Toiletpaper Magazine. We wish we had Family Business back in Chelsea NYC it was fun!!!.
Wednesday, December 4, 2013
Toiletpaper Magazine. We wish we had Family Business back in Chelsea NYC it was fun!!!.
Because we love children, we like from you to support or sponsor a child by donating 2.33$ and getting an artists postcard.
postcard: by Maria Resnick
All proceeding will go to a foundation for supporting children, we have make no decision where we gonna be donating the founds. Thank you and looking forward for your support!!.
at 4:46 PM
Tuesday, December 3, 2013
Gestalt Psychology and Art:
By The Berlin school the brain functions as holistic, parallel and analog with self-organizing tendencies. Gestalt psychology tries to understand the laws of our ability to acquire and maintain stable percepts in a noisy world.
Gestalt is also known as the "Law of Simplicity" or the "Law of Pragnanz" (the entire figure or configuration), which states that every stimulus is perceived in its most simple form.
Gestalt theorists followed the basic principle that the whole is greater than the sum of its parts. In other words, the whole (a picture, a car) carried a different and altogether greater meaning than its individual components (paint, canvas, brush; or tire, paint, metal, respectively). In viewing the "whole," a cognitive process takes place – the mind makes a leap from comprehending the parts to realizing the whole,
We visually and psychologically attempt to make order out of chaos, to create harmony or structure from seemingly disconnected bits of information.
The prominent founders of Gestalt theory are Max Wertheimer, Wolfgang Kohler, and Kurt Koffka. Artist such as Maurits Cornelis Escher work was heavy influenced by Gestalt ideals.
While he was still in school his family planned for him to follow his father's career of architecture, but poor grades and an aptitude for drawing and design eventually led him to a career in the graphic arts. His work went almost unnoticed until the 1950’s, but by 1956 he had given his first important exhibition, was written up in Time magazine, and acquired a world-wide reputation. Among his greatest admirers were mathematicians, who recognized in his work an extraordinary visualization of mathematical principles. This was the more remarkable in that Escher had no formal mathematics training beyond secondary school.
As his work developed, he drew great inspiration from the mathematical ideas he read about, often working directly from structures in plane and projective geometry, and eventually capturing the essence of non-Euclidean geometries, as we will see below. He was also fascinated with paradox and "impossible" figures, and used an idea of Roger Penrose’s to develop many intriguing works of art. Thus, for the student of mathematics, Escher’s work encompasses two broad areas: the geometry of space, and what we may call the logic of space.
Alhambra sketch (62k)
His interest began in 1936, when he traveled to Spain and viewed the tile patterns used in the Alhambra. He spent many days sketching these tilings, and later claimed that this “was the richest source of inspiration that I have ever tapped.” In 1957 he wrote an essay on tessellations, in which he remarked:
In mathematical quarters, the regular division of the plane has been considered theoreticallyWhether or not this is fair to the mathematicians, it is true that they had shown that of all the regular polygons, only the triangle, square, and hexagon can be used for a tessellation. (Many more irregular polygons tile the plane – in particular there are many tessellations using irregular pentagons.) Escher exploited these basic patterns in his tessellations, applying what geometers would call reflections, glide reflections, translations, and rotations to obtain a greater variety of patterns. He also elaborated these patterns by “distorting” the basic shapes to render them into animals, birds, and other figures. These distortions had to obey the three, four, or six-fold symmetry of the underlying pattern in order to preserve the tessellation. The effect can be both startling and beautiful.
. . .Does this mean that it is an exclusively mathematical question? In my opinion, it does not. [Mathematicians] have opened the gate leading to an extensive domain, but they have not entered this domain themselves. By their very nature thay are more interested in the way in which the gate is opened than in the garden lying behind it.
In Reptiles the tessellating creatures playfully escape from the prison of two dimensions and go snorting about the despot, only to collapse back into the pattern again. Escher used this reptile pattern in many hexagonal tessellations. In Development 1, it is possible to trace the developing distortions of the square tessellation that lead to the final pattern at the center.
There are many interesting solids that may be obtained from the Platonic solids by intersecting them or stellating them. To stellate a solid means to replace each of its faces with a pyramid, that is, with a pointed
Order and Chaos (61k)
Intersecting solids are also represented in many of Escher's works, one of the most interesting being the wood engraving Stars.
Inspired by a drawing in a book by the mathematician H.S.M Coxeter, Escher created many beautiful representations of
Circle Limit III (71k)
Even more unusual is the space suggested by the woodcut Snakes. Here the space heads off to infinity both towards the rim and towards the center of the circle, as suggested by the shrinking, interlocking rings. If you occupied this sort of a space, what would it be like?
In addition to Euclidean and non-Euclidean geometries, Escher was very interested in visual aspects of Topology, a branch of mathematics just coming into full
Möbius Strip II (32k)
Print Gallery (57k)
Another very remarkable lithograph, called Print Gallery, explores both the logic and the topology of space. Here a young man in an art gallery is looking at a print of a seaside town with a shop along the docks, and in the shop is an art gallery, with a young man looking at a print of a seaside
All of Escher's works reward a prolonged stare, but this one does especially. Somehow, Escher has turned space back into itself, so that the young man is both inside the picture and outside of it simultaneously. The secret of its making can be rendered somewhat less obscure by examining the grid-paper sketch the artist made in preparation for this lithograph. Note how the scale of the grid grows continuously in a clockwise direction. And note especially what this trick entails: A hole in the middle. A mathematician would call this a singularity, a place where the fabric of the space no longer holds together. There is just no way to knit this bizarre space into a seamless whole, and Escher, rather than try to obscure it in some way, has put his trademark initials smack in the center of it.
Escher understood that the geometry of space determines its logic, and likewise the logic of space often determines its geometry. One of the features of the logic of space which he often applied is the play of light and shadow on concave and convex objects. In the lithographCube with Ribbons, the bumps on the bands are our visual clue to how they are intertwined with the cube. However, if we are to believe our eyes, then we cannot believe the ribbons!
High and Low (37k)
By introducing unusual vanishing points and forcing elements of a composition to obey them, Escher was able to render scenes in which the “up/down” and “left/right” orientations of its elements shift, depending on how the viewer’s eye takes it in. In his perspective study for High and Low, the artist has placed five vanishing points: top left and right, bottom left and right, and center. The result is that in the bottom half of the composition the viewer is looking up, but in the top half he or she is looking down. To emphasize what he has accomplished, Escher has made the top and bottom halves depictions of the same composition.
A third type of “impossible drawing” relies on the brain's insistence upon using visual clues to construct a three-dimensional object from a two-dimensional representation, and Escher created many works which address this type of anomaly.
Drawing Hands (54k)
A central concept which Escher captured is that of self-reference, which many believe lies near the heart of the enigma of consciousness – and the brain's ability to process information in a way that no computer has yet mimicked successfully.
Fish and Scales (55k)
On a deeper level, self-reference is found in the way our worlds of perception reflect and intersect one another. We are each like a character in a book who is
Three Spheres II (51k)
And so we end where we began, with a self portrait: the work a reflection of the artist, the artist reflected in his work.
Sunday, December 1, 2013
"We serve selected texts" by Alexis Dahan Editions now on sale!. Cyber Monday is on from Sunday. Get free domestic and international shipping. Click The link below for more.
Wednesday, November 27, 2013
Try out this movie database of this amazing site that you can find almost any movie you want, since we are concerned about copyrights from the author, we will like to recommend some film noir movies at the following links that maybe to old for copyrights but still amazing. Tip when the window appears and say play the movie you will be required to click and click and click again the play button to get over the adverts and pop up, is not a scam and it works perfectly. Still you will need to go to the right of the window and click "open player". So here we go some old great movies enjoy.