compassion, collaboration & cooperation iN transistion
Search Results - the art of the possible
- Comment on: Blog Post 'In the years leading up to World War II ...'
- he friendship between Winston Churchill and Dwight D. Eisenhower [BE]ing entirely based on THE ART of THE POSSIBLE and the equally long standing debate between the EU and the so- called BRITISH GOVERNMENT, concerning the democratic majority vote of the BRITISH PEOPLE to LEAVE the very [UN]democratic European Union, which in terms of the 5 Presidents Report is hell bent on the establishment of a United States of Europe, regardless of the cost to the PEOPLES of EUROPE. …
- Added by Michael Grove at 11:32 on August 9, 2019
- Comment on: Photo 'SPIRAL of LIFE'
- 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…
- Added by Michael Grove at 10:03 on February 7, 2012
- Comment on: Photo 'vitruvian'
- 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…
- Added by Michael Grove at 10:04 on February 7, 2012
- Comment on: Blog Post 'Zaadzsters_et_al@gaia [RE]UNITE ...'
- AADZ - which was "the seed" of conscious business social networking - I can only restate the fact that - If anyone can find beauty in a technology [IT] IS an ARTIST and throughout our history • at whatever stage or level of development of technology per see • [IT] has always been artists who have "shown the WAY" and utilised song, dance, music, cave painting, sketch drawing, oil painting, photography et al ∞ in the SPiRALogic ART of the POSSIBLE process of performance, entertainment and just making people confront THE most fundamental QUESTIONS of LIFE. …
- Added by Michael Grove at 7:59 on February 8, 2019
- Comment on: Blog Post 'PAST • PRESENT • FUTURE • as ONE • NOW •'
- derstood, our own understanding and commitment to the very concept of GAIA as proposed by Margullis & Lovelock remains at the heart of that which [WE] both ascribe to, most particularly in the context of PAST • PRESENT • FUTURE • AS ONE • NOW • in which I referred to Lovelock’s 100th Birthday and and his very adamant proposal that Earth • GAIA will [BE] in[DEED] saved by artificial intelligence, bearing in mind that he has always been an ardent supporter of nature’s own nuclear fusion as the ART of the Possible Solution to the dangers of climate change, which have [NOW] well and truly ARRIVED so to speak or NOT !!!???…
- Added by Michael Grove at 11:46 on September 15, 2021
- Comment on: Blog Post 'As the peoples of the earth contemplate ..'
- 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…
- Added by Michael Grove at 22:34 on February 6, 2012
- Comment on: Photo 'insight'
- 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…
- Added by Michael Grove at 14:27 on February 7, 2012
- Comment on: Photo 'GALACTICA.net'
- 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…
- Added by Michael Grove at 14:30 on February 7, 2012
- Comment on: Photo 'In the Mind's Eye'
- 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…
- Added by Michael Grove at 14:32 on February 7, 2012
- Comment on: Blog Post 'Sense of Place ...'
- 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…
- Added by Michael Grove at 13:01 on February 8, 2012
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