing, or between magical conscience and historical conscience. The writing here takes the form of a digital language measured in doses of light and darkness.

The paradox lies in the fact that those who could decipher the messages cannot see them, and those who can see them cannot understand them and therefore we are all equally “blind” to their content. Text via: angelsbarcelona.com - Image via: Museo Nacional Centro de Arte Reina Sofía


Semiopolis series: Semiopolis: Origin of Species (Darwin), 1999
Joan Fontcuberta (Barcelona, España, 1955)  (Image via: heise.de)

Description from Angels Barcelona Gallery:   “The images from Semiopolis evoque a low flight over images of Braille texts from the most relevant works in literature and philosophy, the Bible, the Odyssey, Don Quixote, The Metamorphosis… -. By means of backlighting and photographic perspective these images become archaeologies of the future, extracted from the aesthetics of science fiction like the ones used in the sagas of Star Trek or Star Wars.
The landscapes raised in Semiopolis are territories of signs that insist on the old dialogue between image and writing, or between magical conscience and historical conscience. The writing here takes the form of a digital language measured in doses of light and darkness.
The paradox lies in the fact that those who could decipher the messages cannot see them, and those who can see them cannot understand them and therefore we are all equally “blind” to their content. Text via: angelsbarcelona.com - Image via: heise.de

Semiopolis series: Semiopolis: Origin of Species (Darwin), 1999

Joan Fontcuberta (Barcelona, España, 1955)  (Image via: heise.de)


Description from Angels Barcelona Gallery:   “The images from Semiopolis evoque a low flight over images of Braille texts from the most relevant works in literature and philosophy, the Bible, the Odyssey, Don Quixote, The Metamorphosis… -. By means of backlighting and photographic perspective these images become archaeologies of the future, extracted from the aesthetics of science fiction like the ones used in the sagas of Star Trek or Star Wars.

The landscapes raised in Semiopolis are territories of signs that insist on the old dialogue between image and writing, or between magical conscience and historical conscience. The writing here takes the form of a digital language measured in doses of light and darkness.

The paradox lies in the fact that those who could decipher the messages cannot see them, and those who can see them cannot understand them and therefore we are all equally “blind” to their content. Text via: angelsbarcelona.com - Image via: heise.de


Anthologia, unique sun prints 

Øyvind Hjelmen (via: Lens Culture)


Artist Statement: "Anthologia, in Greek, means literally “flower-gathering” for a garland — or a bouquet of flowers.

"The series consists of prints of plants and flowers from my garden. 

"These prints are made by placing plants directly on photographic paper, and exposing them to sunlight for 3 hours. This produces a negative image of the plant, which bears some resemblance to W. H. Fox Talbot´s paper negatives from the 1820s. The paper is then placed in developer for 10 – 15 seconds, to make a positive image.

"Each silver gelatin print is unique, approximately 50 x 60 cm." (via: lensculture)


Folio from an unidentified text. Illuminated medallion with two ornamental borders. 13th-14th century
Ink, opaque watercolor and gold on paper H: 33.8 W: 24.6 cm  Iran  F1933.3,  Smithsonian  Museum 

Folio from an unidentified text. Illuminated medallion with two ornamental borders. 13th-14th century

Ink, opaque watercolor and gold on paper
H: 33.8 W: 24.6 cm
Iran

F1933.3,  Smithsonian  Museum 


Marcel Duchamp, 1960

Marcel Duchamp, 1960


Rotorelief no. 5 - Poisson Japonais, 1935,  Detroit Institute of Arts
Marcel Duchamp

Rotorelief no. 5 - Poisson Japonais, 1935,  Detroit Institute of Arts

Marcel Duchamp


Disks Bearing Spirals (Disques avec spirales)1923, Seattle Art Museum
Marcel Duchamp  

Disks Bearing Spirals (Disques avec spirales)1923, Seattle Art Museum

Marcel Duchamp  




There is no end. There is no beginning. There is only the infinite passion of life.

~Federico Fellini, Fellini on Fellini, 1976 

Labyrinth on the portico of the cathedral of San Martino at Lucca,Tuscany, Italy



The Latin inscription:  Hic Quem Creticus Edit. Daedalus Est Laberinthus. De Quo Nullus Vadere. Quivit Qui Fuit  Intus. Ni Theseus Gratis  Adriane. Stamine  Jutus

Description from Wiki:  ”The labyrinth or maze is embedded in the right pier of the portico and is believed to date from the 12th or 13th century. Its importance is that it may well pre-date the famous Chartres maze, yet is of the Chartres pattern that became a standard for mazes.

The rustic incised Latin inscription refers to ancient pagan mythology: “This is the labyrinth built by Dedalus of Crete; all who entered therein were lost, save Theseus, thanks to Ariadne’s thread” (Hic Quem Creticus Edit. Daedalus Est Laberinthus. De Quo Nullus Vadere. Quivit Qui Fuit  Intus. Ni Theseus Gratis  Adriane. Stamine  Jutus”).” Photo: Myrabella / Wikimedia Commons / CC-BY-SA-3.0, via Wikimedia Commons

More about  Lucca Cathedral from wiki:  ”Lucca Cathedral  (Italian: Duomo di Lucca, Cattedrale di San Martino) is a Roman Catholic cathedral dedicated to Saint Martin in Lucca, Italy. It is the seat of the Bishop of Lucca. Construction was begun in 1063 by Bishop Anselm (later Pope Alexander II).

Of the original structure, the great apse with its tall columnar arcades and the fine campanile remain. The nave and transepts of the cathedral were rebuilt in the Gothic style in the 14th century, while the west front was begun in 1204 by Guido Bigarelli of Como, and consists of a vast portico of three magnificent arches, and above them three ranges of open galleries adorned with sculptures.

In the nave a small octagonal temple or chapel shrine contains the most precious relic in Lucca, the Holy Face of Lucca (Italian: Volto Santo di Lucca) or Sacred Countenance. This cedar-wood crucifix and image of Christ, according to the legend, was carved by his contemporary Nicodemus, and miraculously conveyed to Lucca in 782. Christ is clothed in the colobium, a long sleeveless garment. The chapel was built in 1484 by Matteo Civitali, the most famous Luccan sculptor of the early Renaissance.

The tomb of Ilaria del Carretto by Jacopo della Quercia of Siena, the earliest of his extant works was commissioned by her husband, the lord of Lucca, Paolo Guinigi, in 1406.

Additionally the cathedral contains Domenico Ghirlandaio’s Madonna and Child with Saints Peter, Clement, Paul and Sebastian; Federico Zuccari’s Adoration of the Magi, Jacopo Tintoretto’s Last Supper, and finally Fra Bartolomeo’s Madonna and Child (1509).

There is a legend to explain why all the columns of the façade are different. According to the tale, when they were going to decorate it, the inhabitants of Lucca announced a contest for the best column. Every artist made a column, but then the inhabitants of Lucca decided to take them all, without paying the artists and used all the columns.”

Labyrinth on the portico of the cathedral of San Martino at Lucca,Tuscany, Italy



The Latin inscription:  Hic Quem Creticus Edit. Daedalus Est Laberinthus. De Quo Nullus Vadere. Quivit Qui Fuit  Intus. Ni Theseus Gratis  Adriane. Stamine  Jutus


Description from Wiki:  ”The labyrinth or maze is embedded in the right pier of the portico and is believed to date from the 12th or 13th century. Its importance is that it may well pre-date the famous Chartres maze, yet is of the Chartres pattern that became a standard for mazes.

The rustic incised Latin inscription refers to ancient pagan mythology: “This is the labyrinth built by Dedalus of Crete; all who entered therein were lost, save Theseus, thanks to Ariadne’s thread” (Hic Quem Creticus Edit. Daedalus Est Laberinthus. De Quo Nullus Vadere. Quivit Qui Fuit  Intus. Ni Theseus Gratis  Adriane. Stamine  Jutus”).” Photo: Myrabella / Wikimedia Commons / CC-BY-SA-3.0, via Wikimedia Commons


More about  Lucca Cathedral from wiki:  ”Lucca Cathedral  (Italian: Duomo di Lucca, Cattedrale di San Martino) is a Roman Catholic cathedral dedicated to Saint Martin in Lucca, Italy. It is the seat of the Bishop of Lucca. Construction was begun in 1063 by Bishop Anselm (later Pope Alexander II).

Of the original structure, the great apse with its tall columnar arcades and the fine campanile remain. The nave and transepts of the cathedral were rebuilt in the Gothic style in the 14th century, while the west front was begun in 1204 by Guido Bigarelli of Como, and consists of a vast portico of three magnificent arches, and above them three ranges of open galleries adorned with sculptures.

In the nave a small octagonal temple or chapel shrine contains the most precious relic in Lucca, the Holy Face of Lucca (Italian: Volto Santo di Lucca) or Sacred Countenance. This cedar-wood crucifix and image of Christ, according to the legend, was carved by his contemporary Nicodemus, and miraculously conveyed to Lucca in 782. Christ is clothed in the colobium, a long sleeveless garment. The chapel was built in 1484 by Matteo Civitali, the most famous Luccan sculptor of the early Renaissance.

The tomb of Ilaria del Carretto by Jacopo della Quercia of Siena, the earliest of his extant works was commissioned by her husband, the lord of Lucca, Paolo Guinigi, in 1406.

Additionally the cathedral contains Domenico Ghirlandaio’s Madonna and Child with Saints Peter, Clement, Paul and Sebastian; Federico Zuccari’s Adoration of the Magi, Jacopo Tintoretto’s Last Supper, and finally Fra Bartolomeo’s Madonna and Child (1509).

There is a legend to explain why all the columns of the façade are different. According to the tale, when they were going to decorate it, the inhabitants of Lucca announced a contest for the best column. Every artist made a column, but then the inhabitants of Lucca decided to take them all, without paying the artists and used all the columns.”


fathom-the-universe:
The Physics of Music
These patterns are made with nothing but sound. They are called Chladni patterns, after the German physicist Ernst Chladni (1756–1827) who used his violin bow to vibrate a metal plate with sand on it. A pattern appears in the sand when a surface is made to vibrate at certain resonances. A plate or membrane vibrating at resonance is divided into regions vibrating in opposite directions, bounded by lines of zero vibration called nodal lines. The sand is moved around the plate and collects at the nodes on the plate. The patterns that form are highly symmetrical and beautiful.
Fathom the Universe

Image: Chladni array

fathom-the-universe:

The Physics of Music

These patterns are made with nothing but sound. They are called Chladni patterns, after the German physicist Ernst Chladni (1756–1827) who used his violin bow to vibrate a metal plate with sand on it. A pattern appears in the sand when a surface is made to vibrate at certain resonances. A plate or membrane vibrating at resonance is divided into regions vibrating in opposite directions, bounded by lines of zero vibration called nodal lines. The sand is moved around the plate and collects at the nodes on the plate. The patterns that form are highly symmetrical and beautiful.


Fathom the Universe

Image: Chladni array

artemisvoice:

If you have to ask, you’ll never know.


~Louis Armstrong - when asked to define the rhythmic concept of “swing”, quoted in Jazz 101 by John F. Szwed


August 4, 1901 – July 6, 1971

Satchmo :)