e communications at the same time. The dissemination of co-creative practices is propitious in becoming aware of differences, and at the same time, pointing to our similarities. Our mutual relationships have a lingering impact on us. We are not billiard balls bouncing off each other. While billiard balls change direction and speed as they interact, they remain essentially unchanged. As humans, we evolve internally with every contact we have with another human being. Alain Ruche
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ss a problem, we become fixated on that problem: "The problem is now in the centre of the room. The broken things are in the centre of the room. Whatever is not working, or whatever is dysfunctional, is what’s taking up all the space. Then your interrogation of it, your consideration of it, or whatever you are, you’re reacting to the brokenness. So the brokenness is everything, right?Fundamentally for me, the reason why we don’t get things done the way that I think we could get things done – because there are enough amazing, miraculous, impossible, supernatural people on this planet who love this planet, and who operate from goodness and integrity and accountability – but we get so bogged down in staring into the abyss that we’ve lost our sight of heaven, our version of heaven."
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Added by Michael Grove at 13:42 on December 20, 2019
wards a renewable, post-fossil world. The exhibition brings together a wide range of projects, products, artworks and ideas from the areas of design, engineering, art and industry from pioneers truly pushing the boundaries in their fields. Features include an exhibition on... World Game and the Dymaxion Map. What is presented is a visionary future not just of possibility and speculation, but of actual actions and real, workable solutions. In so doing, the exhibition ultimately serves as a platform for the public to rethink the state of the world around us, and how contemporary artists and designers can inspire and provide solutions to a more sustainable way of living.
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d, of my own dedicated support and involvement in the Art of the Possible event for Dyslexic Artists, which took place in the Mall Galleries at the Admialty Arch end, and the words of support received from all & sundry, in celebration of the Life of Leonardo and his life-long friend Machiavelli. who so superbly penned ...
THE PRINCE in 1513.
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Added by Michael Grove at 9:59 on September 11, 2022
erior learners."
Trees of INFORMATION
While dyslexics typically struggle
to decode the written word,
they often also excel in such areas of reasoning as
mechanical (required for architects and surgeons),
interconnected (artists and inventors); narrative
(novelists and lawyers), and dynamic
(scientists and business pioneers).
The Dyslexic Advantage provides the very
first complete portrait of the dyslexic brain.
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mass-production. He named the armchair 'Wassily', in homage to Wassily Kadinsky
the painter who is often credited with painting one of the very first purely abstract works, but
my money is as much on Hilma af Klint, for that accolade. All three of the 'Wassilys' have since
been passed on to our children, but whenever we visit I am always reminded of the times when I
have produced my own so-called abstract paintings.
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ented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson Venice Biennale, June 1968…
ented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson Venice Biennale, June 1968…