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 ThompsonVenice Biennale, June 1968…
ion is presented 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
…
ion is presented 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
…
duce members’ and customers’ environmental impact in the areas of energy, waste and personal transport. The Project enables member organisations of Co-operatives UK, the Confederation of Co-operative Housing (CCH) and the Plunkett Foundation to work with their members and customers in achieving greener behaviour.
Greener Together aims to help people to live in a more sustainable way. It does this by focusing on the small actions we can each take in our daily lives towards achieving bigger changes in the wider world. Many member organisations are already doing great things to encourage their members to live in a more sustainable way. The Greener Together project builds upon this success and helps to strengthen relationships’ between organisations and their members’.
Co-operatives and community owned enterprises bring people together to meet common needs. We believe that people working together, sharing ideas and good practice brings about a greater impact than people working individually or in isolation. Through working with their members and networks, co-operatives can collectively really make a difference.
By joining Greener Together you are becoming part of an active community of thousands of individual member organisations. As a pioneer you will be able to connect with like-minded people in a way that inspires, is fun and easy to do. By joining with others and going online, you’ll pick up invaluable tips, ideas, knowledge and experience.
Greener Together is part of a bigger programme, called the Greener Living Fund which aims to identify and understand what motivates people to be greener. So we can learn as much as possible about your experience we will be asking all pioneers to complete three questionnaires during the course of the project.
Once you have registered and completed the first survey you can choose your pledge actions to reduce your CO2 emissions by 10-20% and connect with Greener Together online community.
Greener Together- the co-operative way is part of the Greener Living Fund sponsored by Defra.…
Added by Michael Grove at 14:50 on November 29, 2010
y Art of the Possible event in November 1990; and my
subsequent encouragement through a string of other initiatives, for
others to associate themselves with my commitment to the concept of
an IDEA that Through [ART] ALL THINGS ARE POSSIBLE [NOW] • I
have very recently become a Synergy Member of the Buckminster Fuller
Institute and been invited to get involved with the Trimtab Space Camp
initiative • so having watched the Experiencial Space Research Lab
piece and listened to David McConville's Gaian Systems video and
the expanding worlds of Margullis and Lovelock, I would like to
suggest from my own humble standpoint that THE VERY BEST VIDEO
for all participants to first watch urgently, [IF] in[DEED] they haven't
already done so, IS the film which I have described as "THE MOST
EXPENSIVE EVER" because of the costs involved over decades to develop
and combine all of the equipment necessary and to launch [IT] ALL into
space to enable the production of same • namely Earth From Space.
<font size="3"><font size="3">&lt;font size="3"&gt;&amp;lt;font size="3"&amp;gt;&amp;amp;lt;font size="3"&amp;amp;gt;&amp;amp;amp;lt;font size="3"&amp;amp;amp;gt;&amp;amp;amp;amp;lt;font size="3"&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;font size="3"&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;font size="3"&amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;font size="3"&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;font size="3"&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br /&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/font&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/font&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;/font&amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;/font&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/font&amp;amp;amp;amp;gt;&amp;amp;amp;lt;/font&amp;amp;amp;gt;&amp;amp;lt;/font&amp;amp;gt;&amp;lt;/font&amp;gt;&lt;/font&gt;</font></font>
…
ion is presented 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
…
tive, the views of Andrew Cohen, to and of which I have made several references in cyberspace, in the context of “DON’T KILL THE MESSENGER” because IT IS in “deed” the case that IF you KILL THE MESSENGER you then also KILL THE MESSAGE • and my message from the other nation across the pond of the "two nations divided by one language" as spoken of in friendship by Winston Churchill, IS that the REAL problem with the vast majority of the evolution of consciousness message material, generated by the USA, is accompanied by that Try now for free strap-line, when in REALITY one has to invariably commit to paying upfront for the message, in juxtaposition to the offering of Gautam Buddha's message to Mahakashyapa, in the form of a lotus flower • because as OSHO once said ... "THE KEY to all teachings, not only for a Buddha but for ALL MASTERS • Jesus, Mahavira, Lao Tzu • cannot be given through verbal communication. THE KEY cannot be delivered through the mind; nothing can be said about it. The more you say the more difficult it [BE]comes to deliver, because you and the buddha live in different dimensions • NOT ONLY different but diametrically opposite • that whatever a buddha says WILL [BE] MISUNDERSTOOD".
…