Jacqueline Bassett
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The Intriguing Human Preference for a Ternary Patterned Reality
75 Kragujevac J. Sci. 27 (2005) 75-114. THE INTRIGUING HUMAN PREFERENCE FOR A TERNARY PATTERNED REALITY Lionello Pogliani,* Douglas J. Klein,‡ and Alexandru T. Balaban¥ *Dipartimento di Chimica Università della Calabria, 87030 Rende (CS), Italy; ‡Texas A&M University at Galveston, Galveston, Texas, 77553-1675, USA; ¥ Texas A&M University at Galveston, Galveston, Texas, 77551, USA E-mails: [email protected]; [email protected]; balabana @tamug.tamu.edu (Received February 10, 2005) Three paths through the high spring grass / One is the quicker / and I take it (Haikku by Yosa Buson, Spring wind on the river bank Kema) How did number theory degrade to numerology? How did numerology influence different aspects of human creation? How could some numbers assume such an extraordinary meaning? Why some numbers appear so often throughout the fabric of reality? Has reality really a preference for a ternary pattern? Present excursion through the ‘life’ and ‘deeds’ of this pattern and of its parent number in different fields of human culture try to offer an answer to some of these questions giving at the same time a glance of the strange preference of the human mind for a patterned reality based on number three, which, like the 'unary' and 'dualistic' patterned reality, but in a more emphatic way, ended up assuming an archetypical character in the intellectual sphere of humanity. Introduction Three is not only the sole number that is the sum of all the natural numbers less than itself, but it lies between arguably the two most important irrational and transcendental numbers of all mathematics, i.e., e < 3 < π. -
A Retrospective of Sculpture by CLOSE PROXIMITY: Neil Goodman
PRESENTS CLOSE PROXIMITY: A Retrospective of Sculpture by Neil Goodman Contents Introduction ............................. 10 Foreword ..................................19 Artist’s Statement ..................... 33 PRESENTS Interview ................................. 38 Neil Goodman Biography .......... 48 CLOSE PROXIMITY: Artwork Plates ......................... 50 A Retrospective of Sculpture by Founded in 1981 with the mission of “making art a part of everyday life”, the Museum of Outdoor Arts (MOA) is a forerunner in the placement of site-specific sculpture in Colorado. Our art collection is located at public locations throughout the Denver metro area. From commercial office parks to botanic gardens, city parks and traditional sculpture gardens; art is placed to interpret space as Neil Goodman “a museum without walls.” MOA also curates indoor galleries and hosts world-class art exhibitions and educational programs. Please visit our website to learn more about MOA. MOAonline.org MOA INDOOR GALLERY Follow Us @OutdoorArts 1000 Englewood Parkway, Second Floor, Englewood, CO 80110 Exhibiting September 15 – November 17, 2018 OUTDOOR INSTALLATION AT WESTLANDS PARK All photography by 5701 South Quebec Street, Greenwood Village, CO 80111 Heather Longway Exhibiting September 2018 – August 2019 2 CLOSE PROXIMITY: A Retrospective of Sculpture by Neil Goodman MOA, September 15 - November 17, 2018 3 4 CLOSE PROXIMITY: A Retrospective of Sculpture by Neil Goodman MOA, September 15 - November 17, 2018 5 6 CLOSE PROXIMITY: A Retrospective of Sculpture by Neil Goodman MOA, September 15 - November 17, 2018 7 8 CLOSE PROXIMITY: A Retrospective of Sculpture by Neil Goodman MOA, September 15 - November 17, 2018 9 INTRODUCTION retrospective exhibition. We all became fast the massive sculptures frame the landscape. friends and enthusiastic collaborators. -
The Cauldron 2015
Mikaela Liotta, Cake Head Man, mixed media The Cauldron Senior Editors Grace Jaewon Yoo Muriel Leung Liam Nadire Staff Pann Boonbaichaiyapruck Phoebe Danaher Daniel Fung 2015 Sally Jee Prim Sirisuwannatash Angela Wong Melissa Yukseloglu Faculty Advisor Joseph McDonough 1 Poetry Emma Woodberry Remember 5 GyuHui Hwang Two Buttons Undone 6 Khanh Nyguen I Wait for You to Have Dinner 8 Angela Wong Euphoria 9 Sabi Benedicto The House was Supposed to be Tan 12 (But was Accidentally Painted Yellow) Canvas Li Haze 15 Adam Jolly Spruce and Hemlock Placed By 44 Gentle Hands Jordan Moller The Burning Cold 17 Grace Jaewon Yoo May 18 Silent Hills 40 Lindsay Wallace Forgotten 27 Joelle Troiano Flicker 30 Jack Bilbrough Untitled 31 Valentina Mathis A Hop Skip 32 Jessica Li The Passenger 36 Daddy’s Girl 43 Eugenia Rose stumps 38 Brandon Fong Ironing 47 Ryder Sammons Mixed Media, Ceramics New Year’s Cold 48 Mikaela Liotta Shayla Lamb Spine 7 Senior Year 50 Mermaid 46 Teddy Simson Elephant Skull 16 Prose Eye of the Tiger 53 Muriel Leung Katie I A Great River 20 Imagination 19 Zorte 52 Sabi Benedicto Geniophobia 32 2 Photography Rachel Choe More Please 8 Pann Boonbaichaiyapruck DEAD 2 Spin 12 Swimmingtotheschor 22 Bigfernfloating 41 Lydia Stenflo LA as seen from the 14 Griffith Observatory at Night in March Beach Warrior 58 Meimi Zhu Reflection 30 Jessica Li Juvenescence 37 The Last Door 42 Brandon Fong The End is Neigh 38 Sunday in Menemsha 53 Liam Nadire Hurricane Sandy #22 47 Pride 58 Painting, Drawing Katie I Risen 4 Oban Galbraith The Divide 9 Joni Leung -
The Pilgrim M Ther Schoenstatt Rosary Campaign ~ the Pilgrim Mother ~ Vol
The Pilgrim M ther Schoenstatt Rosary Campaign ~ The Pilgrim Mother ~ Vol. 3 Num. 2 ~ www.schoenstattrosarycampaign.com ~ 262-522-4326 ~ [email protected] Summer 2016 Dear Missionaries, Queridos Misioneros, In this jubilee year of Mercy our Schoenstatt Shrines across En este año jubilar de la Misericordia nuestros the USA become focal points of intense prayer life, but also Santuarios de Schoenstatt se convierten en of deep experiences of mercy. If that is the case, then our puntos centrales de intensa vida de oración, images of the Pilgrim Mother ought to become powerful pero también de experiencias profundas de instruments of God’s graces transmitted to all those who misericordia. Si esto es así, entonces nuestras imágenes de la Virgen Peregrina han de open their doors to the presence of Mary in their homes. convertirse en instrumentos poderosos por And, you are the chosen instruments to make this possible! medio de los cuales Dios transmite sus gracias a todos los que abren las puertas de sus That is why we want to crown our Pilgrim Mothers this year! hogares a María. Y, ¡ustedes son los We want to pull on her mantle, so to say, and remind her of instrumentos elegidos para realizar este our many dire needs in these times of extreme confusion, apostolado! persecution, and disasters. We won’t allow negativism and Por eso queremos coronar nuestras imágenes pessimism to have the last word. God’s will, God’s word, and de la Virgen Peregrina este año. Queremos God’s doing shall have the last word. Mary, the Mother of halar su manto, por decir así, y recordarle las God, the Handmaid of the Lord is an expert in making that muchas y grandes necesidades que happen. -
Days & Hours for Social Distance Walking Visitor Guidelines Lynden
53 22 D 4 21 8 48 9 38 NORTH 41 3 C 33 34 E 32 46 47 24 45 26 28 14 52 37 12 25 11 19 7 36 20 10 35 2 PARKING 40 39 50 6 5 51 15 17 27 1 44 13 30 18 G 29 16 43 23 PARKING F GARDEN 31 EXIT ENTRANCE BROWN DEER ROAD Lynden Sculpture Garden Visitor Guidelines NO CLIMBING ON SCULPTURE 2145 W. Brown Deer Rd. Do not climb on the sculptures. They are works of art, just as you would find in an indoor art Milwaukee, WI 53217 museum, and are subject to the same issues of deterioration – and they endure the vagaries of our harsh climate. Many of the works have already spent nearly half a century outdoors 414-446-8794 and are quite fragile. Please be gentle with our art. LAKES & POND There is no wading, swimming or fishing allowed in the lakes or pond. Please do not throw For virtual tours of the anything into these bodies of water. VEGETATION & WILDLIFE sculpture collection and Please do not pick our flowers, fruits, or grasses, or climb the trees. We want every visitor to be able to enjoy the same views you have experienced. Protect our wildlife: do not feed, temporary installations, chase or touch fish, ducks, geese, frogs, turtles or other wildlife. visit: lynden.tours WEATHER All visitors must come inside immediately if there is any sign of lightning. PETS Pets are not allowed in the Lynden Sculpture Garden except on designated dog days. -
Seeing Europe with Famous Authors 2
1 ^^f^ .^^ lrfi!<»/ii i\j i!^ ' LU FEB 2 6 1996 Vol. VIII SEEING EUROPE WITH FAMOUS AUTHORS 2 Ifflfi wm SELECTED AND EDITED WITH IXTRODUCTIONS, ETC. FRANCIS W. HALSEY Editor of "Creal Epochs in American History' Associate Editor of "The World's Famous Orations' and of "The Best of the World's Classics," etc. IN TEN VOLUMES j33=.*S>«f-^ ILLUSTRATED Vol. VIII ITALY, SICILY, AND GREECE Part Two FUNK & WAGNALLS COMPANY NEW YORK AND LONDON Copyright, 1914, by FUNK & WAGNALLS COMPANY [Printed in the United States of America} VIII . CONTENTS OF VOLUME VIII Italy, Sicily, and Greece—Part Two IV. THREE FAMOUS CITIES PAGE In the Streets of Genoa—By Charles Dickens 1 Milan Cathedral—^By Hippolyte Adolphe Taine 4 PiSA^s Four Glories—By Hippolyte Adolphe Taine 7 The Walls and "Skyscrapers" of Pisa— By Janet Ross and Nelly Erichson . 11 V. NAPLES AND ITS ENVIRONS In and About Naples—By Charles Dickens . 18 The Tomb op Virgil—By Augustus J. C. Hare 24 The Ascent of Vesuvius—By Johann . Wjjlf- gang von Goethe . / .. .. .....;.. 26 Another AscENT^By Charles "Diekehs ... 31 Castellamare and Sorrento—By IJippolyte Adolphe Taine .."..•..:.- .... 37 Capri—By Augustus J." C.. Hare 42 Pompeii—By Percy Bysshe, Shelley . 45 VI. OTHER ITALIAN SCENES Verona—By Charles Dickens 52 Padua—By Theophile Gautier 55 Ferrara—By Theophile Gautier 59 V CONTENTS PAGE Lake Lugano—By Victor Tissot 62 Lake Como—By Percy Bysshe Shelley . 64 Bellagio on Lake Como — By W. D. M'Crackan , 66 The Republic of San Marino—By Joseph Addison 69 Perugia—By Nathaniel Hawthorne . -
Sculpture Galleries Object List
NATIONAL GALLERY OF ART New West Building Sculpture Galleries Checklist *measurements are given in centimeters with inches in parentheses. G1A: Lost-Wax Bronze Casting Display 2002.58.1 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: plaster model (first of ten steps), 1990 plaster .295 x .170 x .140 (11 5/8 x 6 11/16 x 5 1/2); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.2 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: mold, front half (second of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .180 (14 9/16 x 12 3/8 x 7 1/16); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.3 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: clay model (third of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .290 (14 9/16 x 12 3/8 x 11 7/16); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.4 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: clay model reduced by thickness of final bronze (fourth of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .230 (14 9/16 x 12 3/8 x 9 1/16); length of entire display: 3.962 (156) Gift of the Iris and B. Gerald Cantor Collection 2002.58.5 Coubertin Factory after Auguste Rodin Lost-Wax Casting Display: wax model (fifth of ten steps), 1990 wax, plaster, cement and bronze .370 x .315 x .290 (14 9/16 x 12 3/8 x 11 7/16); length of entire display: 3.962 (156) Gift of the Iris and B. -
For a Falcon
New Larousse Encyclopedia of Mythology Introduction by Robert Graves CRESCENT BOOKS NEW YORK New Larousse Encyclopedia of Mythology Translated by Richard Aldington and Delano Ames and revised by a panel of editorial advisers from the Larousse Mvthologie Generate edited by Felix Guirand and first published in France by Auge, Gillon, Hollier-Larousse, Moreau et Cie, the Librairie Larousse, Paris This 1987 edition published by Crescent Books, distributed by: Crown Publishers, Inc., 225 Park Avenue South New York, New York 10003 Copyright 1959 The Hamlyn Publishing Group Limited New edition 1968 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the permission of The Hamlyn Publishing Group Limited. ISBN 0-517-00404-6 Printed in Yugoslavia Scan begun 20 November 2001 Ended (at this point Goddess knows when) LaRousse Encyclopedia of Mythology Introduction by Robert Graves Perseus and Medusa With Athene's assistance, the hero has just slain the Gorgon Medusa with a bronze harpe, or curved sword given him by Hermes and now, seated on the back of Pegasus who has just sprung from her bleeding neck and holding her decapitated head in his right hand, he turns watch her two sisters who are persuing him in fury. Beneath him kneels the headless body of the Gorgon with her arms and golden wings outstretched. From her neck emerges Chrysor, father of the monster Geryon. Perseus later presented the Gorgon's head to Athene who placed it on Her shield. -
Periodico Quaderni Archeologia
Valerio Cianfarani e le Culture medioadriatiChe Chieti-Ter a mo, 27-29 giugno 2008 Atti del Convegno a cura di Emanuela Ceccaroni Amalia Faustoferri Andrea Pessina MANIFESTAZIONI IN ONORE DI VALERIO CIANFARANI, SOPRINTENDENTE ALLE ANTICHITÀ DEGLI ABRUZZI E DEL MOLISE DAL 1947 AL 1973 Patrocinio Ministero per i Beni e le Attività Culturali Consiglio Regionale d’Abruzzo Istituto Nazionale di Archeologia e di Storia dell’Arte Comitato Promotore Adriano La Regina Presidente Giuseppe Andreassi Vice Presidente Giovanni Aloé Segretario Umberto Aimola, Antonella Bosco Umberto Bultrighini, Adele Campanelli Ernino D’Agostino, Mario D’Alessandro Carmelina Di Cosmo, Leandro Di Donato Mario Di Nisio, Panfilo Di Silvio Gabriele Iaculli, Raffaella Papi Componenti Coordinamento scientifico del convegno Adele Campanelli Emanuela Ceccaroni Hanno collaborato all’iniziativa Amministrazione Provinciale di Teramo Comune di Chieti Fondazione CARICHIETI – Chieti Fondazione TERCAS – Teramo Soprintendenza per i Beni Archeologici dell’Abruzzo – Chieti Comitato Nazionale per gli studi sul Sannio Associazione Culturale Idearte Programma del Convegno “Valerio Cianfarani e le culture medioadriatiche” Venerdì 27 giugno 2008 – Chieti, Museo Archeologico Nazionale La Civitella Apertura convegno Adriano La Regina, Presidente del Comitato Promotore Giuseppe Andreassi, Soprintendente per i Beni Archeologici dell’Abruzzo Saluti Autorità Presidente Paolo Sommella V. d’Ercole, A. Martellone, Dinamiche protourbane e modelli di “stato” nell’Abruzzo preromano A. Faustoferri, S. Lapenna, M. Ruggeri, R. Tuteri, M. Heinzelmann, Dall’urbanizzazione premunicipale alla città romana C. Letta, Nuove prospettive per lo studio di vici e pagi nell’Italia centrale appenninica L. Scaroina, Caratteri dell’insediamento antico sul versante settentrionale del Matese M. P. Guidobaldi, Riflessioni sulla romanizzazione del territorio e del popolo pretuzio H. -
Medardo Rosso Edgar Degas Henri Matisse Hans Arp Alberto
Medardo Rosso Edgar Degas Henri Matisse Hans Arp Alberto Giacometti Yves Klein Robert Mapplethorpe Marco Bagnoli Giuseppe Penone Jaume Plensa Corpo / Modello Body / Model Medardo Rosso Ecce Puer, 1906 Cera Wax 45 × 38 × 27 cm Comune di Verona, Galleria d’Arte Moderna Comune di Verona, Galleria d’Arte Moderna Ecce puer è la versione in cera di un’opera rea- Ecce puer is the version in wax of a work also lizzata anche in bronzo e gesso patinato. Me- produced in bronze and patinated plaster. dardo Rosso spesso presenta il medesimo Medardo Rosso often presented the same soggetto in più versioni matericamente diffe- subject in versions using different materials to renti, per rimarcare la sostanziale indifferenza point out how little importance attaches to the della natura del materiale con cui è definita nature of actual substance used for the work, un’opera; quest’ultima vive grazie ad altri ele- which lives through other elements inherent in menti che stanno nella forza del suo portato the strength of its conceptual, formal and concettuale, formale e spaziale. Contempora- spatial qualities. At the same time, he thereby neamente, l’artista nobilita materiali legati tra- ennobled materials traditionally associated dizionalmente ai processi di formatura e pre- with the models and preparatory processes of parazione della scultura, come se la scultura sculpture, as though the work existed just as stessa esistesse compiutamente già nel mo- fully in the initial moment as the final stage. mento aprioristico al pari di quello finale. Da Hence his interest in the “unfinished” sculp- qui il suo interesse per il “non finito” della ture of Michelangelo, which he compared scultura di Michelangelo che confronta foto- photographically with his own works. -
Satish Padiyar, Last Words: David's Mars Disarmed by Venus and The
RIHA Journal 0023 | 01 June 2011 Last Words: David's Mars Disarmed by Venus and the Graces (1824). Subjectivity, Death, and Postrevolutionary Late Style Satish adiyar eer-revie# and editing organi%ed by: The Courtauld Institute of Art, London &evie#ers: Sarah Betzer, Susan Sie fried 'bstract Completed as he was approaching death in 1825, Jacques-Louis David's inal re ractor! histor! painting is an intricate summation o a li e in politics and painting" #he article attempts to re-interpret the canvas in relation to the dual pro$lem o 'late st!le' and the condition o e%ile" I argue that this histor! painting invo'es the metaphor o non-se% or the condition o e%ile( and as a late gesture stages an anomalous return to a pre- lapsarian eighteenth centur!" #he painting, I conclude, reveals less the transcendent su$)ectivit! o an artist approaching $iological death, than the critical disarming o a once-radical neoclassical aesthetic itsel , in its tragic late phase" (ontents Fare"ell to #aintin A S$hizo%hrenic Su&'e$t in ()ile #aintin on the Far Shore *&ack to the Roco$o, The -eta%hor of .on/Se) in ()ile Acti0atin the 1ra$es T"o Cro"ns Conclusion The force of subjectivity in late works is the irascible gesture with which it leaves them. It bursts them asunder, not in order to express itself but, expressionlessly, to cast off the illusion of art. Of the works it leaves only fragments behind, communicating itself, as if in ciphers, only through the spaces it has violently vacated. -
Destination Guide Series
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