We find the need to represent different planes of existence and states of mind through color in the artist’s other works. And yet it is in the choice of color that Braathen delivers the most decisive impact, transforming the otherwise calm woodland setting depicting the life cycle into an emotionally compelling scene depicting a growing uncertainty. The tree dominates the composition, breaking it up diagonally. Suggesting an unknown danger just outside the line of vision, an unknown threat, the artist doubles down on this feeling through the introduction of the fallen tree motif. Thus the woods in Soundscaper(2023) becomes ominous through the subtle tonal shift from purple to red. It is the emotional aspects of perception that are at play here. The use of color likewise denotes that Braathen’s landscapes may well be renditions of the mind more so than those of the eye. It's as if, for Braathen, the human form and psyche are embodied through water masses. The artist gives water, a symbol of life and nature's energy, notably human-like qualities of character and autonomy. Many of Braathen's works feature water currents and powerful streams. Thus, the planes of vibrant, bold color and brushstrokes spill across the canvas, partly framed by a few stable structures that cannot hold this energy in place. These features melt and meld, contrasted by opaquely painted surfaces that add stability, duetting more closely with representation. The choices Braathen makes regarding her technique significantly impact our perception - small brush strokes suggest impermanence and a swift, syrupy quality of ever-changing states represented through them. Through layering perspectives, Braathen weaves different interpretations of the world into her works, imbuing them with varying meanings. Often starting with a specific reference from the real world, the works pass through several stages of interpretation that filter through different worlds of perception of reality: the sensory, the emotional, and the intellectual this process invariably results in the abstraction of the original motif. This new body of work incorporates several larger-scale and smaller-format paintings rendered in the artist’s recognizable mode of expression. The landscape paintings of Melinda Braathen toe the line of abstraction and figuration, emerging from the artist's quest to reflect on her experiences and observations of the external and internal world. "Charged Bodies" incorporates a reference to both artists' practices: the electrifying quality of Braathen's paintings which pulsate with energy, representing abstracted visions of nature, people, and other forms, and on the other hand: the arcane vessels of Karl Monies, embodying the potency of preserving, of housing precious matter within, or keeping it from coming out. Join us for the opening of the exhibition on Thursday, April 20th from 18.00 until 20.00. Of money related natural kinds that comes with Bitcoin.Golsa is delighted to present a duo exhibition showcasing the paintings of the Norwegian-American artist Melinda Braathen and the ceramic vessels of Danish artist Karl Monies. The contributions that Bitcoin's designers can potentially make to theĮvolution of EXIMs and TIMs is analyzed in terms of the update of the portfolio Hypothetically having become a dominant form of money. Of the ethical worries that arise when contemplating Bitcoin after It seems that a dual money can remedy some, but not all, Near-money (TINM) a dual money system, having two units with a fluctuating By combining Bitguilder with a so-called technical informational As a thoughtĮxperiment we will contemplate Bitguilder, a hypothetical copy of Bitcoin thatĪ business ethics assessment of Bitcoin is made which reveals a number of "Bitcoin is an EXIM", might also be considered problematic. Is discussed in substantial detail, with the remarkable conclusion thatĬomputer security (security models, access control, user names, passwords,įirewalls etc.) is not always essential for an EXIM, while the application ofĬryptography based information security is unavoidable for the use of an EXIM.īitcoin seems to meet the criteria of an EXIM, but the assertion that The difference between an EXIM and a TIM shows up whenĬonsidering a user perspective on security matters. INCOs of an EXIM cannot be stolen, but they can be The informational coins (INCOs) of an EXIM can be in control of an agent butĪre not owned by any agent. Informational money will be developed: exclusively informational money (EXIM). Besides introducing the idea of a TIM, a more extreme notion of Bergstra and Karl de Leeuw Download PDF Abstract: The famous new money Bitcoin is classified as a technical informational money Download a PDF of the paper titled Bitcoin and Beyond: Exclusively Informational Monies, by Jan A.
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