#zie’s exhibit

[lucathy]

colored dead apple dazai..

[ukfrislandembassy]

Frislandic Dialectal Morphology

OK, this is going to be a bit of a long post, because there's a fair bit of variation here. However, unlike with dialectal phonology, there aren't quite as many clear-cut isoglosses, because morphological variation doesn't tend to be quite so Neogrammarian as phonology. However, some regional trends do exist, so worth checking back to that post to remind yourself of the abbreviations that I'll be using in this post.

Firstly, a point that is partly also to do with dialectal phonology and applies over both the major word classes, but there is some dialectal variation in the lenition mutation in certain contexts. In particular, a combination of the 1SG prefix me+ and a labial consonant may optionally assimilate to an mb- cluster in the northern varieties and G. This applies even when the v- from lenition would be expected to disappear before a rounded vowel in the standard. Thus, while in O we find forms such as me-vælæk 'approach me' (sometimes with a frozen imperative m'olæke 'come close') from mælæk, me-vag 'sting me' from mag, m-'uoð 'bind me' from buoð, in e.g. K we instead find m-bælæk, m-bag, m-boað.

Meanwhile, in varieties which retain a distinct reflex of lenited *k, with the 2SG prefix ke+ there is a similar fusion which in effect results in the elision of initial g- as in the standard: thus a two-way opposition in O between m'uoj 'my sister', k'uoj 'your sister' and seguoj 'our sister', in K there is a three-way contrast between mehoj [məˈɣoi̯], k'oj [kʰoi̯] and segoj [ʂeˈgoi̯] 'ibid.' Colloquial urban speech in many of these varieties (and among some speakers in all urban varieties across the country), the 1SG prefix syncopates results in an entirely series of prenasalised stops, thus colloquial G m'bav 'my beloved', n'datt 'my father' and n'guoj 'my sister'; note that this is likely an innovation on a previously consistent leniting process, as evidence by the m→b shift in mav 'beloved'.

In terms of the specific word-classes, let's turn firstly to the nominal morphology. Obviously, there is variation in some of the forms due to the phonological differences previously outlined, though some recapitulation will be useful here. Firstly, northern varieties tend to have invariant genitive and animate plural suffixes in [i] and [u] respectively due to a process of post-stressed vowel raising. In B we find the animate plural is further subject to a harmony process whereby [y] occurs when the previous vowel in the word is front, thus in B zottu [ˈt͡ɕoʰtu] 'men' & mokku [ˈmoʰku] 'pigs' but nücü [ˈnysy] 'newts' and zigü [ˈt͡ɕiky] 'tits (birds)' (standard zotto, mokku, nusu, zigo). S meanwhile has developed a regular alternation whereby /β/ (whether from historical *b, *m or *l) is replaced by /j/ in the genitive, thus maav → maaj 'beloved's', Gaav → Gaaj 'God's' (standard mave, Gale).

A common feature across most varieties is the merger of the singular and (animate) plural of the genitive case as [i], as opposed to the diphthong exhibited in the standard, likely again a manifestation of reduction of unstressed vowels (or in S connected with the aforementioned /βi/ → /j/ simplification as well). There are a number of disparate strategies to resolve this odd gap, though these varieties tend to use the simple form more when the standard would expect a plural, e.g. K ne bezi kud [nəˈpet͡ɕi kʰut] 'land of the faries'. Common, particularly in the eastern varieties KRD, is an -agi [ɑgi], a relatively recent morphologisation from nage, the genitive plural of 'people'. Equivalent dative forms in -ageð [ɑgəð] are common as well. Thus K kudagi zea [ˈkʰudɑgi ˈt͡ɕea̯] 'all nations', nabsja dojageð [ˈnɑpɕɑ ˈtojɑgəð] 'I went to the elders' (standard kudoj zie, nabsja duojuð). Western varieties such as B tend instead to favour derivatives of llutt 'gang', giving e.g. n'uollti giet [ˈnuə̯ɬti ˈkiə̯tʰ] 'the leaves of the trees' (standard n'ovi giet).

In terms of the actual categories, most varieties generally agree in having at least the nominative, genitive and dative, but a few augment this system with additional members from among the set of postpositions. A common addition is an instrumental in -em from a reduction of the postposition gæm 'with'. A second genitive in -er from a reduction of the dative + ar construction is a common reduction found in speech, though this is uncommon in careful speech in any variety. Thus in colloquial R you might hear e.g. n'datter sjoldem [ˈⁿdɑʰtɚˈɕoldəm] 'with my father's shield', while in S one might talk of something happening Gaaj tollẽm [ˈkɑːi̯ˈtʰuɬə̃m] 'by the will of God'.

Verbal morphology is even more of a mess. Firstly, whether umlaut is a productive process is variable depending on the variety, but the overall trend is for it to be lost. In particular, umlaut with the indirect I-ið is something of a literary feature which speakers of most varieties don't tend to bother with. Umlaut with the 1/2PL I-r/I-st is more common, but is less common in KRD and is absent from S. On the flipside, in B the -r suffix has been lost leaving umlaut as the sole marker of 1/2PL.

The set of voice markers is also a bit of a mess. It was mentioned last time that (standard) Frislanic lacks a causative passive form 'cause to be'. Well, some dialects (particularly S and KR, another 'diagonal' distribution) do have a suffix -ll, which originated as a causative-passive from a reduction of a cluster*-tʰl-, but now has also in part come to serve as an indirect causative. Thus in K you can distinguish pairs such as lãhlã [ˈlɑ̃ɣlɑ̃] 'I make them speak' vs. lãhllã [ˈlɑ̃xɬɑ̃] 'I make it be said', but also kãjlã [ˈkʰɑ̃ĩlɑ̃] 'I kill them' vs. kãjllã [ˈkʰɑ̃ĩɬɑ̃] 'I let them die'. In S, due to the weakening of the causative suffix, a set of 'deponents' has arisen where this erstwhile indirect causative is now simply the plain causative, bringing us back to square one, e.g. kããjllã [ˈkʰɑ̃ːjɬɑ̃] 'I kill them', keevllã [ˈkʰeːʊɬɑ̃] 'I lay it down', while the native reflexes would be something like *kããjvã/kããjjã, *keevvã/keevjã, which would likely reduce and become homophonous with kããjã 'I die', keevã 'I lie down'.

With regards to person marking, there are two kinds of variation; distribution and form. As was noted last time, certain forms, particularly the progressive, in many varieties utilise the person prefixes to mark an intransitive subject as well as a direct object, e.g. D meðellend 'I am shuddering'. Additionally, D and some R and G varieties also exhibit this with the indirect, thus R m'boaðið 'I seem to have been asleep'. Additionally, in southern varieties, there is some variability in the ordering of the irrealis and singular person prefixes: thus as well as standard 1SG m'i+, 2SG k'i+ one finds j'o+ and i'k+ (the plural prefixes always precede the irrealis because they became attached to the verb later).

In terms of the form, we have already noted elsewhere that in varieties with nasalisation show it with the 1SG subject suffix -a, while the RDG groups raise it to [ɔ]~[o]. Varieties which don't delete lenited *k also generally lack the -v variant for the relevant verbs: K erahã [əˈɻɑɣɑ̃] 'I do it' vs. standard erav. In B the 1/2PL passive suffix is I-(r)s [ʂ], as would be a more expected result of a *-tʰVʃ than the standard I-st. The remaining dialectal idiosyncracies come from differences in the TAM fused forms. The 1SG Conditional is frequently -iva rather than standard -eva, while northern varieties have a variant -jõ with nasalisation being the sole marker of 1SG. Similarly, these same varieties have a variant -tẽ for the 1SG perfective, in somewhat free variation with the more standard-like -sjã.

Next post I think it's time to start talking syntax.

[acemapleeh]

I See, I See, What You Do Not See

May 24th: Historical

Summary: A rainy fall date to one of the best museums in the country leads to reminiscing and forgotten perspectives.

Written for Day 2 of @nedcanweek, May 24rd: Historical

Characters: Netherlands, Canada

Word Count: 2365

Read on ao3

Late Fall, Amsterdam, Netherlands, 2014

“How long are you going to stare at this painting for? You know there are over eight thousand other things we can look at. Two thousand of them are from my Golden Era alone. Eighty rooms, eight hundred years of history to look at.”

“I told you, I’m trying to see how many paintings I can find you in. There’re so many people here and it’s a harbor so, of course, you have to be here somewhere.”

“Is this what you do when you visit your own museums? Ik zie, ik zie, wat jij niet ziet?”

Matthew let out a dry laugh. “Please, any paintings that were done of me were from Father’s commission and those are all looming in the English countryside gathering dust.”

“And you think there would be hundreds of artists who would find me a perfect muse?”

“More you than me.”

Jan sighed, moving his attention to the program guide. He was interested in seeing the newest photography exhibit that covered most of the 20th century. He’d been to this museum several times since it opened and he liked coming back whenever renovations or new exhibits were finished. Taking Matthew here simply made sense for a day out together. "If you sat still for me, I would paint you." He had leaned forward, resting his chin on Matthew's shoulder. "And I'm right there by the way. Closest to the ship with the ledger and hat."

Matt promptly swatted him in the chest with his own booklet. "You're an ass. I would have found you in the next five seconds." He was flushing slightly, not that it took much. "You can just take a picture of me- which I've seen you do. You take terrible candid shots of me. Why do you have a photo of me shoving poutine in my mouth as your phone background?"

"Because you hardly ever let me take any photographs of you. I have to practically beg you."

He snorted and began walking to the next piece of a snowy town and a large crowd going about their day, navigating the winter freeze. “And you can keep on begging. Not all of us can be photogenic.”

“How many times do I have to tell you that you are?” Jan reached out to hold the other’s hand, something that had taken years for Matthew to be comfortable in public with, but now squeezed his hand back lovingly. “I highly doubt that in all the museums in your country, you are not in a single one of them. If I can very clearly see how beautiful and handsome you are, then so do your people.”

“Stop, there’re too many people around.” He was grinning though, biting his bottom lip to hold back laughter. “I’m sure there’s something somewhere; I just know all the ones I actually sat for, Dad has hung up or stored. I do not want a portrait of myself in my own home.”

“Would you oppose to me having one of you?” A smirk tugged at the corner of his lips as he leaned closer. “A tasteful nude portrait perhaps?”

“Johan van Schipper- you will not hang a nude of me over your sitting room fireplace nor will I pose for one. You can get off to those terrible photos of me eating.”

They dropped the topic for now, deciding to browse through the next several paintings hand in hand. It wasn’t a terribly crowded day. There weren’t too many tourists, but there were a few school groups taking guided tours and university students seated on benches taking notes or figure drawing. 

Matthew was able to pick out Johan in a handful of other paintings. One where he was actually in the foreground along with Antonio at the Ratification of the Treaty of Münster, another where he was just another member of a crowd that took Matt nearly ten minutes to locate, and a lone oil portrait from the early 18th century that had been a part of the exhibit for over a hundred years.

“You should grow your facial hair out again, it looks good on you.”

“No thank you. I will entirely leave that to you. I’ve had my centuries of careful grooming and spending too much on beard oils and mustache wax.”

There was a healthy amount of snickering at the carefully preserved clothing articles and accessories. Johan didn’t blame Matthew for finding the ruff of linen and needle lace to be less than useless. He had come into the world a mere toddler when they were beginning to fall out of style, at least, for the rest of Western Europe; not that they would be useful in fur trapping and chopping lumbar but knowing Francis he still likely donned one while playing mountain man as long as Paris still deemed it the highest of fashion. 

“Did you just continue wearing them out of spite or because you looked really dashing in them?”

“Philip IV of Spain did ban them in 1623, so partially spite, partially because it was made by my people as well as the starch that stiffened them, partially yes, I did look nice in one.”

“Would you ever consider wearing one again?”

“Would you ever wear a starched shirt collar again?”

Matthew wrinkled his nose and loosened the top button of his flannel.

By half past noon, they were seated at the museum’s café for a much-needed break. Coffee was served with Dutch gin and whipped cream and between the pair, plenty of farmhouse cheese, rye rolls, and smoked meats were shared. 

“The photography exhibit is in this wing right?” Matt asked, licking spilled butter from his fingers. “You finish eating. I’m going to get a head start, I’ll meet you there.” With a kiss laced with dill and sweetness, he left Jan to enjoy the rest of his midday meal. He watched as Matthew trotted off, thinking how well he blended in with the rest of the crowd with his height and fair hair. Perhaps to an outsider, he could pass for being a local. How quickly he was reassured that was his Matthew when he accidentally bumped into someone, drew his arms into himself, and blurted out an accented apology that could easily be made out amongst the crowd. The reflective glint of the maple leaf keychain on his bag made him smile inwardly.

Johan took his time finishing his meal, the still life soup warm on that breezy autumn day as he listened to the rain pound against the wall-sized windows. He was still amazed he had convinced Matthew to leave the bed that morning at all. Jan had roused at his natural hour, limbs long and bare tangled in the sheets. An equally long and bare arm was draped across his lap, a silent plea for him to stay right where he was but a request he was going to have to deny. There had been a tug at his joggers the moment he pulled them up to his hips. Matthew peered up at him, most of his face hidden in the duvet, and Jan caved in mere seconds. The Canadian was much more compliant after a sensual morning of lovemaking that Jan had absolutely no qualms with. Breakfast was on the go to make up for lost time so they wouldn’t be late for the museum’s opening hour.

Not wanting to leave Matt waiting too much longer by himself, he finished the last roll and cleared the table.

Matthew was standing alone in front of a collection of photographs that his form blocked Jan from seeing what they were.

“Shifting through more crowds?” he asked, joining beside him. “Found me yet?”

“Yeah, I have actually,” Matt’s voice was flat. It was distant like he was speaking from a star but his voice didn’t have the proper projection. Jan followed his gaze to one of the black and white photographs. It was a collection of works regarding the Liberation as well the later years of the war, Jan only had to glance at each piece to know every location or event that was captured. Matthew was focused on the pieces on the right, several of which featured Canadian soldiers celebrating alongside Dutch citizens. 

It didn’t take long to figure out which one had caught his attention for however long he had spent standing in front of it.

Matthew’s hair might have been longer, glasses missing, and facial hair in desperate need of a trim but it was unmistakably him. 

Johan placed a hand on his shoulder, kneading the muscle there tenderly. “Are you alright?”

“I think so- I guess, I just never really looked at photos of myself from back then. Shit... it’s like I know that’s me but it doesn’t... really feel like me.”

They often jested of the age difference between them, how Matthew being only three hundred something years old meant he was slightly older than a mere child in the eyes of the Old World but ancient in his own. Jan's scars on his body were older than him, known nations his age twice over. He had a home with more memories than Matthew had in a lifetime. They shared the same understanding of mortal immortality, of being far older than every single person that lived in their country and beyond. But the weight of that feeling was one that took ages to adjust to. Jan could look at the old paintings of himself, a memory of long ago that happened that he could never really forget but was simply that. 

The photograph was of Matthew seated closely with Johan next to the crumbled remains of a windmill, the latter looking worse for wear with bandaged cheeks and arm in a makeshift sling. Cigarette butts were pressed together, eyes half-lidded and gazing into each other. The foil wrapping of a chocolate bar shimmered amongst the grime and dust. Evidence of celebration was around them, blurred and hard to make out, but present nonetheless. 

Jan couldn’t forget the captured moment. It was right after the initial high of the announcement of the war being over wore off. He had been trembling and sobbing and the pair sunk to the ground with a lazy kiss. All his aches and exhaustion had hit him at once and Matthew had silently cared for him, sitting together for what felt like hours until the feeling in his legs returned.

It was a memory of a moment in time, important and dear to him, but another moment of history he had to remember as he’d done hundreds of thousands of times. It was just a part of what they were, one endless task they were entrusted with no matter what those memories contained.

For someone his age, it was as simple as taking and exhaling breath and putting one foot in front of the other.

For Matthew? His Matthew who housed a heart too willing to take on all the burdens of the world that weren’t always his own? To store guilt for a century, or even more? Who stayed up well into the early hours of the morning, turning questions over in his head on whether he was loved by the man sleeping beside him? 

In those moments when Johan felt like the lowest part of his country, like his lowest of lands were sinking and flooding, Matthew held out his hand and pulled his head above the churning waves. Matthew stood at his full height, made him warm drinks, wrapped him in blankets, and loved him carefully and fully. He hadn’t questioned back then what turbulent thoughts ran through the other’s head and how much he struggled he stay afloat. 

The years it took of them sitting together, carefully trying to figure out the best way for Matthew to find his voice- for Johan to see through him and help him say the right words. ‘I will listen, tell me everything, and when you’re done, we’ll keep talking. If you don’t know how we’ll figure it out together.’

He entwined his fingers with Matthew’s carefully and kissed the side of his head, the scent of his partner’s favorite shampoo filling his senses.

“I promise that’s you and that I love the person in the photograph the same amount as the person I’m holding hands with. I know we tend to distance ourselves from the version of ourselves from the past, but it’s still us, no matter how much we change.”

“But that wasn’t me.” Matt’s voice was a whisper. “That confidence? It was only for the war. If I didn’t, I wouldn’t have been able to do my job. It was a bravado. You met this fake version of myself.”

“Really? Because the Matthew I know is caring, patient, sweet, and willing to step up to do anything for the people he loves. I’m certain that’s the one I met.” He leaned his head against the other. “You met me when I was less than functional and extremely vulnerable. Do you think that you met a false version of myself?”

“Well,” Matt drawled, biting his lip. “No, I don’t. I never did.”

“In the middle of chaos, as my heart lit up with the cheers of my people, I saw you. I found you without having to look, and wordlessly, you pulled me in and celebrated with me. Without warning my heart was yours.”

“Alright, alright, you made your point.” He tugged at his arm and Jan could see the tips of his ears were tinted bright pink and matched the rest of his face. “Come on, we still have this whole exhibit to look at. I don’t want to mull anymore about this until we get home. You can praise me there.”

“Did I not do that just this morning?” Jan followed him in tow.

“Maybe I need to hear it again. I don’t think I heard you that well.”

“You’re blind, not deaf.”

“So?”

Jan grinned, bumping his shoulder. “Do you believe me when I say I love you for both your looks and personality?”

“Please stop saying things that make me want to blow you in public.”

[toosvanholstein]

De Voortgaande Slag om het Zwartste Zwart en mijn eigen Coloured Black (Deel II)

In haar blog TOOS&ART van deze week Toos van Holstein's Coloured Black als gevolg van de Continuing Battle about the Blackest Black tussen Anish Kapoor en Stuart Semple. Lees en zie in deel II de in en outs. #kunst#art#expo#expositie#exhibition

in mijn atelier ‘Holstein’ in Middelburg Vorige week eindigde ik met een opgestoken roze vinger, niet de mijne trouwens, als onderdeel van de Slag om het Zwartste Zwart. Een kunstwereld-strijd. Maar wat heeft roze nou met dat zwart en mijn atelierfoto van hierboven te maken? Dat zit zo. De schatrijke en bekende kunstenaar Anish Kapoor kon ‘t zich in 2016 financieel veroorloven het artistieke…

[regioonlineofficial]

Met meerdere foto-exposities, waaronder het prestigieuze World Press Photo, is Gouda dit najaar de hoofdstad van de nationale en internationale fotografie. “Gouda is veel meer dan de stad van kaas en stroopwafels. Gouda is de stad waar de wereld thuis is”, zegt Thierry van Vugt. Gouda's world press Photo Volgens de cultuurwethouder van Gouda is fotografie bij uitstek het medium om wereldse verhalen te vertellen. “Fotografie is secondenwerk. Die ene seconde dat het moment wordt geboren, of ineens daar is, en diezelfde seconde dat de fotograaf besluit precies dat moment te verbeelden. Dat is wat ik zo indringend vind aan fotografie, en waarom fotografie soms veel meer zeggingskracht heeft dan video. Het is die ene seconde die plotseling eeuwigheidswaarde krijgt. World Press Photo is niet voor niets een wereldmerk geworden en ik ben er niet alleen trots op dat we dat nu in Stad kunnen beleven, maar óók dat in aansluiting op die beroemde expositie heel veel lokale initiatieven zijn ontplooid. Ons nieuwe innovatiefonds bewijst daarmee ondubbelzinnig zijn waarde: World Press Photo en lokale nevenactiviteiten zijn daarmee symbool van de culturele vernieuwing van de stad”, aldus Thierry van Vugt. Gratis te zien World Press Photo Exhibition 2023 is van 25 november tot en met 17 december elke dag van 10 tot 20 uur gratis te zien in de Chocoladefabriek, dé plek voor (beeld)taal en verhalen. Het is niet de enige foto-expositie in de stad dit najaar. Vanuit de Chocoladefabriek kun je door naar de Jeruzalemstraat voor de buitenexpositie van Bob de Wit sr. Een stukje verderop, in Museum Gouda, zie je Bnadem; eigentijdse portretten van Marokkaanse Nederlanders. Op de Oosthaven is een overzichtstentoonstelling van de Goudse Fotoclub te vinden en op GOUDasfalt kun je de expositie ‘In twee werelden’ bewonderen, over de Molukse gemeenschap in Nederland. In de Garenspinnerij, tot slot, hangen werken die geïnspireerd zijn op World Press Photo. Cultuurwethouder Thierry van Vugt: “Afgelopen maandagavond heb ik op GOUDasfalt de expositie ‘In twee werelden’ mogen openen over de Molukse geschiedenis. Evenals ‘Bnadem’ over Marokkaanse Nederlanders past ook deze expositie Gouda als een maatpak. De stad streeft ernaar een inclusieve en sociale stad te zijn, waarin iedereen gelijkwaardig is en kan meedoen; en waarin het dus ook niet uitmaakt wat je culturele achtergrond is. Inmiddels heeft een kwart van onze inwoners een migratieachtergrond. Zij horen bij de Stad en Gouda hoort bij hen. Sinds Erasmus en Coornhert is Gouda de stad van tolerantie en verdraagzaamheid. En dat de wereld hier thuis is, wordt nergens zo mooi zichtbaar gemaakt en zo indringend verteld als dit najaar met al die exposities en educatieve en culturele programma’s rondom World Press Photo. Ik kan iedereen aanraden dat zelf te gaan ervaren”.

[recentlyheardcom]

Women’s basketball: Gophers lose Aminita Zie to season-ending leg injury

Women’s basketball: Gophers lose Aminita Zie to season-ending leg injury

Already without freshman wing Niamaya Holloway, the Gophers women’s basketball team announced Thursday that post player Aminita Zie will miss this season after having surgery to repair a leg injury. Zie, a 6-foot-1 post who transferred last spring from Western Nebraska Community College, was injured last week, the team said in a release. The Gophers are scheduled to play an exhibition game…

[sleevesareforlosers]

*How* did newsie and chimp start dating?

okay well. i think first u gotta know how they met which is that pre-cherri-losing-its-arm it hotwired chimps van and drove off with it and then when chimp (exhibiting a rare and entirely terrifying rage) went to go buy it back from the hideout newsie was so overwhelmed with a combination of awe, fear, and lesbianism that zie just let chimp take the keys and leave

after she'd cooled down from this all chimp realized that a) it was actually kinda funny and b) its probably not a bad idea to be on good terms with a pair of evidently morals-free thieves so she went back with an offer that the three of them should go out for drinks sometime. cherri bowed out on account of it doesnt care about new people and so newsie absolutely flipped shit that this very sweet and somewhat terrifying girl had Come Back to ask hir on a date (!!!) (not a date, actually, as cherri was fond of reminding hir)

it went very well but neither of them made like. moves or anything they just hung out and got to know each other a bit and mutually agreed that it was really fun and they should do that again, sometime

flash forward a few moons and chimp and newsie having girls nights (cautiously gender neutral) are a fairly regular occurrence and sometimes cherri comes along but not often so it is really like, just the two of them getting to know each other Quite Well. newsie starts taking little runs to help chimp out, shipments and running messages that shouldnt be broadcasted and stuff, they start hanging out at chimps place or the hideout more and more. its still all platonic but in the way that newsie is like "yeah shes gorgeous and funny and sweet and i want to kiss her so so so bad but we're just friends" and chimp is like "oh yeah, zies in love with me but i wanna see how long it takes hir to notice" (these r all said only to themselves, theyre both pretty private abt this relationship actually outside of like, cherri doc n pony)

and then on one of these girls nights theyre at a bar proper and someone starts hitting on chimp, getting a little pushy, etc, newsie gets ready to step in and kill them tell them they arent welcome and then chimp whips out her gun and shoots them through the shoulder and goes, "you know, people would probably hit on me less if you put your hand on my thigh when you sit next to me"

its about three days later that newsie works up the nerve to ask exactly what she meant by that and another week or so before they see each other in person again and that time, when newsie leaves chimps place she completely-unthinkingly kisses chimp goodbye, drives off, then realizes what she did, turns around, goes back, and spends the night

[fotofantast]

Prints zijn klaar voor komend weekend 21 en 22 September tijdens de groepsexpositie van de Kunst Route Leiden. Mijn werk en dat van Marlike Marks, Sanne Romeijn en Jan Scheerder is te zien op de Jan Vossensteeg 43 te Leiden. Zie ik je daar op zaterdag of zondag tussen 12.00 en 18.00 uur? #fotofantast #fotografie #photography #portrait #portraitphotography #portretfotografie #portret #exhibition #expositie #kunstrouteleiden #kunstrouteleiden2019 #fineart #fineartphotography #suriname #leiden #ronalddamwijkfotografie https://www.instagram.com/p/B2dqF0koZCX/?igshid=1bwqxgq689a00

[timswings]

Faun by Hildo Krop. 

Exhibition Hildo Krop Museum, Steenwijk 

zie ook:  https://www.timswings.nl/hildokrop/werken-in-nederland/interieur-3/me-24-etalagepanelen-voor-juwelier-steltman-den-haag/

[yes-everything-flows]

Ik zie mogelijkheden. #art #artistsoninstagram #artist #arte #artwork #artlover #artlovers #abstractart #abstract #atelier #exhibition #kunst #sculpture #photooftheday #barrel #color #contour #collage #contemporaryart #contemporary #colour #drawing #eelkevanwillegen #epic #geel #yellow #brown #photography #pantarhei #parina #studio #scultor #sea #waves #wanderlust #steel #metal https://www.instagram.com/p/BpJWNdQiFPt/?utm_source=ig_tumblr_share&igshid=1jk98jhwk8ydf

[pius2017]

Determine the order of the genes

Determine the order of the genes

In Drosophila, Z is dominant to z (zebra back), T is dominant tot (tie leg), and F is dominant to f (fuzzy wing). From a Drosophila testcross (trihybrid crossed with a homozygous recessive fly, ztf/ztf), the number of each phenotype obtained was as follows (individuals with a capital letter exhibit the dominant phenotype): Ztf 240 zTF 230 ZIE 7 ztf 3 zti 160 ztF 150 zTf 100 ZtF 110 TOTAL 1000…

[artreev]

Thank You Zie @ziemieahmad for your support. Really Have Much Fun For The Photo-Taking Moment..!!! Hope You Like The Lucky Dip As A Token Of Appreciation For Coming Down To My Solo Exhibition (3rd Edition). "SAMPAH MASYARAKAT" ("Trash In A Community) - Celebrating TRASH In The Next New Perspective. 195 Pearl's Hill Terrace, #03-56, Singapore 168976 Tomorrow Will Be The LAST DAY To See How "Ugliness" Has Turned Into "Beauty" It Ends On 08 July 2021, from 1200-2000 Hours. See You There..!!! #artexhibition #artshowcase #artlandscape #artspace #artforcommunity #artforsale #artforlife #supportlocalart #abstractartwork #upcycledart #visualart #artinstallation #3Dart #assemblage #artcollage #repurposedart #earthart #artforeveryone #singaporeanartist #singaporeart #SGCultureAnywhere (at 195 Pearl's Hill Terrace) https://www.instagram.com/p/CRBf9jZBsQO/?utm_medium=tumblr

[runic-kitchen]

Humans Are Weird

What if humans were the only ones that experienced boredom? 

___________________________

“Human Alice, what are you doing?” Yael inquired.

“Sitting here, doing nothing. Why?” Human Alice was indeed sitting there in the mess hall, not doing anything in particular, with the exception of her alarming posture. The rest of the crew was concerned for the human as she would occasionally let out a loud rush of air, sometimes letting out what seemed like a pained vocalization, and would place her body in odd positions - such as she was doing now, bending almost halfway across the back of the seat, her arms seemingly trying to touch the floor. The rest of the Jra’ob crew members were clearly upset, with their Dryt spikes raised (signaling fright) and their secondary eyes locked on Human Alice.

Yael had of course read the Guide to Human Care manual well before Human Alice was stationed on the ship, as had the rest of the crew. But what she seemed to be exhibiting now was nowhere to be found in any of the chapters. 

“The crew and I are concerned about your well-being. There have been reports of you making pained cries and contouring your being in distressing angles.”

“Oh!”, she laughed, a loud barking sound. “I’m just bored. We reach planet Tugrao in two solar days and I have nothing to do.” She changed positions again, this time in a more familiar condition: hunched over the table with her visage resting on her right extremity, her fingers moving rhythmically.

“Bored? I do not know what that means.” Yael was perplexed. The translator microbes did not seem to have an equivalent in his own language.

“It means that I’m restless because I don’t have anything to do. There is nothing interesting to do right now.”

Yael still did not understand. All the information on humans thusly gathered by the Human Care Committee have emphasized humans’ capacity for curiosity and exploration. Indeed, Human Alice seemed to be a good example of this when she first arrived, having spent the last half cycle crawling over every motra of the ship. 

There was still so much that humans in general did not know about the Universe. They even had to be taught how to travel through black holes, for Uqna sake! It would take many human lifespans to learn what the rest of the species in the Universe knew as common knowledge. Yet here was this human, whittling away the short amount of time she had to live (comparatively to the Jra’ob) by not doing anything. 

Yael could not comprehend. Zie could feel zirs Dryt Spikes starting to rise the more zie pondered boredom. Yael quickly gave Human Alice an acceptance huff that zie had learned humans exchange when nothing more is to be said before zie turned to report to the Captain about this worrying information.

[damiandjairin]

#17

Visit an art exhibition. Document the exhibition and choose one work to expand on. Write why you chose to visit that exhibition and what made you gravitate towards your chosen artwork. Be creative in the way you use documentation and text.

NXTmuseum

Ik heb voor nxtmuseum gekozen omdat het iets nieuws is wat ik nog niet eerder heb gezien. Hoe van persoonlijke ruimte naar topografie, kosmische zeeen, zwarte gaten etc een visueel beeld wordt getoond door middel van projectoren.

Shifting Proximities onderzoekt de manier waarop mensen maatschappelijke en technologische veranderingen ervaren en hoe zij hierop reageren. Via acht grootschalige multi-zintuigelijke installaties wordt onze perceptie van ruimte, maar ook onze plaats daarin, op de proef gesteld

De manier hoe alles beweegt en hoe men erop gereageerd.

Heleen Blanken - Habitat, 2020

De artwork die ik koos is van heleen blanken. Het werk vertaalt 3D-scans van organische artefacten uit het Naturalis Biodiversity Center (Leiden) naar een game-achtige, meditatieve omgeving.

in het datagedrevene werk van Heleen Blanken, habitat, worden driedimensionale scans van objecten uit het naturals biodiversity center tot leven gewerkt. Stenen, fossielen en koraalsoorten komen samen in een meditatieve, game achtige omgeving die voortdurend evolueert. Je wordt uitgenodigd om op te gaan in een serie wonderlijke werelden van natuur, ieder voorzien van een uniek soundscape.

De invloed van de mens op de natuur is vaak subtiel en niet direct zichtbaar. Wandel tussen de sculpturen en zie hoe jouw aanwezigheid veranderingen brengt in de audiovisuele ervaring.

Door klimaatverandering verdwijnen de natuurlijke babitatcs van talloze planten en dieren. Natuurhistorische musea proberen deze verdwijnende natuur te bewaren un fysieke vorm. Objecten en overblijfselen worden verzameld om de natuur te fixeren in tijd en ruimte. De vraag is hoe dit archiverende proces verandert een sterk digitaliserende wereld - en of digitale opslag en presentatie ons dichter bij de natuur kunnen brengen.

[tinydebruin65]

12 en 13 september vindt u me op @arteindhoven zie ik u daar? Vraag me naar vrijkaarten. ⁣ .⁣ .⁣ .⁣ .⁣ .⁣ #creativelifehappylife #artwatchers #exhibition #art #abstractart #abstractartist #abstractartcollectors #artlovers #fineart #womeninspiringwomen #thisiseindhoven #love #kunst #contemporaryart #modernart #artoninstagram #galeriekrl #artforbreakfast #eindhoven #multimediaartist #mixedmediaartist #mixedmediaart #tentoonstelling #artlover #contemporaryartcollectors #artforyourwalls #kunstwerk #contemporaryartgallery #todaysartreport (bij Tiny's Galerie) https://www.instagram.com/p/CEXG5t0JtQ7/?igshid=16fwtu941l9lh

[toosvanholstein]

Rembrandt 350 Jaar bijna verleden tijd

Hoe je het Rijksmuseum bijna alleen voor jezelf hebt met de Rembrandtpas! En dan nog bij 'Rembrandt-Velázquez . Lees maar hoe dat kan in TOOS&ART van deze week. #kunst #art #exhibition #Rembrandt #Velázquez #Rijksmuseum #Amsterdam

zo rustig zie je het Rijksmuseum zelden

Nog even en Rembrandt is al weer 351 jaar geleden overleden. Dus komend jaar is ‘t uit met de pret van al die speciale Rembrandt exposities van dit jaar. Maar als je snel bent, kun je er nog twee prachtige bezoeken. Tussen alle schildersdrukte door voor de volgende editie van mijn ‘The 70-Series and More’ half januari in Eersel wilde ik daarvoor absoluut…