Small-world experiment

What is the connection between a single image and the series that includes it? How may we understand and describe the connection existing between images that, together, form a series? This article explores the image series as a specific category, proposing that the distinctive spatial and temporal structuring principles of the series may be explained by the concept of topology, which describes an expanded geometry as well as a theory of place. Working in series is not unusual within the visual arts, particularly within the field of art on paper, perhaps because the relatively inexpensive material invites artists to explore a given theme, formal aspect, or perceptual and affective matter in not just a single image, but in several variants. To be able to speak of images as variants, a kinship must exist between the individual images; they must have something in common so that they do indeed form a group, a series. Whenever we are dealing with several image-objects, a spatial relationship between them will automatically arise. They must be positioned in relation to each other in space, which in turn means that our encounter with each individual image must take place over time, either one by one or several at a time if the viewing angle allows.

Parent reviews for SmallWorlds

KIWI game development company Outsmart, which created global hit SmallWorlds, has “dipped its toes” into the mobile space for the first time. The Auckland-based studio launched its first mobile game three weeks ago and Gopher Launch has already attracted 60, registered users. Mitch Olson, who co-founded Outsmart with Darren Green in , said the company had traditionally focused its attention on creating desktop games.

But the “huge groundswell” in mobile devices, combined with falling PC sales around the world, meant avoiding mobile game development was no longer an option.

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So I made friends with some of the other outcasts. Eventually I settled in with the nerds. They thought I was a bit weird too, but they were proud of being weird so it was a natural fit. Am I making sense so far? Dianmu rolled her eyes. Dungeons and Dragons is the one that really matters here. Are you familiar with it? It never really caught on in China — at least, not among the people I lived among in Guangzhou.

Ryan nearly doubled over from laughter. Dianmu laughed, then looked at Ryan.

Small Worlds

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By creating your own world as an artist, you can control everything that’s in it, the message you want to send and the feeling you want to convey.

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Thank you for visiting nature. You are using a browser version with limited support for CSS. To obtain the best experience, we recommend you use a more up to date browser or turn off compatibility mode in Internet Explorer. In the meantime, to ensure continued support, we are displaying the site without styles and JavaScript. A Nature Research Journal. Broomcorn millet Panicum miliaceum L. In Europe, millet was reported in Early Neolithic contexts formed by bc , but recent radiocarbon dating of a dozen ‘early’ grains cast doubt on these claims.

Archaeobotanical evidence reveals that millet was common in Europe from the 2nd millennium bc , when major societal and economic transformations took place in the Bronze Age. We conducted an extensive programme of AMS-dating of charred broomcorn millet grains from 75 prehistoric sites in Europe. Broomcorn millet succeeds in exceptionally wide range of growing conditions and completes its lifecycle in less than three summer months.

We provide a new, high-resolution chronological framework for this key agricultural development that likely contributed to far-reaching changes in lifestyle in late 2nd millennium bc Europe. The agrarian methods used in growing and processing of wheat and barley are applicable to this crop 8 , 9 , 10 , save for, perhaps, more intensive weeding required by millet, especially early in the growing cycle cf.

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They might even call into the church on the market square for musical and spiritual refreshment. There are organ voluntaries as well and the congregation joins in with the two hymns. The stark s Brick Expressionist church building contributes to the rarefied atmosphere and on a sunny day, the light streams in through the high, stained glass windows turning the whole experience into something quite ethereal.

I can highly recommend Tian Fu on Uhlandstrasse, only a two-minute walk from the church and Hohenzollernplatz Underground Station. This very well-reviewed restaurant serves spicy Sichuan-style food and is a favourite with the Berlin Chinese community. Despite being very busy, the service was efficient and friendly.

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The topology of the image series. The singular and the composite in Kandinsky’s Small Worlds

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Project Category: Residential.

Parent Reviews For SmallWorlds

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The underestimated vitalness of the miniature, and the potential for subversion that comes with altered scale, form the basis of the Fleming Museum of Art ‘s new exhibition, “Small Worlds: Miniatures in Contemporary Art,” at the University of Vermont. Fleming curator Andrea Rosen has long held tiny things dear, from making childhood pilgrimages with her family to the International Guild of Miniature Artisans ‘ annual convention to re-creating famous artworks in miniature as an undergraduate art student.

A seed in Rosen’s mind since she began at the Fleming in , “Small Worlds” brings together 12 artists who work in reduced size to various ends; the exhibition makes an earnest argument for miniatures as serious engagement. That said, some works do speak mainly to the immediate and viscerally felt cuteness of the very small: The glossy digital photographs of Minimiam the working name for collaborators Akiko Ida and Pierre Javelle reimagine sumptuous spreads as benignly worked landscapes.

In the diptych “Gonfleur,” teensy hard-hatted laborers appear to be inflating raisins into grapes. A suburban couple tends to the fuzz of a kiwi as a lawn in “Week-end. In thematic proximity to these “clever visual puns,” as Rosen calls them in her exhibition text, are similarly twee environmental constructions. These include intricate watercolor landscape dioramas by New Hampshire- and Maine-based painter Allison May Kiphuth , who identifies herself as a “lifelong nature enthusiast,” as well as the four “Bubbles” of Sally Curcio.

Constructed from iridescent beads and found elements, the latter give bird’s-eye views of both real and mythological places in no more than a square foot, enshrined under clear plastic. Contrasting these relatively pretty, nonthreatening representations of nature and natural elements are several artists who use the miniature form as a way to play directly with ideas of control. In one room of the gallery, Brian D.


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